WEBVTT 00:08.928 --> 00:18.972 [SPEAKER_02]: Welcome to the Delta Flyers journey through the wormhole with quark, dacks, and their good friends Tom and Harry join us as we make our way through episodes of Star Trek Deep Space Nine. 00:19.372 --> 00:34.118 [SPEAKER_01]: You are our host for today on our fellow Trek Actors, Arm and Shimmerman, Robert Duckermick Neal, and myself, Garrett Wong, for the complete and exciting version of this podcast, please check out patreon.com forward slash the Delta Flyers and sign up to become a patron today. 00:34.278 --> 00:35.319 [SPEAKER_01]: You won't regret it. 00:36.118 --> 00:37.179 [SPEAKER_02]: You won't forget it. 00:37.439 --> 00:40.520 [SPEAKER_02]: Garrett, you and I, not long ago, went to Iowa. 00:40.800 --> 00:42.381 [SPEAKER_01]: Oh, yes, trackfest. 00:42.641 --> 00:44.042 [SPEAKER_01]: Yes, it was amazing. 00:44.102 --> 00:47.824 [SPEAKER_01]: It was it reminded me of the convention in Vulcan, Alberta. 00:47.884 --> 00:52.226 [SPEAKER_01]: It's a small farming town and that's kind of where we were at, where we were in a parade. 00:52.246 --> 00:54.447 [SPEAKER_01]: The Vulcan convention has a parade. 00:54.467 --> 00:57.529 [SPEAKER_01]: We got to sit in the car and it was not as hot as it was the 01:03.772 --> 01:05.653 [SPEAKER_02]: really got the worst of it ever. 01:05.713 --> 01:06.013 [SPEAKER_02]: It was. 01:06.253 --> 01:08.394 [SPEAKER_02]: Yeah, because it's outside. 01:08.434 --> 01:10.575 [SPEAKER_02]: The whole convention armament is outside. 01:10.595 --> 01:12.115 [SPEAKER_02]: It's like a county fair. 01:12.496 --> 01:13.856 [SPEAKER_02]: It's a great atmosphere. 01:13.876 --> 01:16.017 [SPEAKER_02]: The music and little league tournament. 01:16.097 --> 01:17.878 [SPEAKER_02]: And it's really charming. 01:18.078 --> 01:18.618 [SPEAKER_02]: And I'm talking. 01:18.918 --> 01:20.740 [SPEAKER_01]: And arm and I talked to the guy that runs it. 01:20.900 --> 01:28.167 [SPEAKER_01]: He's a new guy running it and I said look you really got to get arm and to come as well So I'm kind of pushing you as well And here's thank you. 01:28.488 --> 01:34.894 [SPEAKER_01]: Here's a pro tip if you get too hot outside They do have a beer cooler like a huge refrigerator cooler to me. 01:34.934 --> 01:35.475 [SPEAKER_01]: Oh my god 01:37.957 --> 01:54.361 [SPEAKER_01]: the beer, you know, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no 02:07.325 --> 02:10.347 [SPEAKER_00]: One of the things that Quark taught me was to how to deal with heat. 02:10.868 --> 02:11.729 [SPEAKER_00]: Oh, interesting. 02:11.829 --> 02:14.811 [SPEAKER_00]: Ever since then, he doesn't really bother me on that much. 02:14.952 --> 02:16.013 [SPEAKER_02]: Good for him. 02:16.093 --> 02:19.936 [SPEAKER_02]: Did you notice a difference after Quark and the make-up and all that? 02:19.976 --> 02:20.957 [SPEAKER_02]: Yeah, cost the hot car. 02:20.977 --> 02:21.638 [SPEAKER_02]: Yes, it did. 02:22.158 --> 02:28.480 [SPEAKER_00]: It wasn't so much to make up to make up, of course, was a little warm, but it was the costume more than anything else. 02:28.580 --> 02:30.921 [SPEAKER_00]: But our set was very, very refrigerated. 02:30.981 --> 02:36.102 [SPEAKER_00]: But if I went to the commissary for food, which was rare, but if I did, and I walked in costume, it was hot. 02:36.162 --> 02:36.482 [SPEAKER_00]: It was hot. 02:36.502 --> 02:37.243 [SPEAKER_00]: There you go. 02:37.343 --> 02:38.063 [SPEAKER_00]: I got used to that. 02:38.683 --> 02:42.466 [SPEAKER_02]: I remember some days on the lot in the summer on the Paramount vlog. 02:42.526 --> 02:44.788 [SPEAKER_02]: It could get hot if you're walking across the lot. 02:45.328 --> 02:49.071 [SPEAKER_02]: And the commentary was the opposite side of the lot. 02:49.091 --> 02:53.114 [SPEAKER_02]: So if you wanted to get something, it was a long walk in the hot sun. 02:53.394 --> 02:53.654 [SPEAKER_02]: Yeah. 02:53.754 --> 02:55.996 [SPEAKER_01]: And we were not provided any type of transportation. 02:56.196 --> 02:56.976 [SPEAKER_02]: Robbie, to get there. 02:56.996 --> 02:58.738 [SPEAKER_02]: We didn't have golf credits in other things. 02:59.850 --> 03:01.812 [SPEAKER_01]: We have to use our legs, yeah, no golf cards at all. 03:01.872 --> 03:03.553 [SPEAKER_01]: Let's talk about some birthdays, Robbie. 03:03.673 --> 03:04.473 [SPEAKER_01]: Yes, let's do. 03:04.734 --> 03:10.258 [SPEAKER_01]: On August 13th, let's also a very, very happy birthday to Warren Stein. 03:10.538 --> 03:11.178 [SPEAKER_01]: Happy birthday. 03:11.459 --> 03:12.720 [SPEAKER_01]: Happy birthday, Warren. 03:13.160 --> 03:14.441 [SPEAKER_02]: Happy birthday, Warren. 03:15.542 --> 03:19.184 [SPEAKER_02]: We also have Jan Hanford on August 16th. 03:19.465 --> 03:22.827 [SPEAKER_02]: So happy birthday, Jan. Jan, many happy returns. 03:22.847 --> 03:23.508 [SPEAKER_00]: Happy birthday. 03:24.348 --> 03:26.250 [SPEAKER_01]: Jan Hanford, happy birthday to you. 03:32.831 --> 03:38.336 [SPEAKER_01]: poetry synopsis times starting with not a little artsy fartsy fartsis. 03:38.896 --> 03:40.278 [SPEAKER_01]: That is not a good question. 03:41.799 --> 03:42.680 [SPEAKER_02]: Exactly. 03:42.840 --> 03:43.280 [SPEAKER_02]: All right. 03:43.641 --> 03:47.444 [SPEAKER_02]: I got a little poem for this episode for resurrection. 03:47.464 --> 03:49.106 [SPEAKER_02]: It goes a little something like this. 03:49.626 --> 03:54.150 [SPEAKER_02]: Beryl showed up quite charming and sly with her feelings. 03:54.310 --> 03:55.912 [SPEAKER_02]: Kira was not very shy. 03:56.729 --> 04:01.433 [SPEAKER_02]: They shared deep thoughts and laughter, but it's the orb he was after. 04:02.013 --> 04:03.715 [SPEAKER_02]: Kira said, sorry, buddy. 04:04.195 --> 04:04.495 [SPEAKER_02]: Bye. 04:04.595 --> 04:05.236 [SPEAKER_02]: Bye. 04:05.256 --> 04:07.898 [SPEAKER_01]: I love it. 04:08.318 --> 04:08.839 [SPEAKER_02]: Thank you. 04:09.059 --> 04:09.299 [SPEAKER_01]: Yeah. 04:09.619 --> 04:11.281 [SPEAKER_02]: I tried writing a romantic. 04:11.441 --> 04:15.824 [SPEAKER_02]: I was like, okay, I'm going to write a romantic about the, and then it was just horrible. 04:15.904 --> 04:17.966 [SPEAKER_02]: So you went a different direction. 04:17.986 --> 04:18.286 [SPEAKER_02]: I wanted to 04:20.908 --> 04:23.731 [SPEAKER_01]: Here we go, here's my high coup for resurrection. 04:23.771 --> 04:24.232 [SPEAKER_01]: Here we go. 04:25.132 --> 04:35.123 [SPEAKER_01]: A new burial mirror, kira, orchestrates, and toast chooses good sort of, I think that would be good. 04:35.143 --> 04:36.685 [SPEAKER_01]: I think that would be good sort of. 04:37.445 --> 04:38.826 [SPEAKER_01]: And there's not enough syllables to say. 04:39.186 --> 04:41.307 [SPEAKER_01]: Yeah, those choose this sort of sort of... 04:42.087 --> 04:43.868 [SPEAKER_02]: Yes, etymology. 04:44.388 --> 04:45.368 [SPEAKER_00]: We can't wait for this. 04:45.528 --> 04:45.808 [SPEAKER_00]: Yes. 04:46.028 --> 04:46.989 [SPEAKER_00]: No, don't wait. 04:47.009 --> 04:49.270 [SPEAKER_00]: This is rather short, actually. 04:49.470 --> 04:52.531 [SPEAKER_00]: Oh, there's a great deal of information here. 04:52.891 --> 04:53.171 [SPEAKER_00]: Okay. 04:53.251 --> 04:53.891 [SPEAKER_00]: Oh, ready. 04:54.212 --> 04:57.873 [SPEAKER_00]: The word resurrection comes from the late Latin. 04:58.033 --> 04:58.513 [SPEAKER_00]: Forgive me. 04:58.553 --> 04:59.494 [SPEAKER_00]: I don't speak Latin. 04:59.694 --> 05:00.874 [SPEAKER_00]: Resume rexio. 05:01.014 --> 05:01.855 [SPEAKER_00]: Resume rexio. 05:02.575 --> 05:03.215 [SPEAKER_00]: Okay. 05:03.435 --> 05:06.437 [SPEAKER_00]: And it also comes from the old French, a vas relaxio. 05:06.697 --> 05:16.781 [SPEAKER_00]: The three definitions that I've that I got from the OED from the old from the Oxford English dictionary is one, the rising of Christ after his death and burial. 05:16.821 --> 05:17.041 [SPEAKER_00]: And that 05:20.442 --> 05:21.782 [SPEAKER_00]: arrived in 1320. 05:21.902 --> 05:31.385 [SPEAKER_00]: The second definition, the rising again of men at the last day, that's the second definition, and that was that sort of usage was used in 1300. 05:31.465 --> 05:40.227 [SPEAKER_00]: And the third definition was the rising again from sleep decay, disuse, and this is sort of revival. 05:40.768 --> 05:43.068 [SPEAKER_00]: And that was first used in 1385. 05:43.508 --> 05:49.470 [SPEAKER_00]: And the way that I look at this episode in this title, that third definition is the one that seems to apply to meet them up. 05:50.470 --> 05:52.611 [SPEAKER_02]: Yes, yes, a resurrection. 05:52.672 --> 05:53.252 [SPEAKER_01]: Resurrection. 05:53.272 --> 05:53.612 [SPEAKER_01]: Resurrection. 05:53.632 --> 05:53.732 [SPEAKER_01]: Okay. 05:53.752 --> 05:55.033 [SPEAKER_01]: You don't be cool, Robbie. 05:55.133 --> 06:02.477 [SPEAKER_01]: Is if you and I took a guess as to what country origin we think the word is before Armand tells us what it is. 06:03.017 --> 06:06.579 [SPEAKER_01]: I didn't want to be there wouldn't be many choices, but yes, that's a good thing. 06:07.059 --> 06:15.724 [SPEAKER_00]: I mean, see they're Latin or French or Dutch sometimes sometimes German and very rarely is it on its own old English, right? 06:16.344 --> 06:29.276 [SPEAKER_02]: You know, I love about the English language and I think it's one reason that it's becoming or has become such a world international language as it kind of absorbs a lot of other languages. 06:29.336 --> 06:39.406 [SPEAKER_02]: I mean, from the etymology that you have, but also even now, it's still absorbing and, you know, adopting from other languages and other cultures. 06:40.146 --> 06:43.628 [SPEAKER_00]: And what is adopting more of is language from the Far East? 06:44.188 --> 06:49.911 [SPEAKER_00]: In the beginning, I mean, English adopted a great many romance languages, French, Spanish, Latin. 06:49.991 --> 07:01.938 [SPEAKER_00]: But now it seems to me that we're picking up words from the Far East, and also from, you know, from Slavic countries, but as they progress as far as the connection, yeah, and theological know how. 07:02.138 --> 07:02.318 [SPEAKER_00]: Yeah. 07:02.438 --> 07:02.658 [SPEAKER_00]: Yeah. 07:03.439 --> 07:03.859 [SPEAKER_02]: Yeah. 07:03.899 --> 07:07.941 [SPEAKER_02]: It's an interesting idea that you're talking about English evolving, 07:08.001 --> 07:11.022 [SPEAKER_02]: in changing, in the future, in Star Trek. 07:11.182 --> 07:17.045 [SPEAKER_02]: I wonder if they would speak English like we speak, I mean, obviously we made the TV show when we made it. 07:17.105 --> 07:23.288 [SPEAKER_02]: And so we use that language, but if it were a real future that we were looking at, the language would be very different. 07:23.528 --> 07:25.309 [SPEAKER_02]: Even if it were English, it would be very interesting. 07:25.329 --> 07:29.051 [SPEAKER_00]: So Star Trek has created words that are now part of the English language. 07:29.071 --> 07:29.631 [SPEAKER_00]: Yeah, true. 07:29.711 --> 07:35.714 [SPEAKER_00]: They're technological terms that we now use commonly in the English language, because Star Trek made them up. 07:35.834 --> 07:37.154 [SPEAKER_01]: I would say, that's interesting, Robbie. 07:37.174 --> 07:44.176 [SPEAKER_01]: You're saying so in 400 years in the future, from now, and current start what we're reviewing now, in these past nine years, timeline. 07:44.976 --> 07:47.577 [SPEAKER_01]: English will definitely have evolved, right? 07:48.317 --> 07:48.757 [SPEAKER_01]: It has to. 07:48.837 --> 07:50.317 [SPEAKER_01]: And I'm not going to get all of this. 07:50.637 --> 07:52.178 [SPEAKER_00]: Language, all language, yes. 07:52.498 --> 07:57.339 [SPEAKER_01]: And my guess is, I feel like the younger generation now, we're talking about teenagers now. 07:58.239 --> 08:02.742 [SPEAKER_01]: seemed to be abbreviating much more than when we were teenagers. 08:02.902 --> 08:06.685 [SPEAKER_01]: Meaning, for instance, they don't say, let's look at my outfit. 08:06.745 --> 08:07.765 [SPEAKER_01]: They said, check out my fit. 08:08.025 --> 08:08.886 [SPEAKER_01]: It's just the FIT. 08:08.926 --> 08:11.087 [SPEAKER_01]: Yeah, I don't even have the beginning card outfit. 08:11.127 --> 08:11.668 [SPEAKER_01]: It's just fit. 08:11.688 --> 08:12.448 [SPEAKER_02]: Yeah, okay. 08:12.668 --> 08:14.810 [SPEAKER_02]: We have a page on submitted poetry winner. 08:14.990 --> 08:18.692 [SPEAKER_02]: This is a rhyming narrative verse submitted by Jason Ogun. 08:18.932 --> 08:19.473 [SPEAKER_02]: Ah, Jason. 08:19.993 --> 08:34.337 [SPEAKER_02]: goes like this, a mirror casts a dark and cold reflection, a specter risen from the day's long gone to bring a front, a veiled resurrection that stirs the past that crossed the rubicon. 08:35.077 --> 08:42.919 [SPEAKER_02]: A moral compass seeking a direction redemption or deception may take hold, a fight against one's inner predilection. 08:43.719 --> 08:46.940 [SPEAKER_02]: The end has come as it was first foretold. 08:48.275 --> 08:48.635 [SPEAKER_02]: Oh, wow. 08:48.956 --> 08:49.576 [SPEAKER_00]: Nice day. 08:49.656 --> 08:50.516 [SPEAKER_00]: Interesting. 08:50.556 --> 08:51.157 [SPEAKER_02]: Very interesting. 08:51.177 --> 08:51.957 [SPEAKER_02]: Very, very well. 08:52.377 --> 08:52.637 [SPEAKER_02]: Yeah. 08:52.838 --> 08:56.660 [SPEAKER_00]: Nish, the epic pentameter of it all. 08:57.240 --> 08:57.420 [SPEAKER_00]: Okay. 08:57.440 --> 08:57.740 [SPEAKER_00]: It's not. 08:57.820 --> 08:58.080 [SPEAKER_00]: Okay. 08:58.480 --> 08:58.781 [SPEAKER_00]: Right. 08:58.861 --> 08:59.161 [SPEAKER_00]: Maybe. 08:59.181 --> 09:03.063 [SPEAKER_00]: Do you know, Shakespeare only wrote 60% of his verses and I had a big pentameter. 09:03.083 --> 09:05.124 [SPEAKER_00]: So he's not like all of his verses and people. 09:05.624 --> 09:05.984 [SPEAKER_00]: Oh, okay. 09:06.004 --> 09:06.485 [SPEAKER_00]: I didn't know that. 09:06.725 --> 09:12.628 [SPEAKER_02]: But it feels a bit of like that classic sort of structure that Jason writes his poetry in. 09:13.248 --> 09:14.649 [SPEAKER_02]: the narrative first structure. 09:14.909 --> 09:15.169 [SPEAKER_01]: Yeah. 09:15.189 --> 09:15.869 [SPEAKER_01]: Thank you, Jason. 09:15.949 --> 09:16.469 [SPEAKER_01]: Thanks, Jason. 09:16.489 --> 09:16.870 [SPEAKER_01]: Thank you. 09:16.890 --> 09:17.250 [SPEAKER_01]: Thank you. 09:17.610 --> 09:17.870 [SPEAKER_01]: All right. 09:17.890 --> 09:18.370 [SPEAKER_01]: Appreciate it. 09:18.850 --> 09:26.673 [SPEAKER_01]: Let's get some facts out to your written by Michael Taylor, who also wrote some wonderful episodes of Deep Space Nine. 09:26.934 --> 09:27.634 [SPEAKER_00]: Michael. 09:28.014 --> 09:28.334 [SPEAKER_00]: Yeah. 09:28.914 --> 09:38.258 [SPEAKER_00]: I mean, I've gotten forgotten, which ones they are, but another cure episode where I think the one with, um, um, where she meets the Cardassian 09:43.160 --> 09:43.921 [SPEAKER_01]: Right, yep. 09:44.241 --> 09:44.982 [SPEAKER_01]: Yeah, Michael Taylor. 09:45.322 --> 09:53.149 [SPEAKER_01]: He's a good writer directed by Lavar Burton guest stars John Toey as Osan or a son. 09:53.249 --> 09:55.070 [SPEAKER_01]: I can't remember how they pronounce that in there. 09:55.090 --> 10:01.196 [SPEAKER_01]: He's the he's the Bajoran The Vedic that sort of you know is in the temple speaking with them. 10:01.516 --> 10:07.161 [SPEAKER_01]: We have Philip Anglum back again as burial and Scott Strosher as security. 10:07.261 --> 10:08.162 [SPEAKER_01]: Oh, that's how I know 10:09.814 --> 10:11.876 [SPEAKER_01]: Sorry, I do. 10:11.996 --> 10:12.297 [SPEAKER_01]: I do. 10:12.317 --> 10:12.797 [SPEAKER_01]: I do. 10:12.937 --> 10:13.218 [SPEAKER_01]: Yes. 10:13.558 --> 10:19.664 [SPEAKER_01]: Um, he was one of the security guys over at my friends nightclub Garden of Eden back when Voyager was fun. 10:19.704 --> 10:20.525 [SPEAKER_01]: So, yes. 10:21.246 --> 10:22.507 [SPEAKER_01]: So, I can't look at him good. 10:22.547 --> 10:26.952 [SPEAKER_01]: Why don't I know this guy and then I see the name now and I'm like, okay, yes, that's why I know. 10:27.212 --> 10:38.035 [SPEAKER_01]: A little bit of trivia, although Michael Taylor is credited as writing this episode, I received and bear, said that the idea was his and the bulk of what you see on screen was the work of Ira and Hans Bimler. 10:38.235 --> 10:42.237 [SPEAKER_01]: So I guess Michael was more teleported than the Navisitor. 10:42.397 --> 10:43.477 [SPEAKER_01]: Did not like this episode. 10:43.777 --> 10:45.798 [SPEAKER_01]: She felt that Kira acts out of character. 10:46.278 --> 10:52.980 [SPEAKER_01]: She felt that Kira was well over the death of Barrao, and that she felt that Kira would never get so involved with the man she had just met. 10:53.824 --> 10:54.165 [SPEAKER_02]: Agreed. 10:55.566 --> 10:56.707 [SPEAKER_01]: I was even embarrassed to make. 10:56.787 --> 10:57.468 [SPEAKER_01]: That's unanimous. 10:57.728 --> 10:57.948 [SPEAKER_01]: Yeah. 10:59.570 --> 11:00.872 [SPEAKER_01]: I was even embarrassed to do it. 11:00.892 --> 11:07.098 [SPEAKER_01]: I knew we were going to get hammered for whatever show we came up with after the war arc and the wedding episode. 11:07.158 --> 11:10.342 [SPEAKER_01]: People were going to say this is what you're doing next. 11:10.822 --> 11:13.845 [SPEAKER_01]: It's that feeling of let down after you've done something big. 11:14.286 --> 11:15.287 [SPEAKER_01]: It was bad timing. 11:15.783 --> 11:19.164 [SPEAKER_02]: Yeah, it was bad timing and a week episode. 11:19.224 --> 11:21.565 [SPEAKER_01]: But anyway, yes, we will get into that. 11:21.685 --> 11:23.485 [SPEAKER_01]: And then a final bit of trivia. 11:23.665 --> 11:27.186 [SPEAKER_02]: So Rocklofton does not appear in this episode. 11:27.526 --> 11:29.747 [SPEAKER_02]: I have Michael Taylor's DS9 credits. 11:30.187 --> 11:32.128 [SPEAKER_02]: They are the visitor. 11:32.468 --> 11:33.508 [SPEAKER_02]: That's the one I'm trying to think. 11:33.548 --> 11:34.208 [SPEAKER_00]: Oh, yes. 11:34.768 --> 11:38.049 [SPEAKER_00]: So I was wrong about Cardiac. 11:38.229 --> 11:38.890 [SPEAKER_00]: It was a question. 11:38.910 --> 11:39.430 [SPEAKER_00]: That's right. 11:39.470 --> 11:39.970 [SPEAKER_00]: That's the way. 11:41.331 --> 11:45.314 [SPEAKER_00]: But the visitor, which is a great episode. 11:45.495 --> 11:48.157 [SPEAKER_00]: Robin's is a daughter's and Rachel Robin's is. 11:48.177 --> 11:48.557 [SPEAKER_00]: That's right. 11:49.258 --> 11:54.342 [SPEAKER_02]: Thanks for wrote the visitor, things passed, then resurrection, which we're talking about today. 11:54.602 --> 11:57.685 [SPEAKER_02]: And he will write one more called In the Pale Moonlight. 11:58.326 --> 11:59.887 [SPEAKER_01]: Yeah, that's a great episode. 11:59.907 --> 12:05.732 [SPEAKER_01]: And we've heard about that episode from fans saying that you just wait till you get to this episode. 12:05.832 --> 12:06.673 [SPEAKER_01]: So that's a big one. 12:06.853 --> 12:16.018 [SPEAKER_02]: Michael also wrote 20 Voyager episodes, including Co-writing, Bride of Keonica, and he wrote someone to watch Overmeat, which I directed. 12:16.038 --> 12:16.498 [SPEAKER_02]: Yes. 12:16.558 --> 12:18.119 [SPEAKER_02]: One of my favorite episodes we did. 12:18.439 --> 12:19.299 [SPEAKER_02]: So There you go. 12:19.319 --> 12:19.919 [SPEAKER_02]: Yeah. 12:19.939 --> 12:20.740 [SPEAKER_02]: Michael's a great writer. 12:20.940 --> 12:23.201 [SPEAKER_02]: Did he come on set at all when you would Direct? 12:23.241 --> 12:23.501 [SPEAKER_02]: Yes. 12:23.921 --> 12:24.141 [SPEAKER_02]: Yes. 12:24.482 --> 12:24.642 [SPEAKER_01]: Yes. 12:24.862 --> 12:25.062 [SPEAKER_01]: Yeah. 12:25.502 --> 12:30.205 [SPEAKER_02]: Yeah, we love Michael and Brian Fuller shared an office on our show and wrote a lot of scripts together. 12:30.345 --> 12:31.085 [SPEAKER_02]: I like Michael a lot. 12:31.105 --> 12:31.785 [SPEAKER_02]: Very talented. 12:32.046 --> 12:34.027 [SPEAKER_02]: I don't think this is his best work. 12:34.207 --> 12:36.768 [SPEAKER_02]: I'll say that up from this. 12:36.908 --> 12:39.830 [SPEAKER_00]: It's more, I was worked in Michael soon. 12:40.130 --> 12:40.370 [SPEAKER_01]: Yeah. 12:40.770 --> 12:42.151 [SPEAKER_01]: Let me just jump right into this sucker. 12:42.191 --> 12:42.611 [SPEAKER_01]: Here we go. 12:42.651 --> 12:51.238 [SPEAKER_01]: We start off with an opening, exterior space shot of the station, and then we end up in the corridor on DS9 with a nice walk and talk scene between Dax and Kira. 12:51.298 --> 12:55.661 [SPEAKER_01]: Dax is trying to make suggestions on who Kira should bring as a dinner date. 12:56.101 --> 12:57.482 [SPEAKER_01]: Captain Boday is suggested. 12:57.702 --> 12:59.664 [SPEAKER_01]: Yes, it's romance talk. 12:59.964 --> 13:02.786 [SPEAKER_01]: And Captain Boday suggested 13:03.626 --> 13:06.369 [SPEAKER_02]: Um, but care says that's bad suggestion. 13:06.470 --> 13:09.993 [SPEAKER_02]: First, you used to go out with Captain Lode. 13:10.133 --> 13:11.375 [SPEAKER_02]: And number two, worth hates him. 13:11.395 --> 13:13.597 [SPEAKER_02]: And number three, we've discussed this many times. 13:13.817 --> 13:15.159 [SPEAKER_02]: I was like, wait a minute. 13:16.077 --> 13:18.238 [SPEAKER_02]: We've never seen this captain today. 13:18.278 --> 13:20.699 [SPEAKER_02]: You know, when did Dax go out with him? 13:20.939 --> 13:21.280 [SPEAKER_02]: She did. 13:21.480 --> 13:22.180 [SPEAKER_02]: She punched in this. 13:22.200 --> 13:22.520 [SPEAKER_02]: She did. 13:22.740 --> 13:23.421 [SPEAKER_02]: Oh, she has. 13:23.441 --> 13:24.101 [SPEAKER_02]: Oh, yes. 13:24.121 --> 13:25.942 [SPEAKER_01]: This is definitely a recurring theme. 13:25.962 --> 13:30.524 [SPEAKER_01]: This is the third time they've mentioned it and have never shown his transparent skull or him. 13:30.644 --> 13:32.845 [SPEAKER_01]: So we don't know what he looks like. 13:32.925 --> 13:34.046 [SPEAKER_00]: It's like more in talking. 13:34.586 --> 13:35.406 [SPEAKER_00]: It's running joke. 13:35.446 --> 13:36.067 [SPEAKER_00]: It's a runner. 13:36.187 --> 13:36.667 [SPEAKER_00]: OK. 13:36.787 --> 13:42.510 [SPEAKER_02]: I guess I maybe knew that, but it felt to me in this first scene like, wait, what are we talking about? 13:42.770 --> 13:45.932 [SPEAKER_01]: Okay, so now that you know it is a runner does it change you a little bit. 13:46.012 --> 13:54.018 [SPEAKER_01]: It helps a little because I'm going to say, both of you have already kind of revealed your hand on your thoughts about this episode and I'm the opposite of you guys. 13:54.098 --> 14:05.587 [SPEAKER_01]: I started on the other train where I was like, I don't know about it, but just right off the bat, this is very this after after all the stress of the against the dominion, all the craziness. 14:05.647 --> 14:07.869 [SPEAKER_01]: the fast-pupue action. 14:08.389 --> 14:10.050 [SPEAKER_01]: This was a breath of fresh air. 14:10.070 --> 14:12.712 [SPEAKER_01]: This was like, and the beginning was very rom-comi. 14:12.772 --> 14:13.753 [SPEAKER_01]: It was like, okay. 14:13.793 --> 14:15.254 [SPEAKER_01]: Yes, the beginning was a rom-comi. 14:15.274 --> 14:20.878 [SPEAKER_01]: That's how we were going to see a rom-comi and it turned into something a little bit so Bobbi got me. 14:20.918 --> 14:21.979 [SPEAKER_01]: Yes. 14:22.199 --> 14:22.679 [SPEAKER_01]: I agree. 14:22.939 --> 14:23.720 [SPEAKER_01]: I agree on that. 14:23.820 --> 14:26.001 [SPEAKER_02]: But still, that is a good way to look at it. 14:26.382 --> 14:27.783 [SPEAKER_02]: I like, I'm doing it. 14:27.803 --> 14:29.204 [SPEAKER_01]: Yeah, the flip side a little bit here. 14:30.044 --> 14:31.266 [SPEAKER_01]: I do just wrong, Garrett. 14:31.306 --> 14:31.806 [SPEAKER_01]: That's all. 14:31.826 --> 14:32.507 [SPEAKER_01]: You're just wrong. 14:32.527 --> 14:33.708 [SPEAKER_01]: Yeah, you're just wrong. 14:33.768 --> 14:34.970 [SPEAKER_01]: But yes, you can do that. 14:35.030 --> 14:36.011 [SPEAKER_02]: I don't see your opinion. 14:37.552 --> 14:40.496 [SPEAKER_01]: Thank you for my opinion to be heard. 14:40.576 --> 14:41.357 [SPEAKER_01]: I appreciate it. 14:41.677 --> 14:45.181 [SPEAKER_01]: And the fact that it is wrong is not even an issue here. 14:45.241 --> 14:49.425 [SPEAKER_01]: It's just that I just want to have the opinion, the commentary opinion, the other opinion. 14:49.505 --> 14:49.846 [SPEAKER_01]: All right. 14:50.206 --> 14:51.307 [SPEAKER_01]: a little bit of trivia guys. 14:51.327 --> 14:57.351 [SPEAKER_01]: The opening scene as shot was actually different from the opening scene that aired, but it had to be cut for timing reasons. 14:57.391 --> 15:02.354 [SPEAKER_01]: So originally the episode opens in Kira's quarters with Kira and Dax looking at Zial's paintings. 15:02.974 --> 15:05.756 [SPEAKER_01]: The scene then picks up in the corridor as seen in the finished episode. 15:05.776 --> 15:10.039 [SPEAKER_01]: So I'm going to read through, Robbie, can you play? 15:10.059 --> 15:10.959 [SPEAKER_01]: Who do you want to play at Kira? 15:13.274 --> 15:13.915 [SPEAKER_02]: I'll play Kira. 15:14.055 --> 15:14.795 [SPEAKER_02]: Okay, great. 15:14.815 --> 15:15.596 [SPEAKER_01]: I'll be back. 15:16.056 --> 15:16.917 [SPEAKER_02]: Okay. 15:16.997 --> 15:21.380 [SPEAKER_02]: So I just, as people are listening to this, no, it's going to be bad because they cut it. 15:21.860 --> 15:22.100 [SPEAKER_02]: Okay. 15:22.340 --> 15:23.301 [SPEAKER_01]: There we go. 15:23.741 --> 15:25.983 [SPEAKER_01]: Early into your Kira's quarters early morning. 15:26.003 --> 15:35.129 [SPEAKER_01]: Kira is hanging at one of Zeya's framed ink brush paintings on her wall, pull back to reveal two more of Zeya's paintings already hanging on the same wall, the door chimes. 15:35.589 --> 15:36.030 [SPEAKER_01]: Come in. 15:36.810 --> 15:42.891 [SPEAKER_01]: Dax enters as cure finishes hanging the picture in steps back to see the effect Dax Yons, not yet fully awake. 15:43.871 --> 15:47.832 [SPEAKER_01]: Is it my imagination or does 0600 seem to come here earlier and earlier? 15:48.292 --> 15:49.972 [SPEAKER_00]: It's earlier than 0800 anyway. 15:51.293 --> 15:54.353 [SPEAKER_02]: Well, either that or you're going to bed later and later. 15:55.013 --> 15:57.654 [SPEAKER_01]: I've forgotten how Strenuous married life can be. 15:58.214 --> 16:01.775 [SPEAKER_01]: Cure and Dax exchange ride grins as cure finishes hanging the paintings. 16:03.195 --> 16:04.015 [SPEAKER_02]: So what do you think? 16:05.503 --> 16:08.866 [SPEAKER_01]: Hmm, I think it was y'all was talented, but not that talented. 16:11.549 --> 16:11.989 [SPEAKER_01]: Too much. 16:15.292 --> 16:16.613 [SPEAKER_02]: There, that's better. 16:17.954 --> 16:18.255 [SPEAKER_02]: Yes. 16:19.516 --> 16:22.299 [SPEAKER_02]: So how did you know that this was my favorite one? 16:22.719 --> 16:24.661 [SPEAKER_02]: I guess, come on, we're going to be late. 16:25.021 --> 16:26.783 [SPEAKER_02]: It's Kira nods, and they head to the door. 16:27.864 --> 16:29.065 [SPEAKER_02]: You really miss her, don't you? 16:30.350 --> 16:31.411 [SPEAKER_02]: I see where they cut the scene. 16:31.551 --> 16:32.791 [SPEAKER_01]: Yeah. 16:33.371 --> 16:33.592 [SPEAKER_02]: Yeah. 16:33.872 --> 16:34.372 [SPEAKER_01]: Yeah. 16:34.412 --> 16:35.472 [SPEAKER_01]: Well, look at that. 16:35.693 --> 16:38.414 [SPEAKER_01]: You really miss or don't you work running and now we're in the corridor. 16:38.694 --> 16:41.215 [SPEAKER_01]: And then here says, oh, there's more scene. 16:41.375 --> 16:42.096 [SPEAKER_02]: Oh, here we go. 16:42.336 --> 16:43.716 [SPEAKER_02]: Yes, they walked down the corridor. 16:44.477 --> 16:45.217 [SPEAKER_02]: I'll get over it. 16:45.297 --> 16:46.758 [SPEAKER_02]: Death and I are old friends. 16:47.778 --> 16:50.899 [SPEAKER_02]: That's crazy line, maybe he can be your date tomorrow. 16:51.459 --> 16:53.420 [SPEAKER_02]: I told you I'm not bringing anyone. 16:54.140 --> 16:56.401 [SPEAKER_02]: I know what you told me, but people are changing their minds. 16:56.641 --> 16:57.782 [SPEAKER_02]: Not me, not about this. 16:58.622 --> 16:59.582 [SPEAKER_01]: What about Captain Boday? 17:00.223 --> 17:00.443 [SPEAKER_01]: Okay. 17:00.623 --> 17:01.623 [SPEAKER_02]: And then they go into action. 17:01.903 --> 17:03.084 [SPEAKER_01]: So it starts kind of morbid. 17:03.204 --> 17:04.664 [SPEAKER_01]: And I think it's good that they cut that out. 17:04.704 --> 17:05.705 [SPEAKER_01]: They didn't have that, right? 17:05.785 --> 17:07.085 [SPEAKER_01]: I mean, it's so like, Yeah. 17:08.666 --> 17:09.106 [SPEAKER_00]: Yeah. 17:09.246 --> 17:11.327 [SPEAKER_00]: How do you hang something on a station wall? 17:12.407 --> 17:13.530 [SPEAKER_00]: Yeah, exactly. 17:13.590 --> 17:15.515 [SPEAKER_00]: It's, it's, what is it? 17:16.196 --> 17:16.597 [SPEAKER_02]: It's all that is. 17:16.637 --> 17:16.998 [SPEAKER_02]: It's metal. 17:17.018 --> 17:17.519 [SPEAKER_02]: What is the? 17:19.962 --> 17:25.244 [SPEAKER_02]: at all some, I don't know, maybe for some type of magnetic sort of thing that they made. 17:25.304 --> 17:27.784 [SPEAKER_00]: Yes, okay, okay, okay, that's the answer. 17:28.024 --> 17:33.186 [SPEAKER_01]: Okay, you're absolutely right for one. 17:33.586 --> 17:37.867 [SPEAKER_01]: Yes, you're actually right, that your name is Armin Schimmerman, am I right about that? 17:38.027 --> 17:41.028 [SPEAKER_01]: Okay, okay, I got two right close enough. 17:41.208 --> 17:41.768 [SPEAKER_01]: Okay, good. 17:43.420 --> 17:44.841 [SPEAKER_01]: All right, so now we're in the turbo lift. 17:45.142 --> 17:46.983 [SPEAKER_01]: We're going to go back to the real episode here. 17:47.044 --> 17:51.968 [SPEAKER_01]: The conversation continues and the turbo lift acts to just Dr. Trig tok. 17:52.228 --> 17:53.389 [SPEAKER_01]: I think that's how they pronounced it. 17:54.210 --> 17:58.214 [SPEAKER_01]: Dr. Trig tok, but his middle eye bothers Kira. 17:58.274 --> 17:59.815 [SPEAKER_01]: So no yet again. 17:59.835 --> 18:01.537 [SPEAKER_01]: So I think it's great. 18:01.617 --> 18:11.026 [SPEAKER_02]: funny will say that Michael Taylor knowing he wrote some good comedy moments in someone to watch over me in Bride of K. Otica are up the episodes in our show. 18:11.367 --> 18:17.233 [SPEAKER_02]: Yeah, some of this banter was very clever at the top and I was like oh this is going to be fun and it didn't 18:17.813 --> 18:19.375 [SPEAKER_02]: turn into a fun episode. 18:19.395 --> 18:24.260 [SPEAKER_02]: I wouldn't call a fun episode, but this part was fun for the promise at this point. 18:25.381 --> 18:26.822 [SPEAKER_00]: There's a lightness to it. 18:27.403 --> 18:31.787 [SPEAKER_00]: It's fun and I did enjoy it, but there's a lightness to it. 18:32.248 --> 18:33.929 [SPEAKER_00]: But I remind myself we're still at war. 18:34.910 --> 18:40.254 [SPEAKER_00]: It's still a war going on and we get some references to the war during the course of this episode. 18:40.594 --> 18:41.014 [SPEAKER_01]: Not much. 18:41.455 --> 18:44.677 [SPEAKER_01]: Okay, so next we do the conversation continues. 18:44.697 --> 18:45.817 [SPEAKER_01]: They get off the turbo lift. 18:45.937 --> 18:53.482 [SPEAKER_01]: Now they're in ops and they start continuing to wear their stations are and Kira now Vito's Dax's suggestion to bring Odo. 18:53.522 --> 18:54.963 [SPEAKER_01]: She goes, you could always bring Odo's. 18:55.023 --> 18:55.884 [SPEAKER_02]: I know I liked it. 18:55.904 --> 18:58.125 [SPEAKER_02]: They are kind of teasing the Odo thing here. 18:58.145 --> 18:58.726 [SPEAKER_02]: That was nice. 19:02.188 --> 19:19.132 [SPEAKER_01]: We're still in the middle of the war and you're right, this episode sort of just removes that entirely because there's a later and I'm jumping ahead of just a little bit just to further your point when they talk about there's a beam in about to happen and then DAX comments well that strange because there's no ships in the area. 19:19.212 --> 19:21.033 [SPEAKER_01]: Well, they are now in the middle of the war. 19:21.113 --> 19:23.554 [SPEAKER_01]: They are the headquarters for the ninth squadron. 19:23.915 --> 19:26.736 [SPEAKER_01]: So there's going to be hundreds of ships in the area. 19:26.776 --> 19:28.657 [SPEAKER_02]: They're in the front lines, yeah. 19:28.917 --> 19:32.779 [SPEAKER_02]: Well, they do talk about Marthock's scouts. 19:32.799 --> 19:34.540 [SPEAKER_00]: Those are the differences. 19:34.580 --> 19:41.704 [SPEAKER_00]: Those are the two references that concern the war that they stick in to remind us that we're war. 19:41.744 --> 19:45.586 [SPEAKER_00]: But it just seemed natural like that. 19:45.646 --> 19:46.707 [SPEAKER_00]: Doesn't look like that. 19:46.747 --> 19:47.007 [SPEAKER_00]: Right. 19:47.427 --> 19:51.669 [SPEAKER_00]: thing about the beaming in, you know, they recognize someone's trying to be meant to ops. 19:51.869 --> 19:52.509 [SPEAKER_00]: Right. 19:53.230 --> 19:54.010 [SPEAKER_00]: Remember that? 19:54.270 --> 19:56.771 [SPEAKER_00]: Because later on in the episode, I'm going to ask a question. 19:57.231 --> 19:57.832 [SPEAKER_00]: I am too. 19:58.072 --> 19:59.412 [SPEAKER_00]: I think I know what you're talking about. 19:59.812 --> 20:06.215 [SPEAKER_01]: Well, Armin, would you have a better opinion of this episode if it aired, like a season or two later, or just or different? 20:06.235 --> 20:10.077 [SPEAKER_00]: Because I totally agree with what you said that the not said about the character. 20:10.237 --> 20:12.698 [SPEAKER_00]: She's not, it's not, it's not a character for care. 20:12.718 --> 20:12.978 [SPEAKER_00]: It's not 20:15.099 --> 20:18.902 [SPEAKER_02]: to jump back to your someone's beaming in on the on an ops right now. 20:18.982 --> 20:20.223 [SPEAKER_02]: They don't know who this is. 20:20.283 --> 20:21.204 [SPEAKER_02]: They can't place it. 20:21.244 --> 20:23.526 [SPEAKER_02]: Dax even says someone's attempting to be men. 20:23.686 --> 20:24.727 [SPEAKER_02]: I don't know where they're from. 20:24.747 --> 20:25.487 [SPEAKER_02]: There's no ships. 20:25.988 --> 20:29.811 [SPEAKER_02]: Dax is drinking her act of genome while she says this. 20:30.291 --> 20:31.873 [SPEAKER_01]: Oh, they found that to be. 20:31.893 --> 20:34.234 [SPEAKER_01]: Oh, I'm just going to casually. 20:34.255 --> 20:34.855 [SPEAKER_01]: No, we did. 20:34.955 --> 20:35.536 [SPEAKER_01]: I don't know why. 20:35.956 --> 20:40.740 [SPEAKER_02]: While they're at war, and the mystery person's beaming from God knows where and she should be high alert. 20:41.440 --> 20:42.760 [SPEAKER_01]: I look right around. 20:42.860 --> 20:54.363 [SPEAKER_02]: Yeah, I feel like the actors were not reminded of the stakes of the circumstances of the objectives of, you know, the station and what was it stake there. 20:54.463 --> 20:58.744 [SPEAKER_02]: I just, yeah, but that would be a director issue then or a director. 20:58.784 --> 21:04.385 [SPEAKER_02]: Yeah, and I said to Rebecca when I watched it the other night the first time I watched it again this morning, but yeah. 21:04.977 --> 21:14.904 [SPEAKER_02]: I said to Rebecca, as it started, I was like, oh, I already liked this directing, because the camera was moving, we're walking down the hall, it was pace, it was the banter, it was like, oh, this will be fun. 21:15.124 --> 21:15.344 [SPEAKER_02]: Yeah. 21:15.704 --> 21:17.726 [SPEAKER_02]: And I completely flipped by the end. 21:17.946 --> 21:18.726 [SPEAKER_02]: I did not. 21:19.307 --> 21:23.289 [SPEAKER_02]: The things like this, like, why is the character drinking coffee while they're talking? 21:23.590 --> 21:28.733 [SPEAKER_02]: That's a director to say, I mean, the actors should have their objectives and their, you know, all of that. 21:28.773 --> 21:31.355 [SPEAKER_02]: But if they don't, that's a director's show to go, 21:33.478 --> 21:34.998 [SPEAKER_02]: All the facts we know, hmm. 21:35.478 --> 21:36.279 [SPEAKER_02]: Yeah, I thought of. 21:36.559 --> 21:37.519 [SPEAKER_01]: Yeah, no, that makes sense. 21:37.539 --> 21:38.719 [SPEAKER_02]: That's oversight, I guess. 21:38.799 --> 21:40.080 [SPEAKER_02]: Yes, agreed. 21:40.500 --> 21:40.760 [SPEAKER_01]: agreed. 21:40.820 --> 21:41.120 [SPEAKER_01]: Okay. 21:41.260 --> 21:42.780 [SPEAKER_01]: Jumping back into the time that we're in. 21:42.800 --> 21:43.760 [SPEAKER_01]: Yeah. 21:43.940 --> 21:48.682 [SPEAKER_01]: They, the pair continue into ops, uh, V, she vetoes the suggestion to bring Yodo. 21:48.762 --> 21:54.363 [SPEAKER_01]: She decides to go solo, O'Brien informs Cisco that he's reading a power surge in the transporter buffer. 21:54.863 --> 21:59.444 [SPEAKER_01]: Dax says someone is trying to be minned to ops, but there are no ships in transporter range. 21:59.484 --> 22:02.445 [SPEAKER_01]: A huddle figure turned away materializes on the 22:03.905 --> 22:25.883 [SPEAKER_01]: Kira sort of moves over to the the pad area and ask if they are hurt to which the person turns around pointing a phaser at her and WTF barile He wants a ship says go agrees and inform security that there is a hostage situation with a whole different barile to the Yeah, yeah, yeah, he takes Kira hostage 22:26.363 --> 22:26.883 [SPEAKER_01]: awkwardly. 22:26.943 --> 22:27.464 [SPEAKER_01]: I might add. 22:27.484 --> 22:31.206 [SPEAKER_01]: I don't know what that weirdness sort of lambada wallets that they were doing. 22:31.226 --> 22:33.047 [SPEAKER_01]: I've searched and moved towards the docking bay. 22:34.628 --> 22:36.370 [SPEAKER_01]: Any comments, gentlemen, on this scene? 22:37.650 --> 22:40.152 [SPEAKER_02]: You've got so many people standing around. 22:41.333 --> 22:42.994 [SPEAKER_02]: His back is too many of them. 22:43.014 --> 22:44.435 [SPEAKER_02]: They're going to easily. 22:45.282 --> 22:49.387 [SPEAKER_02]: Take a, you know, stun him and he wouldn't be able to pull the trigger on the weapon people holding. 22:49.407 --> 22:51.749 [SPEAKER_02]: Like there's a million ways he could have been disabled. 22:52.150 --> 22:52.710 [SPEAKER_02]: Got it. 22:53.111 --> 22:58.857 [SPEAKER_02]: And and Kira is calm as a cucumber, which they buy back later, because she says I was never worried. 22:59.017 --> 23:01.019 [SPEAKER_02]: But we don't know that yet. 23:01.179 --> 23:01.460 [SPEAKER_01]: Yeah. 23:01.680 --> 23:03.682 [SPEAKER_02]: And she said no, either cover. 23:04.263 --> 23:06.745 [SPEAKER_02]: She shouldn't show her hand to this. 23:07.759 --> 23:14.942 [SPEAKER_02]: You know, hostage should pretend at least to, I'm scared or something as well as a cucumber. 23:14.982 --> 23:20.444 [SPEAKER_00]: I'm always reminded of the director who said to me, you're the only character that can show fear on this program. 23:21.024 --> 23:31.227 [SPEAKER_00]: So I think the Nau's choice, and I think that I was extraordinary actress, the same as proves that to some extent. 23:32.468 --> 23:35.469 [SPEAKER_00]: But it's that she's never going to show fear. 23:36.349 --> 23:40.694 [SPEAKER_00]: unless it's scripted, and this wasn't scripted, so she's not going to show fear. 23:42.275 --> 23:48.221 [SPEAKER_00]: And it's also someone that she had a relationship with, granted, it's not exactly the same person, but sure looks like it. 23:48.881 --> 23:49.082 [SPEAKER_02]: All right. 23:49.342 --> 23:49.522 [SPEAKER_02]: Yes. 23:49.942 --> 23:57.510 [SPEAKER_02]: I will often say if I'm directing and before I start shooting, we often have what's called a tone meeting, where you sit and you go through the writers, 23:58.472 --> 24:05.903 [SPEAKER_02]: And if they say something in its home meeting that I didn't expect, that I didn't see on the page, like, oh, I want that character to pretend to be afraid, but 24:06.575 --> 24:10.057 [SPEAKER_02]: I'll say, you know, I'm not sure the act that everyone's going to know that. 24:10.077 --> 24:10.978 [SPEAKER_02]: Can you write that? 24:11.318 --> 24:13.459 [SPEAKER_02]: Please put that in the description. 24:13.800 --> 24:18.142 [SPEAKER_00]: And the only person who I thought was reacting correctly is Avery. 24:19.323 --> 24:21.564 [SPEAKER_00]: Avery is furious at the situation. 24:23.165 --> 24:30.110 [SPEAKER_00]: And threatens, you know, a burial with a, you'll never get out of this alive. 24:30.830 --> 24:34.733 [SPEAKER_00]: If you hurt her, I thought Avery's doing the right stuff. 24:35.133 --> 24:36.874 [SPEAKER_00]: Why isn't everybody else doing it? 24:36.975 --> 24:51.925 [SPEAKER_02]: If he's going to walk all the way through ops, holding Kira, you know, have someone start to reach for something and barile turn and go, no, no, no, no, you know, even without the words, show us, you know, as the director staging the scene, like, don't move, don't move. 24:52.165 --> 24:55.347 [SPEAKER_02]: I've got you, I've got you, and you can see those reactions of people. 24:55.947 --> 24:56.328 [SPEAKER_02]: Okay. 24:56.968 --> 25:08.070 [SPEAKER_02]: We've told the story that he's quick and they should not move or I don't know there could have been some action there Didn't instead we get a slightly comic moment where he reaches for a Danish. 25:08.550 --> 25:23.172 [SPEAKER_01]: Yes, for oh Yes, hey the way he reached for it as well Did you guys notice it almost I thought it was a button of some sort because he just hand down on it And then my oh he's getting food. 25:23.332 --> 25:23.813 [SPEAKER_02]: Okay. 25:23.893 --> 25:26.393 [SPEAKER_02]: No, I started losing me already 25:27.233 --> 25:35.617 [SPEAKER_01]: Well, okay, it started losing you, but it because to what you said earlier, Robbie, you said this is a very different Beryl when he turns around. 25:35.657 --> 25:36.938 [SPEAKER_02]: I did like that. 25:37.138 --> 25:40.100 [SPEAKER_01]: Yes, that's what we're talking about in the moment and then 25:41.678 --> 25:42.319 [SPEAKER_01]: I lost me. 25:42.399 --> 25:44.100 [SPEAKER_01]: OK, well, I was still on board. 25:44.120 --> 25:50.723 [SPEAKER_01]: Yeah, you dropped off the train, but I loved the fact that this is a different barrile because you know how much I hated the other barrile. 25:50.823 --> 25:52.344 [SPEAKER_01]: I complained about that barrile. 25:52.704 --> 25:57.987 [SPEAKER_01]: Venic barrile and endlessly saying this is the most boring character you would never be with Kira. 25:58.067 --> 25:59.208 [SPEAKER_01]: I don't like this character at all. 25:59.588 --> 26:03.790 [SPEAKER_01]: And now this barrile, to me, is like, wow, he's exciting. 26:03.850 --> 26:05.491 [SPEAKER_01]: He's, you don't know what he's doing here. 26:05.531 --> 26:06.552 [SPEAKER_01]: He's dangerous, he's dangerous. 26:06.912 --> 26:23.299 [SPEAKER_00]: So I, I, I, I love this burial to everything you've just said there was a group of people at Philip Angle and had a relatively vocal fan club that called herself bring back burial and so whether or not the writers were aware of this. 26:23.399 --> 26:29.341 [SPEAKER_00]: I don't know, but we the actors were aware of it and and so they did they brought back a but a different barat. 26:29.421 --> 26:33.603 [SPEAKER_00]: So the writers got it their way and the fans got it their way. 26:33.623 --> 26:33.983 [SPEAKER_01]: Great. 26:34.363 --> 26:37.445 [SPEAKER_01]: So the fan group existed because they loved Vedic pariah. 26:37.706 --> 26:38.066 [SPEAKER_01]: That's right. 26:38.386 --> 26:40.027 [SPEAKER_01]: Okay, because I would have to do the presentation. 26:40.208 --> 26:41.509 [SPEAKER_01]: I don't like the question. 26:41.529 --> 26:42.569 [SPEAKER_01]: Which state got it. 26:42.689 --> 26:43.610 [SPEAKER_00]: Okay, it was preferable. 26:43.970 --> 26:48.034 [SPEAKER_01]: Well, and he's back and with with the vengeance, I love this pariah. 26:48.414 --> 26:48.734 [SPEAKER_01]: Okay. 26:48.774 --> 26:50.796 [SPEAKER_01]: So now he's out of ops with Kira. 26:50.816 --> 26:52.037 [SPEAKER_01]: They're they're in the corridor. 26:52.617 --> 26:55.280 [SPEAKER_01]: And it turns into basically a walk-and-talk with Brian Kira. 26:55.841 --> 27:04.912 [SPEAKER_01]: And we now definitely realize that he is alternate universe or mirror universe barile because he just he's completely like a deer ahead. 27:04.932 --> 27:07.255 [SPEAKER_01]: He doesn't know anything about what's going on in this world. 27:07.555 --> 27:10.479 [SPEAKER_01]: He's learning it's step-by-step beat by beat. 27:10.919 --> 27:12.021 [SPEAKER_01]: He's getting through this. 27:12.221 --> 27:25.948 [SPEAKER_01]: And it's had a little bit of a funny bit because they're trying, he's trying to avoid using any turbo lifts because he feels that someone can basically stop power and trap him, so he's going to take the manual away and they get to one juncture and they've got to cut these this ladder. 27:26.508 --> 27:30.930 [SPEAKER_01]: And so he asked how many levels before we reach the landing pad to get to that shuttle for me to get away. 27:31.270 --> 27:35.972 [SPEAKER_01]: Kira responds 57 and it responds from probably a lot of levels. 27:37.806 --> 27:44.415 [SPEAKER_00]: He's going to get his cardio in today for sure, which pays off with Philip Anglum in the next scene because he's panting. 27:44.755 --> 27:45.276 [SPEAKER_00]: He is. 27:45.576 --> 27:52.225 [SPEAKER_00]: But Kira seems to be in superhuman shape and doesn't have time to seem to be at all phase by 57 flights of stairs. 27:52.545 --> 27:56.086 [SPEAKER_01]: Yeah, so we're going to buy the fact that she does that on a regular basis to train. 27:56.186 --> 27:58.847 [SPEAKER_01]: She just goes up and down to that ladder So it's nothing to her. 27:59.007 --> 28:13.392 [SPEAKER_01]: That's the only way we can base it on, but but Mariah will fill up does a great job because yes in the upper pile on We're at Lennie Padde and he is out of breath completely and also before that We do have an exterior space shot from an upper angle. 28:13.412 --> 28:15.273 [SPEAKER_01]: We don't see that as a cool angle. 28:15.533 --> 28:20.635 [SPEAKER_01]: Love it Yeah, yeah, and then we're in upper pile on a where he's gasping 28:20.875 --> 28:21.935 [SPEAKER_02]: Here's very confident. 28:21.955 --> 28:23.736 [SPEAKER_02]: She's not on the breath. 28:23.836 --> 28:26.757 [SPEAKER_02]: She even says you're not going to kill anyone with that to disrupt her. 28:27.097 --> 28:32.899 [SPEAKER_02]: The power cells cracked and And he's like, well, why did you come with me? 28:33.359 --> 28:34.920 [SPEAKER_02]: She says I needed the exercise. 28:35.000 --> 28:36.660 [SPEAKER_02]: I guess that's the excuse. 28:37.040 --> 28:38.961 [SPEAKER_02]: Like she likes to exercise. 28:38.981 --> 28:40.922 [SPEAKER_02]: Maybe it's written. 28:46.515 --> 28:52.918 [SPEAKER_02]: there at war, yes, yes, and it goes to lift this weapon. 28:52.998 --> 28:55.959 [SPEAKER_02]: It is the biggest tell of what he's about to do. 28:56.119 --> 28:59.180 [SPEAKER_02]: It's not telegraphed. 28:59.540 --> 29:06.123 [SPEAKER_02]: Yes, the telegraphs, the weapon raised and she just tosses him over shoulder and onto the floor. 29:06.563 --> 29:09.944 [SPEAKER_02]: And that's when Odo appears with the airlock opening 29:12.937 --> 29:14.338 [SPEAKER_02]: And Ryle's arrested, I guess. 29:14.498 --> 29:14.738 [SPEAKER_00]: Yeah. 29:15.118 --> 29:19.360 [SPEAKER_00]: So one would assume they've been monitoring their movements. 29:19.540 --> 29:25.642 [SPEAKER_01]: You remember in Ops, what Cisco said, he made the announcement to the crew to security that there is a hostage level situation. 29:25.682 --> 29:27.262 [SPEAKER_01]: So Oto's already on at that point. 29:27.823 --> 29:30.604 [SPEAKER_01]: Oto and his team are going to travel by turbo lift. 29:30.704 --> 29:33.785 [SPEAKER_01]: So they are already there way before they get there. 29:33.825 --> 29:37.146 [SPEAKER_01]: So they heard everything, especially the part of the broken face. 29:37.306 --> 29:51.934 [SPEAKER_00]: So it shouldn't they come in, I get it, that's perfectly, perfectly right, absolutely, you are totally right, but shouldn't Renee have walked in a little trepidacious to see what the situation is before he realizes, oh it's under control. 29:52.354 --> 29:53.475 [SPEAKER_00]: I can't even pretty confident. 29:53.875 --> 29:54.455 [SPEAKER_00]: Pretty confident. 29:54.835 --> 29:55.115 [SPEAKER_02]: Yes. 29:55.796 --> 29:57.677 [SPEAKER_02]: It's the reason you've got the same for already. 29:58.794 --> 30:01.197 [SPEAKER_02]: My line was a little bit of that. 30:01.877 --> 30:02.218 [SPEAKER_02]: Okay. 30:02.238 --> 30:09.185 [SPEAKER_02]: This is the stuff that I think all along the way should have been supervised more closely by the director. 30:09.626 --> 30:10.066 [SPEAKER_02]: I agree. 30:10.186 --> 30:14.111 [SPEAKER_02]: I do think they were sort of left to just say the words and do what they did. 30:14.531 --> 30:19.637 [SPEAKER_02]: It doesn't feel like it was curated this story and some, you know, totally. 30:20.177 --> 30:28.260 [SPEAKER_01]: And if it was, if every, if every T was crossed and every I was dotted, I think you both would feel this is a bit hard to do. 30:28.320 --> 30:34.182 [SPEAKER_02]: I, I, I, our bonus material, I'll talk about the real ways that I think this could be made much better. 30:34.202 --> 30:34.582 [SPEAKER_02]: All right. 30:34.742 --> 30:35.963 [SPEAKER_02]: Yes, we'll get to that. 30:36.263 --> 30:36.823 [SPEAKER_02]: We'll get to that. 30:37.863 --> 30:50.906 [SPEAKER_01]: All right, so he's in the holding stone now and Barriol has this conversation with Kira and ultimately he gets to the point where he is curious about meeting his counterpart at which point Kira tells him, well, you can't do that because he's dead. 30:51.246 --> 30:58.948 [SPEAKER_01]: And the whole, I guess the whole pitch or the whole theme or the whole reason why Barriol is here from what we understand at this point is that he is 30:59.488 --> 31:01.310 [SPEAKER_01]: requesting asylum in this universe. 31:01.370 --> 31:04.453 [SPEAKER_01]: He's sort of done with his other in the Mary universe. 31:04.473 --> 31:07.596 [SPEAKER_01]: He's been kind of on the run and dealing with all type of things. 31:07.656 --> 31:09.798 [SPEAKER_01]: And he just wants a new start, a fresh start. 31:09.898 --> 31:12.100 [SPEAKER_01]: And this will be a great place to have a fresh start. 31:12.220 --> 31:13.942 [SPEAKER_00]: And that makes perfect sense. 31:14.483 --> 31:17.646 [SPEAKER_00]: I that moment to me went, yes, absolutely. 31:17.686 --> 31:18.246 [SPEAKER_00]: I'm with that 100%. 31:19.747 --> 31:23.170 [SPEAKER_01]: You know, Garrett sort of declines and says, no, you can't do that. 31:23.370 --> 31:26.793 [SPEAKER_01]: Even on a laudy, you've got to go back to your own time, your own reality. 31:27.153 --> 31:36.200 [SPEAKER_01]: Brile almost oops to the point of begging and, you know, she suggests being put in a prison, a labor camp, anything. 31:36.520 --> 31:40.904 [SPEAKER_01]: Just keep me here so I don't have to go back to the hell that I came from. 31:41.724 --> 31:42.525 [SPEAKER_01]: He just wants to stay. 31:42.705 --> 31:43.085 [SPEAKER_01]: That's all. 31:43.586 --> 31:44.526 [SPEAKER_01]: And you're right, it makes sense. 31:44.626 --> 31:45.267 [SPEAKER_01]: Makes perfect sense. 31:45.387 --> 31:52.932 [SPEAKER_02]: Well, Kira has the same attitude because in the next scene in the captain's office, she tells the captain, you know, I don't blame, for I'll for not wanting to go back. 31:53.652 --> 32:06.140 [SPEAKER_02]: Cisco talks about this mirror universe confusion that he felt would Jennifer, that when he saw Jennifer, he felt like it was his Jennifer and he reminds Kira it's not, they're not the same person. 32:06.480 --> 32:08.961 [SPEAKER_02]: This could lead to some confusing feeling for you. 32:09.041 --> 32:13.504 [SPEAKER_02]: I'm warning you, and Kira says at the end of the scene, oh, it won't be a problem. 32:19.377 --> 32:20.657 [SPEAKER_01]: That's the rules, people. 32:21.417 --> 32:24.438 [SPEAKER_01]: Rubby has ridden in the notes after it's not a problem. 32:24.578 --> 32:26.319 [SPEAKER_01]: He goes, oh, it will. 32:26.439 --> 32:27.719 [SPEAKER_01]: Is it a real capital? 32:27.739 --> 32:28.959 [SPEAKER_01]: Yes, it will be a problem. 32:29.919 --> 32:30.340 [SPEAKER_01]: Oh, yeah. 32:30.360 --> 32:33.920 [SPEAKER_02]: We're on the promenade and burial is looking around. 32:33.940 --> 32:44.163 [SPEAKER_02]: He notices people that are staring at him and Kira explains that they knew the original herberile, and who was a vetic, a very important religious leader, and 32:45.383 --> 32:51.585 [SPEAKER_02]: Burials kind of scoffs at that, you know, and then cure invites him to attend temple with her. 32:51.625 --> 32:56.887 [SPEAKER_02]: She's going to go there, but he declines basically he's saying like he's an atheist. 32:56.927 --> 32:58.268 [SPEAKER_02]: I just don't believe in any of this. 32:58.328 --> 33:08.372 [SPEAKER_02]: I'm not interested in religion and he doesn't want people to think that he's the real burial or anything like, like, burial, right, anything like him at all. 33:08.512 --> 33:08.932 [SPEAKER_02]: Yeah. 33:10.013 --> 33:12.274 [SPEAKER_02]: And Kira goes into the temple. 33:12.294 --> 33:19.317 [SPEAKER_02]: The thing at the end of the scene that I noticed, there was a monk hitting times as the monk outside was kind of welcoming people. 33:20.038 --> 33:21.178 [SPEAKER_02]: And the monk hitting the times. 33:21.218 --> 33:22.339 [SPEAKER_02]: And I played it back. 33:22.399 --> 33:24.440 [SPEAKER_02]: I'm like, where's the time? 33:24.480 --> 33:25.400 [SPEAKER_02]: But you're free to come here. 33:26.140 --> 33:28.361 [SPEAKER_02]: They forgot to put the times in. 33:28.942 --> 33:31.323 [SPEAKER_02]: So this is a funny issue. 33:31.523 --> 33:32.503 [SPEAKER_02]: Is it like who is it? 33:32.563 --> 33:33.724 [SPEAKER_02]: It's a sound mixing issue. 33:33.764 --> 33:34.584 [SPEAKER_02]: The sound mixer. 33:34.624 --> 33:35.825 [SPEAKER_02]: He's literally going, 33:37.750 --> 33:40.032 [SPEAKER_02]: And then I'm that maybe I'm get it going deaf. 33:40.232 --> 33:43.814 [SPEAKER_02]: I don't know, but I didn't hear anything We caught it. 33:44.215 --> 33:50.639 [SPEAKER_01]: I didn't notice at all, but you caught it, but you already didn't pick you from that I know I'm already like what you lose me. 33:50.699 --> 33:59.425 [SPEAKER_02]: I'm like there's a problem and there's a problem and there It's in times in there people Okay, so he's already says he he doesn't want to go in there 33:59.665 --> 34:00.206 [SPEAKER_01]: the next shot. 34:00.246 --> 34:02.408 [SPEAKER_01]: We are in the shrine and here. 34:02.628 --> 34:03.709 [SPEAKER_01]: Yeah, here's already there. 34:03.729 --> 34:04.450 [SPEAKER_01]: She's at service. 34:04.790 --> 34:06.652 [SPEAKER_01]: But also Brian, who does show up. 34:06.712 --> 34:08.573 [SPEAKER_01]: So I guess he has second thoughts. 34:08.674 --> 34:14.559 [SPEAKER_01]: He comes in and I love how the background actor just conveniently moves out of the way. 34:14.679 --> 34:17.320 [SPEAKER_01]: It's a little bit bright, I'll kneel down next to Kara. 34:17.720 --> 34:22.341 [SPEAKER_01]: Sorry, I need to be in the main focus of camera, please move, and so they do. 34:22.581 --> 34:24.502 [SPEAKER_01]: It's wonderful how Hollywood works like that. 34:24.562 --> 34:27.563 [SPEAKER_01]: So a box is being brought in, and Brian was like, what is that? 34:27.643 --> 34:28.003 [SPEAKER_01]: What is it? 34:28.043 --> 34:29.743 [SPEAKER_01]: Well, that's where the orb is. 34:29.783 --> 34:31.944 [SPEAKER_01]: He's like, or, but the heck, the profit. 34:31.964 --> 34:37.786 [SPEAKER_01]: So this is a whole conversation about but Jordan religion that Brian doesn't know anything about. 34:37.926 --> 34:42.147 [SPEAKER_01]: Now my question to both of you is, did we, I don't think we ever saw 34:43.467 --> 34:50.372 [SPEAKER_01]: We got no glimpse of what the Bajorans were thinking of or their religious stance in the mirror universe. 34:50.412 --> 34:51.392 [SPEAKER_01]: We never saw that. 34:51.452 --> 34:52.633 [SPEAKER_01]: So, right? 34:52.673 --> 35:00.418 [SPEAKER_01]: It seems like they don't have any spirituality at all, but I thought it was, I thought the mirror universe was just a different version of it. 35:00.438 --> 35:05.061 [SPEAKER_01]: Like they still had orbs, but they used it for something other, I just was confused. 35:05.161 --> 35:05.921 [SPEAKER_01]: I was like, wait a minute. 35:05.961 --> 35:06.582 [SPEAKER_01]: How does he think? 35:07.542 --> 35:09.123 [SPEAKER_00]: knowing where this episode goes. 35:09.223 --> 35:09.584 [SPEAKER_00]: Yes. 35:10.144 --> 35:14.167 [SPEAKER_00]: If they had or they wouldn't have had to come here for one. 35:14.187 --> 35:15.147 [SPEAKER_00]: To try to grab it. 35:15.327 --> 35:15.568 [SPEAKER_00]: Okay. 35:15.728 --> 35:22.532 [SPEAKER_01]: So they don't have any type of framework of religion that the Bajorans in this reality have. 35:22.592 --> 35:26.815 [SPEAKER_00]: He says, he asked him, do you have God's peer asks, Barra, do you have God's? 35:26.855 --> 35:28.216 [SPEAKER_00]: And he said, yes, we have God's. 35:28.236 --> 35:29.157 [SPEAKER_00]: I just stay away from them. 35:29.897 --> 35:40.282 [SPEAKER_00]: But, yes, they do have gods, and obviously they must have certain religion because that too is involved with the stealing of this. 35:40.622 --> 35:40.882 [SPEAKER_00]: Yes. 35:41.202 --> 35:42.623 [SPEAKER_00]: I'm giving things away, but there it is. 35:42.843 --> 35:44.484 [SPEAKER_01]: Well, again, he's getting it. 35:44.684 --> 35:50.226 [SPEAKER_01]: It's the introductory course to be Jordan religion is what Kira is giving to Beryl here. 35:50.326 --> 35:57.210 [SPEAKER_02]: And I just want to make note that they're talking for like two, three minutes in a service that is silent. 36:00.189 --> 36:02.790 [SPEAKER_01]: Don't they get, big, did get shushed at the end, though? 36:02.810 --> 36:03.390 [SPEAKER_01]: Yes, they do. 36:03.790 --> 36:06.531 [SPEAKER_00]: And I'm wondering, I didn't think of that. 36:07.312 --> 36:15.675 [SPEAKER_00]: And I'm thinking, is that scripted, or is that in a na, of finally playing that they're making noise in a meditation period? 36:15.875 --> 36:17.195 [SPEAKER_00]: Because if they'll get, they don't have a service. 36:17.215 --> 36:18.616 [SPEAKER_00]: I'm thinking, okay, it's meditation. 36:18.656 --> 36:20.536 [SPEAKER_00]: It's just, it's meant to be quiet. 36:20.656 --> 36:21.957 [SPEAKER_00]: Everyone just to meditate. 36:22.317 --> 36:28.945 [SPEAKER_00]: So her finally looking that way out, and then I thought in ADR, they put in a shush or something. 36:29.726 --> 36:30.848 [SPEAKER_01]: Oh, there you go. 36:30.868 --> 36:31.789 [SPEAKER_01]: That's very possible. 36:32.009 --> 36:37.916 [SPEAKER_02]: I think it would have been better for this scene if there had been like either some chat, some... 36:38.397 --> 36:49.165 [SPEAKER_02]: I don't know, sermon or something going on that you could have kind of buy that while while people are listening to this other thing, this song or this sermon or this, where they're all, I don't know. 36:49.205 --> 36:53.448 [SPEAKER_02]: It just felt like it was silence, can you just silence room like that? 36:54.068 --> 36:57.951 [SPEAKER_02]: Anybody even going, hey, what do you, what do you think about this? 36:58.532 --> 37:00.133 [SPEAKER_02]: People would be like, what the? 37:01.027 --> 37:03.350 [SPEAKER_01]: Okay, can I pitch you something around please? 37:03.410 --> 37:03.710 [SPEAKER_01]: Okay. 37:03.810 --> 37:04.111 [SPEAKER_01]: All right. 37:04.331 --> 37:08.816 [SPEAKER_01]: So Kira walks in and realizes all the places to kneel are taken up. 37:08.876 --> 37:12.480 [SPEAKER_01]: So she has to stay towards the back and that's when Brian walks out. 37:12.540 --> 37:17.306 [SPEAKER_01]: Yes, well walks in, Brian walks into the door, sees it's all the director, Garrett. 37:17.426 --> 37:17.806 [SPEAKER_00]: Thank you. 37:17.846 --> 37:18.307 [SPEAKER_00]: Roger now. 37:18.327 --> 37:19.769 [SPEAKER_00]: Thank you, Jim off to the side. 37:20.109 --> 37:23.691 [SPEAKER_00]: And did you just seem to you that in the non-new he was there before she saw him? 37:24.231 --> 37:28.134 [SPEAKER_00]: I didn't even come back to the aisle and she turns back to look. 37:28.474 --> 37:30.675 [SPEAKER_00]: And I go, he hasn't made a sound. 37:30.695 --> 37:33.537 [SPEAKER_00]: I don't know that he's back there. 37:33.557 --> 37:34.918 [SPEAKER_01]: No, and you're right about that. 37:34.958 --> 37:38.900 [SPEAKER_01]: I almost felt like this was the twelfth take and she sort of telegraphed it herself. 37:38.980 --> 37:40.982 [SPEAKER_01]: You know, she's like, oh yeah, there he is. 37:41.342 --> 37:43.783 [SPEAKER_01]: Uh, they could have put in like a squeaky floor like, 37:45.304 --> 37:50.172 [SPEAKER_00]: or he could have said to the to the background person excuse me. 37:51.053 --> 37:51.234 [SPEAKER_00]: Yes. 37:51.334 --> 37:52.335 [SPEAKER_00]: And then she could have turned. 37:52.436 --> 37:52.796 [SPEAKER_01]: Yes. 37:52.836 --> 37:53.237 [SPEAKER_01]: Yes. 37:53.277 --> 37:53.978 [SPEAKER_00]: Yes. 37:54.138 --> 37:54.419 [SPEAKER_01]: Okay. 37:54.439 --> 37:55.460 [SPEAKER_01]: We're in the Promenade Robbie. 37:55.480 --> 37:56.362 [SPEAKER_01]: We finished the service. 37:56.382 --> 37:57.824 [SPEAKER_01]: They've walked down at the Promenade. 37:57.884 --> 38:00.348 [SPEAKER_01]: Kira asks Gryo what he thought about it. 38:00.368 --> 38:00.408 [SPEAKER_01]: He 38:00.568 --> 38:04.730 [SPEAKER_01]: said, you know, it was interesting, but I feel everyone takes this so seriously. 38:05.210 --> 38:08.812 [SPEAKER_01]: He prefers to believe in nothing that way he's never disappointed. 38:09.392 --> 38:13.754 [SPEAKER_01]: Kira thinks that is in much of a life to live, but, you know, he is content with that life. 38:14.234 --> 38:17.796 [SPEAKER_01]: More importantly, he says he's glad that he had this chance to see her again. 38:17.816 --> 38:20.337 [SPEAKER_01]: And I felt he gave her flirty eyes right there. 38:20.357 --> 38:20.877 [SPEAKER_01]: He was like, boom, 38:22.137 --> 38:27.760 [SPEAKER_02]: If that happened, that's great because at the end of the scene, I'm like, why is she asking him out on a date? 38:27.800 --> 38:30.060 [SPEAKER_01]: Well, because he gave Flirty Eyes, you didn't catch that. 38:30.160 --> 38:31.241 [SPEAKER_01]: Oh, I saw Flirty Eyes. 38:31.341 --> 38:34.762 [SPEAKER_01]: And that's when Kira was like, hey, you like, cling on food. 38:34.822 --> 38:35.202 [SPEAKER_01]: Don't you? 38:35.402 --> 38:40.344 [SPEAKER_01]: And so that's where the date came in because she thought, oh, I feel something now. 38:40.444 --> 38:44.766 [SPEAKER_00]: Here is a character that immediately goes to her prejudices. 38:45.246 --> 38:47.767 [SPEAKER_00]: She has to be taught not to be prejudiced. 38:48.267 --> 38:53.192 [SPEAKER_00]: This is she if she sees a Kardashian or immediate her her spine comes up. 38:53.533 --> 38:54.374 [SPEAKER_00]: She sees him for Rangie. 38:54.394 --> 39:02.822 [SPEAKER_00]: It's the same way if she sees anyone that she's not a species that she's not happy with she gets on the defensive because she's been to the mirror universe 39:03.723 --> 39:23.672 [SPEAKER_00]: He should be equally suspicious of Barack Obama as of anybody else from the, from the mirror, just because she looks, he looks like Barack, yes, give him a little, a little, but only a little leeway because he's from the mirror universe where nothing, nothing is good. 39:25.233 --> 39:34.582 [SPEAKER_01]: Yeah, and so she did not play where he or concerned it's not my character, this is not my character. 39:35.122 --> 39:35.362 [SPEAKER_01]: Yeah. 39:35.663 --> 39:36.483 [SPEAKER_01]: All right, great. 39:36.603 --> 39:40.787 [SPEAKER_01]: We're in Dax and Worf's quarters at this point, and it's dinner time. 39:41.128 --> 39:41.708 [SPEAKER_01]: And guess what? 39:41.968 --> 39:45.512 [SPEAKER_01]: Beryl is the guest that Kira actually brings to this. 39:45.632 --> 39:46.753 [SPEAKER_01]: And Beryl is in the middle of it. 39:47.173 --> 40:03.881 [SPEAKER_01]: very entertaining story about how he was in some type of prison and there was a cling on guard who he ended up stealing his mech left and using that to sort of you know escape from the prison, it's using it as a scourge, a screwdriver or whatever and he's he's able to get out. 40:04.042 --> 40:09.844 [SPEAKER_01]: And then entire time, warf is practically rolling his eyes and he can't think practically is right. 40:09.864 --> 40:11.605 [SPEAKER_01]: I think he was rolling my god. 40:11.625 --> 40:12.346 [SPEAKER_01]: He couldn't stand it. 40:12.386 --> 40:13.426 [SPEAKER_01]: Yes, he was so mad. 40:13.586 --> 40:14.607 [SPEAKER_01]: He was like, what is this? 40:14.647 --> 40:15.027 [SPEAKER_01]: This was 40:17.088 --> 40:20.953 [SPEAKER_02]: the most awkward story and awkward laughter after a story. 40:21.013 --> 40:22.435 [SPEAKER_02]: I think I've ever seen on film. 40:23.236 --> 40:25.678 [SPEAKER_01]: It was, it just didn't play. 40:25.698 --> 40:27.000 [SPEAKER_01]: It's like, I'm sorry. 40:27.040 --> 40:28.402 [SPEAKER_02]: The story's not funny. 40:29.363 --> 40:32.266 [SPEAKER_02]: By the time they realized that was gone, I was halfway to the ventards. 40:32.426 --> 40:32.967 [SPEAKER_02]: It's a lot. 40:34.414 --> 40:56.182 [SPEAKER_02]: it's not funny so that you either have to play that oh we miss the funny parts so they're already laughing at the time you know an hour later I was the clean on guard return to myself oh my god like then we can at least assume oh he said it's only funny before because nothing in this story justifies the way that they're being charmed by him in my opinion it's it's not a 40:56.322 --> 40:58.703 [SPEAKER_02]: So the story was told at the wrong point. 40:58.983 --> 41:11.366 [SPEAKER_01]: If they started at the end where it was the laughter, then you didn't know the punchline or the set up, then you could have thought it was just didn't the structure of the way it was played and the writing to me didn't work at all. 41:11.507 --> 41:12.947 [SPEAKER_02]: Neither need a punchline. 41:13.708 --> 41:19.251 [SPEAKER_02]: a real funny punchline or you need to say, oh, he's been telling these funny stories for hours. 41:19.331 --> 41:22.673 [SPEAKER_02]: And we're just coming right in this this is story number eight. 41:22.973 --> 41:23.193 [SPEAKER_01]: Now. 41:23.254 --> 41:26.896 [SPEAKER_02]: Yeah, there's awkward silent listening to this as if it's really interesting. 41:26.976 --> 41:28.416 [SPEAKER_02]: Yeah, it's not all right. 41:28.857 --> 41:29.317 [SPEAKER_02]: Yeah, that's him. 41:29.637 --> 41:30.678 [SPEAKER_02]: You know, like I call me. 41:31.278 --> 41:31.699 [SPEAKER_02]: Good call. 41:32.059 --> 41:32.860 [SPEAKER_00]: What do you think, Garmin? 41:33.260 --> 41:37.704 [SPEAKER_00]: I'm thinking, we should have seen him, you said it, actually. 41:37.864 --> 41:41.327 [SPEAKER_00]: We should have gotten an opinion that he's already charmed the ladies. 41:41.628 --> 41:56.081 [SPEAKER_00]: We need Philip Anglin to be a little bit more charming in the telling of this story, and now he was doing his best for what he was given, but we just need to see that he's charmed the pants off these ladies, both of them. 41:56.561 --> 41:57.423 [SPEAKER_00]: pace would have helped. 41:58.023 --> 42:04.852 [SPEAKER_00]: And more as every right to be just a little bit jealous that his wife seems to be more taken with this guest and she is with her husband. 42:04.892 --> 42:05.132 [SPEAKER_00]: Yeah. 42:07.362 --> 42:16.926 [SPEAKER_02]: I also think this where I started to feel like pace as a overall note, this episode goes very slowly in my opinion, and so it doesn't help. 42:17.166 --> 42:26.190 [SPEAKER_02]: It doesn't help him be charming when he's so intentional about each word and each thought and then a pause and another pause. 42:26.250 --> 42:26.570 [SPEAKER_02]: It felt 42:27.190 --> 42:33.720 [SPEAKER_02]: Whereas if he's kind of charming in the way you're describing Arman and part of that is the pace that Kira's can't keep up with it. 42:33.840 --> 42:35.763 [SPEAKER_02]: Oh, that was charming and that was charming. 42:35.783 --> 42:36.383 [SPEAKER_02]: What did he say? 42:36.423 --> 42:37.245 [SPEAKER_02]: I can't keep up with him. 42:37.265 --> 42:38.066 [SPEAKER_02]: He's so charming. 42:38.747 --> 42:41.591 [SPEAKER_02]: I think I could have bought that her character was sort of 42:42.572 --> 42:50.398 [SPEAKER_02]: just overwhelmed by the volume and the pace of it all and the energy of it all, but it felt very slow. 42:50.679 --> 42:53.361 [SPEAKER_02]: Lots of time to think about these moments and go away to a minute. 42:53.861 --> 42:54.922 [SPEAKER_00]: It doesn't make sense. 42:55.222 --> 43:00.446 [SPEAKER_00]: And all of these characters have been in similar situations where they've escaped. 43:00.527 --> 43:01.147 [SPEAKER_00]: Here is escape. 43:01.267 --> 43:10.234 [SPEAKER_00]: to access escape, Warf is escape, so hearing a story about how someone escaped from a dangerous situation is second nature to these things. 43:10.895 --> 43:11.835 [SPEAKER_00]: Yeah, that is a point. 43:12.456 --> 43:12.776 [SPEAKER_01]: Yeah. 43:12.856 --> 43:17.440 [SPEAKER_01]: Did either of you like the fact that he sort of fell for us at the McLefty? 43:17.540 --> 43:19.101 [SPEAKER_00]: Yeah, that was a surprise. 43:19.121 --> 43:20.802 [SPEAKER_00]: Warf is like, I didn't like that. 43:20.822 --> 43:23.665 [SPEAKER_00]: Okay, I don't know how he could have done that. 43:23.745 --> 43:25.846 [SPEAKER_01]: I don't know anybody watching him, but okay. 43:27.047 --> 43:27.607 [SPEAKER_01]: Slide of hand. 43:27.747 --> 43:34.308 [SPEAKER_00]: I know when Wolf is rolling his eyes, I think OK took his eyes off him, but the other two ladies, they're still watching. 43:34.328 --> 43:35.849 [SPEAKER_00]: They're intent about watching it. 43:35.869 --> 43:36.789 [SPEAKER_01]: That's true. 43:36.849 --> 43:37.449 [SPEAKER_01]: That's true. 43:37.689 --> 43:38.169 [SPEAKER_01]: That's true. 43:38.729 --> 43:38.969 [SPEAKER_01]: OK. 43:38.989 --> 43:40.529 [SPEAKER_01]: So we move on from here. 43:40.589 --> 43:41.450 [SPEAKER_01]: We're in the corridor. 43:41.570 --> 43:44.050 [SPEAKER_01]: Beryl is walking Kira back to her quarters. 43:44.810 --> 43:53.332 [SPEAKER_01]: Kira tells Beryl that he made a good impression on her friends and he surprised, which then shocks Kira in return as he must have had friends back home. 43:55.572 --> 43:56.272 [SPEAKER_01]: And she died. 43:56.492 --> 44:05.554 [SPEAKER_01]: Kira does want to end the night on a sad note, and she decides to invite him in for a wreck to genome, which is code for Netflix and chills. 44:05.614 --> 44:10.355 [SPEAKER_01]: What he's kind of saying, I think, and that is ultimately what happens. 44:10.595 --> 44:18.037 [SPEAKER_01]: We're still in Kira's quarters a little bit of time jump Rio is now telling Kira how he met that friend the one that died, how he lost her. 44:18.137 --> 44:25.963 [SPEAKER_01]: He says that when he activated transporter device, he had no idea where he would end up and cure a tells him that two days ago, all she wanted to do was to be alone. 44:26.023 --> 44:30.387 [SPEAKER_01]: And so then he starts kissing her fingers and then her lips and then he keeps on going. 44:30.447 --> 44:34.069 [SPEAKER_01]: And I will say that this will not meet the Cisco stamp of approval. 44:34.270 --> 44:35.210 [SPEAKER_00]: No, it will not. 44:35.350 --> 44:36.791 [SPEAKER_00]: It's going to. 44:36.812 --> 44:39.814 [SPEAKER_00]: Or the arm and stamp of approval, it's the type of approval. 44:41.194 --> 44:48.500 [SPEAKER_02]: It's also like this was a moment where I had it was part of it was the score, the orchestra and the music and everything. 44:48.920 --> 44:51.082 [SPEAKER_02]: It felt like a daytime soap opera to me. 44:51.782 --> 44:56.186 [SPEAKER_02]: Literally, I was like, oh my gosh, we've crossed over to a soap genre. 44:56.716 --> 44:58.077 [SPEAKER_01]: because of the pacing as well. 44:58.157 --> 44:58.497 [SPEAKER_01]: Correct. 44:58.757 --> 45:00.238 [SPEAKER_02]: That's the music. 45:00.598 --> 45:01.919 [SPEAKER_02]: All of it just felt. 45:02.139 --> 45:03.700 [SPEAKER_00]: Yeah, leaning on the pillow. 45:03.880 --> 45:04.960 [SPEAKER_00]: I thought, okay. 45:05.141 --> 45:05.441 [SPEAKER_00]: All right. 45:05.481 --> 45:06.301 [SPEAKER_00]: Yeah. 45:06.361 --> 45:09.183 [SPEAKER_00]: That's, I'm with you at that moment. 45:09.223 --> 45:10.744 [SPEAKER_00]: I thought it was a soap opera. 45:10.764 --> 45:10.984 [SPEAKER_01]: Yeah. 45:11.144 --> 45:13.205 [SPEAKER_00]: It feels like a soap opera. 45:13.245 --> 45:17.307 [SPEAKER_01]: There's soap opera fans who also are sci-fi fans that are watching this episode and loving it. 45:17.607 --> 45:20.089 [SPEAKER_01]: And then this is the best they actually toast was invented. 45:20.109 --> 45:20.369 [SPEAKER_01]: Yeah. 45:20.709 --> 45:29.352 [SPEAKER_02]: But I do think that you can have a soap opera on a Star Trek episode, and it can be a little melodramatic and lean into these kind of tropes. 45:29.532 --> 45:30.573 [SPEAKER_02]: Romance tropes. 45:30.613 --> 45:42.757 [SPEAKER_02]: Yes, you can do that, but somewhere in their, the science fiction, the science story needs to be equally as strong, or it's, or you lose, you know, the genre that this story is in. 45:42.817 --> 45:44.118 [SPEAKER_02]: It's a science fiction show. 45:44.498 --> 45:50.780 [SPEAKER_02]: with a soap opera story sort of attached to it, but still it's got to have stronger science fiction. 45:50.880 --> 45:53.201 [SPEAKER_02]: I sort of was losing this science part of this. 45:53.221 --> 45:54.081 [SPEAKER_01]: Yes, you're right, Robbie. 45:54.101 --> 45:55.922 [SPEAKER_01]: This was 90% soap opera. 45:56.042 --> 45:57.242 [SPEAKER_01]: 10% sci-fi. 45:57.902 --> 45:59.263 [SPEAKER_01]: Yeah, maybe less five percent. 45:59.283 --> 45:59.943 [SPEAKER_01]: Maybe less five. 46:00.223 --> 46:16.083 [SPEAKER_02]: Yeah, we go to Kira's bedroom and they're in bed together and he talks about eating all of us or something Like he's never had an awful right and Kira says they're everywhere on Bajor They grow every day and by the way they grow everywhere on earth because they were just green grapes 46:18.806 --> 46:19.907 [SPEAKER_02]: They weren't that exotic. 46:20.648 --> 46:22.349 [SPEAKER_01]: They grow everywhere, but they taste good. 46:22.829 --> 46:26.012 [SPEAKER_01]: Yeah, they should have given them a light year or come quad. 46:26.052 --> 46:27.513 [SPEAKER_01]: Something a little bit more exotic. 46:27.533 --> 46:28.174 [SPEAKER_01]: A little bit more exotic. 46:28.194 --> 46:29.034 [SPEAKER_01]: A little bit more exotic. 46:29.054 --> 46:30.676 [SPEAKER_00]: A weird color, a grape. 46:30.776 --> 46:31.857 [SPEAKER_00]: A fresh pear. 46:32.217 --> 46:33.598 [SPEAKER_00]: A French pear. 46:33.958 --> 46:35.700 [SPEAKER_01]: I've never had these or strange. 46:36.560 --> 46:37.401 [SPEAKER_01]: What are these? 46:38.462 --> 46:39.883 [SPEAKER_01]: There are green grapes. 46:40.083 --> 46:42.085 [SPEAKER_01]: The most common grape on earth. 46:44.023 --> 46:44.723 [SPEAKER_02]: Oh, there we go. 46:44.743 --> 46:48.505 [SPEAKER_02]: Yes, they're bed together and I found the tonal change here to be odd. 46:48.786 --> 46:59.831 [SPEAKER_02]: The tone of the scene was like almost like slapsticky What did you say these are like it didn't feel like they the the glow of the first morning after your soap opera scene is it? 46:59.891 --> 47:02.793 [SPEAKER_02]: I'm like a It felt like sitcom. 47:02.953 --> 47:04.694 [SPEAKER_01]: Okay, so I sit calm then for you. 47:04.794 --> 47:05.074 [SPEAKER_02]: Okay 47:05.607 --> 47:24.131 [SPEAKER_02]: And it was a wonder, this whole scene, like it just seems like a strange choice if you're selling a soap opera romance to not get the close ups in the connection and the tunnel sort of the glow of, you know, post-coital morning after whatever it was it was odd tunnel to me. 47:24.291 --> 47:33.198 [SPEAKER_01]: But as they've seen goes on, basically Braille shares with Kira, I mean, Kira starts talking about how Braille was so different from this Braille. 47:33.338 --> 47:35.079 [SPEAKER_01]: This Braille can't get enough food. 47:35.159 --> 47:41.624 [SPEAKER_01]: The other Braille 8-2 meals a day tops that's it, and very strict about that and very simple food. 47:41.764 --> 47:46.888 [SPEAKER_01]: Nothing is delectable and exotic as an alpha would be eaten by that Braille. 47:47.268 --> 48:03.659 [SPEAKER_01]: So, it was, you know, the difference is between, but we also realize that as Kira is saying a quote from what the old Braille used to say, the new Braille sort of chimes in and says the end of the quote and so she's a little shocked and he reveals, I've already done research on him. 48:03.979 --> 48:10.744 [SPEAKER_01]: I know a little bit about him now, so they talk a little bit more and now Braille asks if he wants to go to early breakfast, so he hasn't had his own degree. 48:11.084 --> 48:16.247 [SPEAKER_01]: He's so hungry that I thought that maybe he was some type of alien being that wasn't even Bajora. 48:16.327 --> 48:17.788 [SPEAKER_01]: I thought, well, what's happened here? 48:17.868 --> 48:19.209 [SPEAKER_02]: I thought he was going to eat Kira. 48:20.770 --> 48:21.710 [SPEAKER_02]: He was so hungry. 48:23.351 --> 48:25.132 [SPEAKER_02]: Now that would have been a sci-fi series. 48:25.452 --> 48:26.973 [SPEAKER_02]: That would have been a sci-fi show. 48:27.273 --> 48:32.556 [SPEAKER_02]: The alien beams on and she falls in love with him and then he tries to eat her as she enables editor of fingers. 48:32.756 --> 48:33.437 [SPEAKER_02]: Yeah. 48:34.217 --> 48:35.598 [SPEAKER_01]: He gets the fingers first. 48:35.618 --> 48:35.918 [SPEAKER_01]: Yeah. 48:36.218 --> 48:38.480 [SPEAKER_01]: He was a very aromatic and the 48:39.570 --> 48:44.173 [SPEAKER_02]: He was just sampling the words that we can add into this episode for me a lot. 48:44.193 --> 48:51.357 [SPEAKER_02]: He would have raised your ratings then if I would have ever said if he was a cannibalistic alien or something, sure. 48:53.267 --> 48:54.748 [SPEAKER_02]: Okay, thank you, Robert. 48:54.808 --> 48:56.330 [SPEAKER_00]: I hope you have to go to work. 48:56.370 --> 48:59.833 [SPEAKER_00]: How many episodes have we seen where she gets out of bed and has to go to work? 49:00.713 --> 49:01.794 [SPEAKER_00]: You know, they're at war. 49:02.115 --> 49:04.036 [SPEAKER_00]: I can't forget that they're at war. 49:04.056 --> 49:05.578 [SPEAKER_00]: Yes. 49:06.018 --> 49:11.283 [SPEAKER_00]: And the writers, as I said, they tried to remind us of rarely, but they do remind us they're at the war. 49:12.043 --> 49:13.804 [SPEAKER_02]: This is the second in command. 49:15.285 --> 49:18.367 [SPEAKER_00]: She's entitled to her privacy, absolutely. 49:18.587 --> 49:24.091 [SPEAKER_00]: But she, this should have been a sense of, or a line simply saying, you have breakfast. 49:24.171 --> 49:25.052 [SPEAKER_00]: I've got to go to work. 49:25.292 --> 49:25.732 [SPEAKER_00]: That's right. 49:26.072 --> 49:30.855 [SPEAKER_02]: Well, seeing you work, the next scene we're in office, but sheer is not even in the medical bay. 49:30.915 --> 49:32.336 [SPEAKER_02]: He's snooping around. 49:32.376 --> 49:33.977 [SPEAKER_00]: He's trying to find out what Kira's up to. 49:34.057 --> 49:35.979 [SPEAKER_00]: And I believe that's a medit joke. 49:36.039 --> 49:38.360 [SPEAKER_00]: I think that scene is all mad. 49:38.480 --> 49:38.820 [SPEAKER_00]: Oh, yeah. 49:38.901 --> 49:40.121 [SPEAKER_00]: It's the final battle. 49:40.161 --> 49:40.962 [SPEAKER_00]: Yeah, yeah. 49:42.163 --> 49:46.125 [SPEAKER_00]: You know, I can't, I can't think that the writers aren't weren't thinking the same thing. 49:46.185 --> 49:47.406 [SPEAKER_00]: I was thinking something nice. 49:47.706 --> 49:55.711 [SPEAKER_01]: But even in the scene at the end when she, he says, wow, I could stay a little bit longer if someone's going to spill some tea and she's like, no, doctor, go back. 49:56.051 --> 49:59.893 [SPEAKER_01]: When he, the look that she gives him is a look of, we're together. 49:59.913 --> 50:00.713 [SPEAKER_01]: Yeah, the labor. 50:00.773 --> 50:02.635 [SPEAKER_01]: It was so familiar. 50:02.675 --> 50:04.196 [SPEAKER_01]: It was so familiar. 50:04.276 --> 50:05.036 [SPEAKER_01]: Oh, yeah. 50:05.396 --> 50:05.656 [SPEAKER_00]: Yes. 50:06.137 --> 50:07.317 [SPEAKER_00]: Yeah. 50:07.457 --> 50:08.258 [SPEAKER_02]: Absolutely. 50:08.598 --> 50:14.221 [SPEAKER_02]: I wish Sid had played it with a little more awareness because he was playing it so straight. 50:14.421 --> 50:22.245 [SPEAKER_02]: No, I'm not here for that, that I almost thought, oh, did he get the joke as much as I didn't think it was that straight. 50:22.365 --> 50:24.966 [SPEAKER_00]: I didn't think it was that I think Sid was in on the joke. 50:26.527 --> 50:31.752 [SPEAKER_01]: Maybe not, maybe not, but to Robby's point is this has only seen this is it, right? 50:31.852 --> 50:32.413 [SPEAKER_01]: Yeah, okay. 50:32.433 --> 50:34.675 [SPEAKER_01]: So he could have been who vacationing it up. 50:35.055 --> 50:35.756 [SPEAKER_01]: Brick him in. 50:36.016 --> 50:38.318 [SPEAKER_01]: Remember he learns his lines in the makeup trailer. 50:38.398 --> 50:44.865 [SPEAKER_01]: So and he was like, hey, and didn't, but let's remember their relationship and let's remember our relationships. 50:45.085 --> 50:45.385 [SPEAKER_00]: Yes. 50:45.765 --> 50:47.027 [SPEAKER_00]: Who helps you with your lines? 50:47.687 --> 50:49.228 [SPEAKER_01]: your sales partner does. 50:49.268 --> 50:49.448 [SPEAKER_00]: Yeah. 50:50.128 --> 50:53.249 [SPEAKER_00]: So he's, he's, he's familiar with it. 50:53.669 --> 50:54.609 [SPEAKER_00]: Yes, that's true. 50:54.950 --> 50:55.410 [SPEAKER_00]: That's true. 50:55.430 --> 51:01.792 [SPEAKER_01]: The, the, him in fact, they're in the same household after up when, you know, when they go home, right at this point for sure. 51:01.832 --> 51:02.112 [SPEAKER_01]: Yeah. 51:02.272 --> 51:02.692 [SPEAKER_01]: Okay. 51:02.712 --> 51:06.013 [SPEAKER_00]: So, you know, on this day, they may have been driving together for that. 51:06.033 --> 51:06.234 [SPEAKER_00]: All right. 51:06.274 --> 51:08.574 [SPEAKER_01]: I will say I'm more in armance camp on this one, Robbie. 51:08.614 --> 51:09.915 [SPEAKER_01]: I didn't, I didn't notice that. 51:10.195 --> 51:15.837 [SPEAKER_00]: That, you know, I did think that Sid was playing the joke and certainly the writers were playing the joke. 51:16.197 --> 51:21.021 [SPEAKER_00]: But those of you who aren't aware that joke is of course that's hidden and the not married. 51:21.481 --> 51:24.623 [SPEAKER_00]: So Sid wants to know what she's doing. 51:24.763 --> 51:26.285 [SPEAKER_00]: Where's my wife? 51:26.965 --> 51:27.766 [SPEAKER_02]: Why is she going to? 51:28.406 --> 51:31.448 [SPEAKER_02]: Yeah, I think it could have been punched up, dialed up a bit. 51:31.508 --> 51:31.909 [SPEAKER_02]: That's all. 51:32.049 --> 51:32.509 [SPEAKER_02]: Okay. 51:33.210 --> 51:35.992 [SPEAKER_02]: For tonally for me, if you're going to do that, do it 100%. 51:36.032 --> 51:38.834 [SPEAKER_02]: And it felt like they were just trying to 51:39.535 --> 51:44.820 [SPEAKER_02]: thread a needle of maybe he's serious, maybe he's not, maybe he's not comedic or aware. 51:44.900 --> 51:46.521 [SPEAKER_02]: So but it was a good idea. 51:46.541 --> 51:48.503 [SPEAKER_01]: It's cute for what I want. 51:48.563 --> 51:49.924 [SPEAKER_00]: I want to go back to what Garrett said. 51:50.045 --> 51:55.690 [SPEAKER_00]: That her line rating and his reaction, you know, just where they she just cuts off the conversation. 51:56.490 --> 51:57.471 [SPEAKER_00]: Absolutely. 51:57.511 --> 51:58.312 [SPEAKER_00]: This is a couple. 51:58.572 --> 51:59.473 [SPEAKER_00]: This is a couple. 51:59.533 --> 51:59.813 [SPEAKER_00]: Yes. 51:59.873 --> 52:00.574 [SPEAKER_00]: A hundred versus none. 52:00.914 --> 52:05.661 [SPEAKER_02]: They do mention after, after Bashar leaves or yes, after, right after Bashar leaves. 52:05.922 --> 52:07.825 [SPEAKER_02]: Yeah, Kira asks about General Mar talk. 52:07.845 --> 52:09.066 [SPEAKER_02]: This is about the scout ship. 52:09.126 --> 52:10.128 [SPEAKER_02]: So yes, thank God. 52:10.148 --> 52:13.072 [SPEAKER_00]: But if you were to mention, thank God, there is a war. 52:13.393 --> 52:14.795 [SPEAKER_02]: I'm back in the real world now. 52:14.855 --> 52:16.057 [SPEAKER_02]: We're talking about the war. 52:16.953 --> 52:21.234 [SPEAKER_02]: But only for a moment, and then Dax brings up Barrile. 52:21.254 --> 52:22.534 [SPEAKER_02]: Are you going to see Barrile? 52:23.674 --> 52:23.934 [SPEAKER_01]: Yes. 52:24.435 --> 52:25.115 [SPEAKER_01]: And she says yes. 52:25.235 --> 52:30.416 [SPEAKER_01]: In fact, Barrile has decided to have his very first orb experience. 52:31.156 --> 52:34.256 [SPEAKER_01]: So that is the big big to do that's going to happen later. 52:34.416 --> 52:38.237 [SPEAKER_02]: We go into the shrine, Barrile, and Kira wait for the Vedic to arrive. 52:38.277 --> 52:41.878 [SPEAKER_02]: And then he shows up places hand on Barrile's ear, checks his paw, 52:42.705 --> 52:48.428 [SPEAKER_02]: says it's very strong and he's ready to face the profits and off they go to the or box. 52:48.828 --> 52:50.929 [SPEAKER_02]: He starts his his experience. 52:51.189 --> 52:53.670 [SPEAKER_02]: Yeah, I like the Star Trek experience in Vegas. 52:54.511 --> 52:54.831 [SPEAKER_01]: It is. 52:55.771 --> 52:59.193 [SPEAKER_01]: Whenever someone checks someone's paw, it's always strong. 52:59.413 --> 53:01.794 [SPEAKER_01]: Has anyone ever said, oh, you're puss sucks. 53:01.874 --> 53:03.415 [SPEAKER_01]: You have the worst paw ever. 53:03.475 --> 53:04.416 [SPEAKER_01]: No one ever says that. 53:04.616 --> 53:05.196 [SPEAKER_00]: So I think 53:10.185 --> 53:15.129 [SPEAKER_01]: where they have gone, you're making a list, you're polished, you're polished, you're polished. 53:15.169 --> 53:26.718 [SPEAKER_01]: Yeah, so he does have the experience and now that's the post or experience and curious is having a little meal with Barillo and asked him what he thought. 53:26.778 --> 53:34.284 [SPEAKER_01]: And let's face it, a Phil Bangalom plays a great enlightened human be, enlightened bejorn because he definitely feels like he's gone through something. 53:34.344 --> 53:35.025 [SPEAKER_01]: He's, yeah. 53:35.105 --> 53:35.365 [SPEAKER_01]: And that, 53:35.685 --> 53:41.911 [SPEAKER_01]: He's trying to process and it seems like it has changed him or is in the process of changing him by bit. 53:42.252 --> 53:45.755 [SPEAKER_01]: And he asks, Kira, well, what do I do with this experience? 53:45.775 --> 53:47.297 [SPEAKER_01]: He wants to talk about it too. 53:47.517 --> 53:49.939 [SPEAKER_02]: And he says, you're not supposed to talk about it. 53:49.959 --> 53:51.241 [SPEAKER_01]: No, I never knew that. 53:51.321 --> 53:54.644 [SPEAKER_02]: That felt like a new rule was, I believe it is new. 53:54.824 --> 53:55.385 [SPEAKER_00]: Yes, yeah. 53:55.665 --> 53:57.966 [SPEAKER_02]: Yeah, but he he does say there were so many images. 53:58.046 --> 54:05.811 [SPEAKER_02]: I can't process it and she says it's not meant to be shared and she does give him a kiss at the end of the scene. 54:05.831 --> 54:13.795 [SPEAKER_00]: So they're getting quite cozy and to give Kina Kudos her discomfort at hearing this. 54:14.036 --> 54:14.676 [SPEAKER_00]: She played that. 54:14.696 --> 54:15.897 [SPEAKER_00]: I thought really well. 54:15.977 --> 54:18.498 [SPEAKER_00]: Yeah, it's that I don't want to hear this. 54:18.638 --> 54:20.699 [SPEAKER_00]: I just you shouldn't be saying that. 54:20.819 --> 54:23.141 [SPEAKER_00]: I really like the choices that you made there. 54:23.721 --> 54:23.941 [SPEAKER_01]: Mm-hmm. 54:24.942 --> 54:27.143 [SPEAKER_01]: Okay, we go back to Beryl's quarters. 54:27.283 --> 54:29.404 [SPEAKER_01]: He, um, he heads there because he says he's tired. 54:29.864 --> 54:35.466 [SPEAKER_01]: Now, when he sat down on that chair, I don't know if either of you remember this from the episode where he died. 54:35.887 --> 54:41.069 [SPEAKER_01]: He's in the same angle and the same lighting of of of of the in the sick bay, 54:42.409 --> 54:46.890 [SPEAKER_01]: And I was like, oh, this is so weird that they have, and I don't know if that was done intentionally. 54:46.990 --> 54:48.470 [SPEAKER_01]: I'm guessing it probably was not. 54:48.891 --> 54:57.352 [SPEAKER_01]: It's just coincidental, but I thought, my goodness, that was the death of the burial from our time period that it reminded me of. 54:57.632 --> 55:05.554 [SPEAKER_01]: And now, when this burial lies down, it's almost like the death of his self from the mirror universe in a way, because he's had the orbit experience. 55:05.574 --> 55:06.374 [SPEAKER_01]: But it's a lot of meaning. 55:06.414 --> 55:08.635 [SPEAKER_02]: I wouldn't really take care of you, yes, I did. 55:08.735 --> 55:10.655 [SPEAKER_02]: Sorry, but I didn't want to be in the Matrix. 55:11.155 --> 55:17.685 [SPEAKER_02]: Well, I want Armin to go deep in the matrix, so in the scene, Mira Kira walks through the door. 55:18.366 --> 55:20.148 [SPEAKER_02]: Surprise, surprise, not together. 55:21.496 --> 55:22.137 [SPEAKER_00]: not to you. 55:22.657 --> 55:24.198 [SPEAKER_00]: And I didn't remember this episode. 55:24.218 --> 55:25.139 [SPEAKER_00]: It's not like I read the script. 55:25.319 --> 55:25.559 [SPEAKER_00]: I went. 55:25.599 --> 55:25.819 [SPEAKER_00]: Yeah. 55:25.939 --> 55:26.239 [SPEAKER_00]: Of course. 55:26.279 --> 55:27.400 [SPEAKER_00]: You're here. 55:27.480 --> 55:29.081 [SPEAKER_02]: I was expecting to show up. 55:29.402 --> 55:33.885 [SPEAKER_02]: My thought when she first walked through is, how did she get on to the stage? 55:33.905 --> 55:34.265 [SPEAKER_00]: Well, yes. 55:34.345 --> 55:34.565 [SPEAKER_00]: Yes. 55:34.645 --> 55:34.886 [SPEAKER_00]: Yes. 55:34.946 --> 55:35.206 [SPEAKER_00]: Yes. 55:35.326 --> 55:35.526 [SPEAKER_00]: Yes. 55:35.566 --> 55:36.687 [SPEAKER_02]: That's what I mentioned before. 55:36.727 --> 55:37.027 [SPEAKER_00]: Yes. 55:37.067 --> 55:38.168 [SPEAKER_02]: We're on the same page there. 55:38.268 --> 55:39.969 [SPEAKER_00]: How you've already said it. 55:40.370 --> 55:40.550 [SPEAKER_00]: Yeah. 55:40.610 --> 55:40.910 [SPEAKER_00]: If they could 55:41.190 --> 55:52.720 [SPEAKER_00]: sense for a while showing up in office because there's a fluctuation in whatever, uh, how did they not see the intended in that same in a different or similar fluctuation? 55:52.980 --> 55:54.582 [SPEAKER_00]: Why wasn't security alerted? 55:54.702 --> 56:03.510 [SPEAKER_02]: I just don't know how she got on the station, like, and she doesn't say it, no one asks, you know, she didn't say, oh, I came in snuck in through a transporter in, uh, 56:04.412 --> 56:05.673 [SPEAKER_01]: Yeah, it was very strange. 56:05.833 --> 56:06.974 [SPEAKER_01]: Okay, so this is why. 56:07.154 --> 56:08.415 [SPEAKER_01]: Okay, this is what I think happened. 56:08.455 --> 56:09.916 [SPEAKER_01]: So she used the transporter patch. 56:09.936 --> 56:14.359 [SPEAKER_01]: She first put on Kira's red Bedjorn uniform, okay. 56:14.780 --> 56:17.261 [SPEAKER_01]: Then she beams for her universe. 56:17.382 --> 56:19.863 [SPEAKER_02]: Oh, because he says, oh, you're wearing a Bedjorn outfit. 56:19.883 --> 56:21.905 [SPEAKER_02]: We don't have those in our in our world. 56:22.145 --> 56:39.174 [SPEAKER_01]: But she has, she has met Kira before I can't remember if she's seen her Kira, whereas in the past, so amazing, replicated that, okay, and in her universe, she uses the little transporter that shoots her over onto not deus nine onto a ship that is orbiting and then she's like, yeah, she's like here. 56:39.334 --> 56:42.078 [SPEAKER_01]: Yes, and she's like, I'm just here to just check on you guys to see. 56:42.138 --> 56:44.341 [SPEAKER_01]: I'm just doing review a lot of magic here. 56:44.421 --> 56:48.166 [SPEAKER_01]: It is and then from there, she just docs and walks on. 56:48.367 --> 56:49.829 [SPEAKER_01]: So no one detects it. 56:49.849 --> 56:50.610 [SPEAKER_01]: It's possible. 56:50.850 --> 56:51.892 [SPEAKER_01]: It's possible. 56:51.992 --> 56:53.394 [SPEAKER_02]: It is a lot of a bump to me. 56:53.774 --> 56:54.055 [SPEAKER_02]: I know. 56:54.921 --> 56:56.662 [SPEAKER_01]: And I think it's about me too. 56:56.822 --> 56:59.823 [SPEAKER_02]: I wish she had immediately told Barrile how she did it. 57:00.043 --> 57:05.106 [SPEAKER_02]: Something simple and quick, but if she had immediately, if he had said, oh my gosh, it didn't expect you. 57:05.126 --> 57:08.407 [SPEAKER_01]: Yeah, I had something like mast my, my transfer signature, right? 57:08.547 --> 57:10.668 [SPEAKER_01]: Make up for science, something anything. 57:10.808 --> 57:14.550 [SPEAKER_02]: Okay, that would have covered it because I, because they didn't reference it. 57:14.570 --> 57:14.970 [SPEAKER_02]: I was like, 57:16.382 --> 57:17.023 [SPEAKER_02]: like a problem. 57:17.103 --> 57:20.725 [SPEAKER_00]: And the thing is they did reference it in the first scene. 57:21.165 --> 57:24.107 [SPEAKER_00]: They told us this is not really something that happens. 57:24.747 --> 57:27.649 [SPEAKER_00]: So we already should be reassured. 57:28.129 --> 57:29.150 [SPEAKER_01]: Yeah, Raiders. 57:29.530 --> 57:33.412 [SPEAKER_01]: Well, this entire scene is essentially the intended. 57:33.752 --> 57:36.634 [SPEAKER_01]: and has arrived earlier than she was supposed to. 57:36.694 --> 57:43.179 [SPEAKER_01]: So Mary universe, I would care, I was supposed to show up much later, but she says, I missed you. 57:43.239 --> 57:50.745 [SPEAKER_01]: So now we know there's a relationship between Mary universe, Kira and Mary universe, Barrell, there in a, in a, in a, toward Trist. 57:51.445 --> 57:56.047 [SPEAKER_01]: And so she tries to come on to him and he's very like, well, I'm just tired. 57:56.067 --> 57:58.988 [SPEAKER_01]: She's like, well, you're never tired, but this is strange. 57:59.048 --> 58:02.729 [SPEAKER_01]: Ben, she lets, then she realizes, oh my gosh, it's the other Kira. 58:02.949 --> 58:04.750 [SPEAKER_01]: And instead of getting mad, she loves it. 58:04.770 --> 58:08.231 [SPEAKER_01]: She goes, of course, you'd be intoxicated with her because she's me. 58:08.351 --> 58:11.492 [SPEAKER_01]: You know, she's very, very confident in everything that she does. 58:11.532 --> 58:12.993 [SPEAKER_01]: And so it doesn't even phase her. 58:13.393 --> 58:18.075 [SPEAKER_01]: That barial has been sort of swept up by this universe's Kira. 58:18.495 --> 58:18.895 [SPEAKER_01]: That all. 58:19.935 --> 58:32.082 [SPEAKER_01]: And it just goes back and forth and back and forth between the two, but now we realize that there is a hidden agenda here, and that is to basically steal the orb. 58:32.262 --> 58:35.364 [SPEAKER_01]: The orb needs to be stolen and taken back to their universe. 58:35.564 --> 58:37.925 [SPEAKER_02]: It felt like a lot of blocking in this scene. 58:37.945 --> 58:43.008 [SPEAKER_02]: You know, that was like sitting in his lap and moving around and getting up and standing. 58:43.108 --> 58:47.350 [SPEAKER_02]: I don't know to me, it slowed the scene down in an episode that's already pretty slow. 58:47.630 --> 58:53.456 [SPEAKER_00]: I realize that a lot of this performance, and I'm a huge fan of the Nause, it's like a dance. 58:53.816 --> 58:56.299 [SPEAKER_00]: And that's why the movement didn't bother me. 58:56.439 --> 58:57.500 [SPEAKER_00]: It was like a dance. 58:57.580 --> 59:04.507 [SPEAKER_00]: She's dancing around the room because dance is a familiar thing to Nause. 59:04.607 --> 59:07.710 [SPEAKER_00]: She has a very famous dancing family. 59:07.810 --> 59:12.354 [SPEAKER_00]: So I thought that, I must say, and I just said, I'm a big fan of the noise. 59:12.654 --> 59:15.737 [SPEAKER_00]: I'm a little tired of her antics as the intended. 59:15.977 --> 59:17.659 [SPEAKER_00]: I've seen it, I've seen it. 59:17.699 --> 59:22.963 [SPEAKER_00]: I've seen it, it's good, it's different, it's exciting to watch. 59:23.043 --> 59:28.788 [SPEAKER_00]: I just, I've seen this, and I don't see an arc anywhere for the intended. 59:29.729 --> 59:41.012 [SPEAKER_00]: I see her being fascinating, scintillating, different, exciting to watch all of that, but I don't see a change and that's not, you know, not as fault. 59:41.272 --> 59:42.873 [SPEAKER_00]: I want to see the writing to change. 59:43.213 --> 59:43.413 [SPEAKER_00]: Yeah. 59:43.453 --> 59:43.593 [SPEAKER_00]: Yeah. 59:43.893 --> 59:49.515 [SPEAKER_02]: Well, my favorite scene in this episode is about to start, and that isn't forksbar with Brian getting drunk. 59:50.520 --> 59:55.543 [SPEAKER_02]: And he tells everybody that he's not vetting pariahal, just lemme alone. 59:55.644 --> 01:00:06.170 [SPEAKER_02]: So clearly his, you know, seeing the attendant has caused him some guilt or some, you know, he's having conflict with this whole plan to drink driven and drink. 01:00:06.410 --> 01:00:06.631 [SPEAKER_00]: Yeah. 01:00:06.791 --> 01:00:08.652 [SPEAKER_02]: And then court comes in and tells everybody, 01:00:13.774 --> 01:00:27.102 [SPEAKER_02]: the fact that not just the writing that your character solves this whole thing and his observation that other people should be noticing honestly, but they gave it to you, you did a great job with it. 01:00:27.563 --> 01:00:34.867 [SPEAKER_02]: It's the one scene in this whole episode that I'm like, oh, Armin's talking like a normal human or a normal fringy. 01:00:34.927 --> 01:00:40.091 [SPEAKER_02]: It's just the pace of it was like, you're just expressing 01:00:42.652 --> 01:00:46.234 [SPEAKER_02]: actor, and it was the pace felt natural. 01:00:46.575 --> 01:00:47.255 [SPEAKER_02]: It felt real. 01:00:47.795 --> 01:00:48.496 [SPEAKER_02]: It felt good. 01:00:48.676 --> 01:00:58.862 [SPEAKER_01]: And it honestly was not just the scene later, Arman scene when the cargo maze also super good too, so that's not of the, yeah, you brought great work. 01:00:58.942 --> 01:01:03.545 [SPEAKER_02]: And I don't know if it was helped with direction or just the writing was 01:01:04.145 --> 01:01:08.007 [SPEAKER_02]: better or I give you the credit honestly as an actor that you did. 01:01:08.027 --> 01:01:15.669 [SPEAKER_00]: Well, I would say that I wouldn't accept the credit, but I have no memory ever of thevar giving me a note. 01:01:15.749 --> 01:01:21.832 [SPEAKER_00]: So he shot it and I left him to his what he had to do and he left me to what I had to do. 01:01:22.092 --> 01:01:23.952 [SPEAKER_00]: So it worked out well. 01:01:24.333 --> 01:01:25.153 [SPEAKER_02]: Kudos to both of us. 01:01:25.513 --> 01:01:45.567 [SPEAKER_01]: Yeah, yeah, I think this to me was my favorite scene or this your both your scenes were yeah one quick little trivia thing Right in the beginning of the scene brials says looks over to a couple of people staring at him at the bar and in the episode he says what are you two looking at but the script says what are you two staring at 01:01:45.847 --> 01:01:52.954 [SPEAKER_01]: So this is one, one of the very rare times where they went with the dialogue that was not in the script. 01:01:53.094 --> 01:01:56.357 [SPEAKER_01]: It could be that, you know, Philip Anglin, he's only human. 01:01:56.637 --> 01:02:01.241 [SPEAKER_00]: He just got the wrong word and Judy, our script coordinator just said, okay, fine. 01:02:01.462 --> 01:02:01.822 [SPEAKER_00]: Just believe it. 01:02:01.862 --> 01:02:03.523 [SPEAKER_00]: And maybe they made a call upstairs, who knows. 01:02:03.584 --> 01:02:06.426 [SPEAKER_00]: But yeah, usually we have to do it exactly as written. 01:02:06.827 --> 01:02:07.047 [SPEAKER_00]: Yeah. 01:02:07.947 --> 01:02:14.731 [SPEAKER_02]: Well, cork tells everybody to leave malone and then starts discussing a business proposition with barile here. 01:02:15.031 --> 01:02:27.037 [SPEAKER_02]: He says basically, you know, picture this, you could be seated wearing robes and we'd have a long line of Bajoran's way to pay you good money just to meet you and maybe even touch your hand, shake your hand. 01:02:27.922 --> 01:02:29.965 [SPEAKER_02]: and bariles not interested in this. 01:02:30.565 --> 01:02:35.972 [SPEAKER_02]: It Quarkass and Y, and he says, I'm a lot more like you than I am like Vedic barile. 01:02:36.392 --> 01:02:39.275 [SPEAKER_02]: And he goes, no, neither one of us, I don't like either one of us right now. 01:02:39.335 --> 01:02:41.718 [SPEAKER_02]: I don't like me or that guy, the other Vedic. 01:02:41.778 --> 01:02:43.560 [SPEAKER_02]: So Quark is clocking. 01:02:44.361 --> 01:02:48.163 [SPEAKER_02]: that he's got some, he's tormented in some. 01:02:48.203 --> 01:02:50.184 [SPEAKER_02]: I think that's the word he's related to. 01:02:50.744 --> 01:02:51.545 [SPEAKER_01]: Yeah. 01:02:51.965 --> 01:02:58.788 [SPEAKER_01]: I mean, I just, again, he's, he, this is the orb experience is changing him from the inside. 01:02:59.008 --> 01:03:01.949 [SPEAKER_01]: I feel this is something that is, that he's going through. 01:03:01.989 --> 01:03:02.910 [SPEAKER_01]: What it is, really. 01:03:03.290 --> 01:03:05.231 [SPEAKER_01]: And I do like the writing here, though, by Brad. 01:03:05.251 --> 01:03:05.731 [SPEAKER_01]: Yeah, see it. 01:03:05.791 --> 01:03:06.612 [SPEAKER_01]: Yeah, see it. 01:03:07.012 --> 01:03:12.615 [SPEAKER_01]: I like the writing here, because Brad says, I suppose I am a lot more like you than I'll ever be, like, pedic, barial. 01:03:12.655 --> 01:03:13.495 [SPEAKER_01]: And that's what Encore says. 01:03:13.695 --> 01:03:14.236 [SPEAKER_01]: Well, perfect. 01:03:14.256 --> 01:03:15.056 [SPEAKER_01]: Then we have a deal. 01:03:15.576 --> 01:03:16.937 [SPEAKER_01]: And that's what I'm afraid not. 01:03:17.077 --> 01:03:18.058 [SPEAKER_01]: And that's when the why? 01:03:18.138 --> 01:03:20.079 [SPEAKER_01]: Because right now I don't like either one of us. 01:03:20.659 --> 01:03:22.500 [SPEAKER_01]: So I just felt it was very introspective. 01:03:22.720 --> 01:03:23.460 [SPEAKER_01]: I like this scene. 01:03:23.560 --> 01:03:24.501 [SPEAKER_01]: I thought it was a great scene. 01:03:24.761 --> 01:03:25.381 [SPEAKER_02]: I did too. 01:03:25.581 --> 01:03:26.301 [SPEAKER_02]: I agree with you. 01:03:26.341 --> 01:03:26.621 [SPEAKER_02]: I'm not. 01:03:26.661 --> 01:03:26.961 [SPEAKER_02]: I didn't. 01:03:27.242 --> 01:03:28.622 [SPEAKER_02]: I love this scene actually. 01:03:28.642 --> 01:03:29.122 [SPEAKER_02]: I think it's nice. 01:03:29.162 --> 01:03:45.765 [SPEAKER_00]: I'm very flattered that in his research about deep space nine and all the people on it, he also did some research on Quark and knew what sort of entity Quark was because the really isn't all that much in this scene for him to have said what he said unless he's been watching the show for the last five years. 01:03:46.166 --> 01:03:47.346 [SPEAKER_02]: Right. 01:03:47.666 --> 01:03:48.486 [SPEAKER_02]: He did research. 01:03:48.646 --> 01:03:49.286 [SPEAKER_00]: He did. 01:03:49.366 --> 01:03:49.766 [SPEAKER_00]: I think that's 01:03:53.347 --> 01:03:55.928 [SPEAKER_02]: There's a nice 360 in this next scene. 01:03:56.128 --> 01:03:57.168 [SPEAKER_02]: Yeah, that was great. 01:03:57.708 --> 01:04:04.369 [SPEAKER_02]: On the promenade where he goes and kind of stands staring at the shrine entrance, looking around at all the people. 01:04:04.429 --> 01:04:09.230 [SPEAKER_02]: Just kind of taking in his guilt or shame or, you know, second thoughts about this whole plan. 01:04:09.630 --> 01:04:17.332 [SPEAKER_00]: And I want to give Kuro's to the two ladies, the two background ladies, who are standing on the steps of the shrine and see him and whisper to each other. 01:04:17.352 --> 01:04:18.452 [SPEAKER_00]: Oh my god, that's barra. 01:04:18.712 --> 01:04:24.015 [SPEAKER_00]: I will talk about this later, but I'm very impressed by what the have the background people reacted to. 01:04:24.135 --> 01:04:29.457 [SPEAKER_00]: That's really, very important, and they did a very good job. 01:04:29.777 --> 01:04:33.079 [SPEAKER_01]: Yeah, we jumped into the cargo bay now, and here we go. 01:04:33.559 --> 01:04:42.263 [SPEAKER_01]: This is where Cork shows up to talk to Kira about how he's met her new boyfriend and says that she should basically be careful. 01:04:42.664 --> 01:04:45.585 [SPEAKER_01]: Brace yourself, and she's like, what are you talking about? 01:04:45.605 --> 01:04:47.386 [SPEAKER_01]: He's like, well, he's a tormented one. 01:04:47.846 --> 01:04:50.948 [SPEAKER_01]: So Kira explains that this burial had an orb experience. 01:04:51.088 --> 01:04:57.012 [SPEAKER_01]: Quark says that's interesting because he saw burial hanging around the shrine for a couple of hours after he left the bar. 01:04:57.132 --> 01:05:09.000 [SPEAKER_01]: So Kira thinks that he went there to be introspective, but Quark thinks he was there to case the entire joint to figure out how to pilfer something, probably the orb from this shrine. 01:05:09.320 --> 01:05:13.163 [SPEAKER_01]: And Quark is clearly the smartest one on the entire station. 01:05:17.561 --> 01:05:18.161 [SPEAKER_01]: I'll let you say it. 01:05:18.221 --> 01:05:19.002 [SPEAKER_01]: Okay, go ahead. 01:05:19.562 --> 01:05:22.923 [SPEAKER_02]: No, no, Quark is clearly the smartest one in the station. 01:05:22.943 --> 01:05:24.324 [SPEAKER_02]: You're paying attention. 01:05:24.384 --> 01:05:30.067 [SPEAKER_02]: You're noticing behavior and suspicious things and I don't know why no one else is. 01:05:30.207 --> 01:05:32.448 [SPEAKER_02]: It's very infusing because there's smart characters. 01:05:32.488 --> 01:05:33.288 [SPEAKER_02]: There's smart people. 01:05:33.588 --> 01:05:33.848 [SPEAKER_02]: Right. 01:05:34.869 --> 01:05:36.409 [SPEAKER_02]: But there's only one person. 01:05:36.449 --> 01:05:37.530 [SPEAKER_02]: And we have mentioned. 01:05:37.590 --> 01:05:37.830 [SPEAKER_02]: Yes. 01:05:38.350 --> 01:05:39.571 [SPEAKER_02]: He could anybody. 01:05:40.591 --> 01:05:49.917 [SPEAKER_02]: For they know bariles debt, like they know aliens that can morph and transform, so they should be suspicious first in this with the stakes as high as they are. 01:05:49.997 --> 01:05:50.557 [SPEAKER_00]: They found her. 01:05:51.158 --> 01:05:51.538 [SPEAKER_00]: Yeah. 01:05:51.838 --> 01:05:53.459 [SPEAKER_00]: Thank God for Quark is all I have to say. 01:05:53.479 --> 01:05:54.380 [SPEAKER_00]: Thank God. 01:05:54.400 --> 01:06:03.805 [SPEAKER_00]: And it's a power that I'm very grateful that the writers took advantage of Quark's ability to judge people from his, from his purchase of bartender. 01:06:03.985 --> 01:06:05.726 [SPEAKER_00]: I wish they had used that more actually. 01:06:08.668 --> 01:06:09.329 [SPEAKER_00]: that he has. 01:06:09.389 --> 01:06:10.630 [SPEAKER_00]: It's a normal human power. 01:06:10.690 --> 01:06:11.852 [SPEAKER_00]: It's nothing supernatural. 01:06:12.052 --> 01:06:14.294 [SPEAKER_02]: It's it's the street smart character. 01:06:14.414 --> 01:06:17.858 [SPEAKER_02]: It's written any movie or TV show. 01:06:17.898 --> 01:06:28.790 [SPEAKER_02]: There's always the, you know, the street smart character who knows the regular guys and can see things better than the educated professionals and they should have taken advantage of that. 01:06:28.970 --> 01:06:29.170 [SPEAKER_00]: Yeah. 01:06:29.190 --> 01:06:29.431 [SPEAKER_00]: Yeah. 01:06:29.571 --> 01:06:43.825 [SPEAKER_00]: And one of the things that they're not did that when first saw I saw that like yourself I saw twice this past week when I first thought I thought oh there she is again ignoring core call together and showing a slight dislike for him and I thought there it is again. 01:06:44.465 --> 01:06:48.408 [SPEAKER_00]: Yeah, the second time I watched it, I totally changed that attitude. 01:06:48.448 --> 01:06:51.750 [SPEAKER_00]: I went, no, she's very smart and I was doing a good job. 01:06:51.850 --> 01:07:06.340 [SPEAKER_00]: The arc of the scene for her is that she does ignore him and then eventually what he's saying gets to her and she realizes, oh Good acting that when that when an actor finds an arc in a scene that doesn't necessarily have an arc. 01:07:06.560 --> 01:07:08.021 [SPEAKER_00]: Yeah, good for you. 01:07:08.301 --> 01:07:11.323 [SPEAKER_00]: Yeah, yeah, by arc I mean change of course 01:07:11.923 --> 01:07:12.564 [SPEAKER_01]: Hmm. 01:07:12.764 --> 01:07:20.073 [SPEAKER_01]: We're in Briles' quarters now, and Mira Kira is now dressed in care as clothing, and they prepare to steal the orb. 01:07:20.713 --> 01:07:28.302 [SPEAKER_01]: So we end this scene with their close-up on Briles' face, and he's very, very deep in thought, but the plan is in effect now. 01:07:28.642 --> 01:07:31.763 [SPEAKER_02]: And she does ask him, did you get the combatages and he's got to. 01:07:32.043 --> 01:07:32.783 [SPEAKER_02]: He's a pickvocket. 01:07:32.903 --> 01:07:34.103 [SPEAKER_02]: He's a thief. 01:07:34.143 --> 01:07:42.165 [SPEAKER_02]: He's got the old um badges and she says, call me, I guess, on the combatage, the minute you have the Orbs. 01:07:42.185 --> 01:07:47.146 [SPEAKER_02]: So we go to the shrine and the sanctuary candles are lit. 01:07:47.206 --> 01:07:47.886 [SPEAKER_02]: It's beautiful. 01:07:47.946 --> 01:07:55.227 [SPEAKER_02]: By the way, the sets, there's a lot of new sets for the shrine and, you know, that meditation room, all that stuff. 01:07:55.247 --> 01:07:56.428 [SPEAKER_02]: I thought the sets look great. 01:07:58.568 --> 01:08:00.029 [SPEAKER_00]: And I like the lighting as well. 01:08:00.389 --> 01:08:04.631 [SPEAKER_00]: Yeah, I like the lighting which pays off when the in the next scene. 01:08:04.671 --> 01:08:05.652 [SPEAKER_00]: Yeah, yeah. 01:08:05.852 --> 01:08:11.675 [SPEAKER_02]: So now we're in a corridor with Kira and she's walking up to security who's blocking a doorway. 01:08:11.695 --> 01:08:17.078 [SPEAKER_02]: She has to go in because she's dressed undercover as as the real Kira here. 01:08:17.239 --> 01:08:20.000 [SPEAKER_02]: But he says no, you're going to need a level six code. 01:08:20.060 --> 01:08:21.321 [SPEAKER_02]: It's the new protocol. 01:08:22.220 --> 01:08:24.182 [SPEAKER_02]: And then she acts at the war. 01:08:24.422 --> 01:08:29.906 [SPEAKER_01]: But it's also funny that this is this is Scott Strocher and he's a dormant at a real night real life. 01:08:30.046 --> 01:08:30.726 [SPEAKER_01]: Oh, yeah. 01:08:30.766 --> 01:08:31.987 [SPEAKER_01]: And he's a dormant here. 01:08:32.027 --> 01:08:33.368 [SPEAKER_01]: Basically is well. 01:08:33.428 --> 01:08:34.089 [SPEAKER_01]: Oh, that's true. 01:08:34.129 --> 01:08:34.990 [SPEAKER_01]: Yeah, it's a little funny. 01:08:35.150 --> 01:08:44.457 [SPEAKER_02]: Yeah, she acts like her shoulder is injured, asked the security guy to give her shoulder rub a massage, which he does, which I was very shocked about. 01:08:44.477 --> 01:08:45.918 [SPEAKER_01]: I'm like, right now. 01:08:46.438 --> 01:08:53.561 [SPEAKER_02]: What have you done and he starts smiling like if I were a security guard, I'd be like, I'm sorry, no, I just can't do that. 01:08:53.581 --> 01:08:56.482 [SPEAKER_02]: Yeah, and then no, that's in order to put it. 01:08:56.522 --> 01:08:57.242 [SPEAKER_02]: Rub my shoulder. 01:08:57.802 --> 01:09:00.143 [SPEAKER_02]: Why, I don't feel right about this. 01:09:00.263 --> 01:09:05.225 [SPEAKER_02]: It feels like the intention for a security guy who's that serious should be. 01:09:05.985 --> 01:09:14.568 [SPEAKER_00]: as opposed to, oh, the writers should have taken his character as seriously as all the other characters. 01:09:15.409 --> 01:09:19.270 [SPEAKER_00]: And she should have, she's threatened, she said, I can't make an order, who's one of her lines. 01:09:19.911 --> 01:09:21.191 [SPEAKER_00]: She should have made an order. 01:09:21.291 --> 01:09:21.831 [SPEAKER_00]: I can't do that. 01:09:21.851 --> 01:09:22.191 [SPEAKER_00]: I'm sorry. 01:09:22.231 --> 01:09:22.872 [SPEAKER_00]: I can't do that. 01:09:23.392 --> 01:09:24.072 [SPEAKER_00]: It's an order. 01:09:24.792 --> 01:09:25.113 [SPEAKER_00]: Right. 01:09:25.213 --> 01:09:25.753 [SPEAKER_00]: Okay. 01:09:25.773 --> 01:09:26.593 [SPEAKER_00]: I order you, too. 01:09:26.673 --> 01:09:26.913 [SPEAKER_00]: Yeah. 01:09:27.213 --> 01:09:27.714 [SPEAKER_02]: Yeah. 01:09:34.685 --> 01:09:35.846 [SPEAKER_02]: Yeah, but she knocks him out. 01:09:36.246 --> 01:09:39.109 [SPEAKER_02]: He gives a little shoulder rub and she knocks him out. 01:09:39.389 --> 01:09:42.572 [SPEAKER_02]: Then we cut inside the cargo bay where she's dragged his body. 01:09:42.852 --> 01:09:45.374 [SPEAKER_02]: That was a nice transition that Lavar did often. 01:09:45.454 --> 01:09:49.698 [SPEAKER_02]: I'm glad I didn't have to see her dragging his body over the over the bumps. 01:09:49.938 --> 01:09:55.303 [SPEAKER_01]: Yeah, dragging his body over something that is in bumpy is very difficult. 01:09:55.423 --> 01:09:57.765 [SPEAKER_01]: I'm impressed that she was even able to do that. 01:09:57.825 --> 01:09:58.465 [SPEAKER_01]: She's strong. 01:09:58.746 --> 01:10:00.187 [SPEAKER_01]: Yeah, that's super strong. 01:10:00.627 --> 01:10:06.753 [SPEAKER_00]: I can believe that Kira, who fluck climbs 57 flights and is not out of breath, but I'm not so sure about the intended. 01:10:06.814 --> 01:10:07.694 [SPEAKER_00]: About the intended? 01:10:07.915 --> 01:10:08.135 [SPEAKER_01]: Yeah. 01:10:08.275 --> 01:10:12.599 [SPEAKER_01]: Can I just bring up the knocking out process, which was to me very interesting? 01:10:12.760 --> 01:10:16.904 [SPEAKER_01]: So she starts with an elbow to his midsection, which she doubles over. 01:10:17.444 --> 01:10:20.287 [SPEAKER_01]: Then she goes to the two fisted, 01:10:21.328 --> 01:10:26.035 [SPEAKER_01]: Captain Kirk hit on the back of his neck and I thought wait a minute. 01:10:26.235 --> 01:10:31.001 [SPEAKER_01]: You're from the Mary universe You wouldn't be fighting the way Captain Kirk does in this universe. 01:10:31.061 --> 01:10:32.163 [SPEAKER_01]: I'm sorry move. 01:10:32.203 --> 01:10:32.703 [SPEAKER_02]: Let's stop. 01:10:32.723 --> 01:10:34.686 [SPEAKER_02]: Let's go back to your universe. 01:10:34.786 --> 01:10:36.068 [SPEAKER_02]: Okay, anyway, that's funny 01:10:36.808 --> 01:10:39.709 [SPEAKER_02]: Well, in the shrine, Kira catches the real Kira. 01:10:40.069 --> 01:10:47.392 [SPEAKER_02]: Catches per aisle inside the shrine, and she admits that she was full, but Quark was not full, and then Mirra Kira shows up. 01:10:47.412 --> 01:10:55.795 [SPEAKER_02]: So now we've got the knob playing both characters in the same scene, which I always like those scenes, when the actor gets to play two parts in the shot. 01:10:55.995 --> 01:10:58.296 [SPEAKER_00]: Yeah, my question is, as a union official, 01:11:00.397 --> 01:11:09.341 [SPEAKER_00]: When she does that, the union says, you have to be paid for two characters and I don't know. 01:11:09.361 --> 01:11:12.682 [SPEAKER_00]: I have to ask her someday whether she wasn't paid for two characters. 01:11:13.330 --> 01:11:15.250 [SPEAKER_00]: I want you to have that rule to pay for two kids. 01:11:16.031 --> 01:11:20.452 [SPEAKER_02]: You do now, but isn't that a relatively new, like in the last 10 years or so? 01:11:20.632 --> 01:11:21.072 [SPEAKER_00]: No. 01:11:21.212 --> 01:11:24.112 [SPEAKER_00]: I think it went into effect after the paddy Duke'sha. 01:11:24.593 --> 01:11:25.513 [SPEAKER_02]: Oh, interesting. 01:11:25.793 --> 01:11:26.073 [SPEAKER_02]: Wait. 01:11:26.713 --> 01:11:33.495 [SPEAKER_02]: Yeah, I don't think that that's often paid to be honest, sag should get involved in that because that's two different characters. 01:11:33.675 --> 01:11:34.155 [SPEAKER_02]: Armen, yeah. 01:11:34.175 --> 01:11:35.075 [SPEAKER_01]: So the, yeah. 01:11:35.815 --> 01:11:41.463 [SPEAKER_01]: What about when Michael Keaton in the future film multiplicity played seven of himself? 01:11:41.884 --> 01:11:43.606 [SPEAKER_01]: He would be paid seven times. 01:11:43.726 --> 01:11:45.649 [SPEAKER_00]: I would imagine that there's a clause. 01:11:45.909 --> 01:11:46.690 [SPEAKER_02]: What's it called? 01:11:46.750 --> 01:11:47.571 [SPEAKER_02]: It's been a couple years. 01:11:47.771 --> 01:11:49.173 [SPEAKER_02]: Like over scale or something. 01:11:49.193 --> 01:11:50.255 [SPEAKER_00]: That's not over scale. 01:11:51.576 --> 01:12:01.669 [SPEAKER_00]: Schedule F is a tier where we get paid so much money that certain principles are no longer followed because you're getting so much more efficient. 01:12:01.849 --> 01:12:09.438 [SPEAKER_00]: I would say that since he had to be a six-chedule F performer that that was overlooked, the rules all get bent out of shape for different levels. 01:12:10.219 --> 01:12:21.030 [SPEAKER_02]: But you would also imagine Garrett and this is getting the weeds of contract law, but if you're paid over scale and then this rule does apply, that you would only be paid scale for those additional characters. 01:12:21.110 --> 01:12:21.911 [SPEAKER_02]: Oh, okay. 01:12:22.151 --> 01:12:24.113 [SPEAKER_00]: No, just depending on what your agent negotiate. 01:12:24.644 --> 01:12:26.947 [SPEAKER_00]: You're agent negotiating for two characters. 01:12:27.447 --> 01:12:28.809 [SPEAKER_02]: Yes, they could negotiate. 01:12:28.869 --> 01:12:29.970 [SPEAKER_02]: They can negotiate. 01:12:30.030 --> 01:12:34.455 [SPEAKER_00]: And they could say, OK, who's getting plenty for the first character and will take scale for the second. 01:12:34.715 --> 01:12:36.737 [SPEAKER_00]: That seems like a normal negotiation. 01:12:36.997 --> 01:12:40.381 [SPEAKER_00]: But if you had a very aggressive agent, he could say, no, you want this. 01:12:40.621 --> 01:12:42.363 [SPEAKER_00]: We're going to negotiate for both these characters. 01:12:42.503 --> 01:12:43.164 [SPEAKER_01]: Yeah. 01:12:43.544 --> 01:12:43.665 [SPEAKER_01]: OK. 01:12:44.405 --> 01:12:45.145 [SPEAKER_00]: interesting. 01:12:45.325 --> 01:12:55.969 [SPEAKER_00]: What I liked about the lighting in the shrine scene is that when she came in, it was dim enough so that it was sort of a surprise that we have both act. 01:12:56.009 --> 01:12:58.330 [SPEAKER_00]: We have one actor playing two parts in the same scene. 01:12:59.486 --> 01:13:12.060 [SPEAKER_02]: Yeah, Mira Kira tells Barile and then seen that to tell Kira that he was just using her that, you know, he, Mira Kira basically the attendant wants Barile to, to crush Kira. 01:13:12.180 --> 01:13:13.702 [SPEAKER_02]: Yes, like basically. 01:13:15.003 --> 01:13:18.465 [SPEAKER_02]: mirror or the intended is like teller it was all fake. 01:13:18.485 --> 01:13:19.285 [SPEAKER_02]: You don't love her. 01:13:19.325 --> 01:13:20.966 [SPEAKER_02]: You don't care about her basically. 01:13:20.986 --> 01:13:21.566 [SPEAKER_02]: That's what she said. 01:13:21.586 --> 01:13:22.366 [SPEAKER_02]: Very soap opera. 01:13:22.467 --> 01:13:23.207 [SPEAKER_02]: Very soap opera. 01:13:23.267 --> 01:13:24.427 [SPEAKER_02]: And very soap opera. 01:13:24.447 --> 01:13:26.588 [SPEAKER_01]: But near Akira wasn't even supposed to be here. 01:13:26.648 --> 01:13:33.071 [SPEAKER_01]: Mira Care is supposed to be the transporter pad waiting to to get out of, you know, she's not, she's not supposed to be here at all. 01:13:33.131 --> 01:13:38.754 [SPEAKER_01]: So this is definitely vengeful, spiteful, soap opera, any sort of action for her to be here. 01:13:38.894 --> 01:13:41.136 [SPEAKER_01]: Yeah, which she's done plenty of. 01:13:41.496 --> 01:13:42.897 [SPEAKER_00]: Oh, yes, we're used to that a lot. 01:13:43.237 --> 01:13:45.899 [SPEAKER_00]: So it didn't shock any of us to see her here at all. 01:13:45.999 --> 01:14:03.792 [SPEAKER_00]: They have talked about this in other scenes about going back to their universe and being able to predict the future, which the orb experience should tell him that that doesn't happen with the orb, but that they are planning to steal this sort of that they can become gods in the sense that we can predict the future. 01:14:04.212 --> 01:14:13.798 [SPEAKER_00]: But we know from our own experiences of the war and from his experience in this war that the predicting the future is not something you get from the war, but you get analogies. 01:14:14.859 --> 01:14:14.999 [SPEAKER_00]: Yeah. 01:14:15.059 --> 01:14:16.160 [SPEAKER_00]: Well, he grows a conscience. 01:14:16.200 --> 01:14:16.760 [SPEAKER_00]: He shoots. 01:14:16.820 --> 01:14:17.801 [SPEAKER_01]: He faces mirror. 01:14:29.981 --> 01:14:43.393 [SPEAKER_01]: looked into the orb, you and I had a life and a family on major, but he said, well, it might have worked for a little bit, but eventually I'd find some way to screw it up, so I think I'm better off back in my universe. 01:14:43.573 --> 01:14:45.074 [SPEAKER_01]: And Kira says, okay, well, then go. 01:14:45.574 --> 01:14:47.136 [SPEAKER_01]: And that was it. 01:14:47.236 --> 01:14:47.896 [SPEAKER_00]: That's the beam out. 01:14:48.197 --> 01:14:53.861 [SPEAKER_00]: So if I may, I want to come back a little I've carved about a lot of this episode, but this is the number one 01:14:55.503 --> 01:15:01.447 [SPEAKER_00]: Oh, boy, before the intent and shows up, Kira says to Beryl, you shouldn't do this. 01:15:01.988 --> 01:15:05.550 [SPEAKER_00]: And he says, I've already gone too far to change. 01:15:05.670 --> 01:15:06.651 [SPEAKER_00]: I can't stop. 01:15:06.851 --> 01:15:08.572 [SPEAKER_00]: I've gone, we're already gone too far. 01:15:08.712 --> 01:15:13.356 [SPEAKER_00]: And what that means is I've gotten into so much cohoots with the intent. 01:15:13.776 --> 01:15:16.538 [SPEAKER_00]: And I've come this far, I can't stop. 01:15:16.798 --> 01:15:18.960 [SPEAKER_00]: Even if you're holding a gun, I can't stop. 01:15:19.280 --> 01:15:23.683 [SPEAKER_00]: And then he shoots her and says, I'll be able to make this up. 01:15:24.784 --> 01:15:25.104 [SPEAKER_00]: Yes. 01:15:25.765 --> 01:15:29.926 [SPEAKER_00]: And I went, you just told me you've gone too far, right. 01:15:30.886 --> 01:15:35.388 [SPEAKER_00]: If you've gone too far, this, this, this can happen. 01:15:35.408 --> 01:15:37.089 [SPEAKER_00]: This making up is not going to happen. 01:15:37.329 --> 01:15:38.229 [SPEAKER_00]: No, it's not. 01:15:38.449 --> 01:15:41.511 [SPEAKER_00]: The mere fact that he says, I'll be able to fix this later. 01:15:41.571 --> 01:15:43.531 [SPEAKER_00]: I went, yeah, I post maybe, but. 01:15:45.652 --> 01:15:48.414 [SPEAKER_00]: That, that was when I went, no, no, that's just this episode. 01:15:48.594 --> 01:15:50.595 [SPEAKER_01]: It's not, it's not a favorite. 01:15:50.615 --> 01:15:52.136 [SPEAKER_01]: You, okay, well then how about this, Armand? 01:15:52.156 --> 01:15:57.539 [SPEAKER_01]: Do you think that when he's saying that, he's basically saying, look, I'm just gonna guess, I'm gonna sacrifice myself. 01:15:57.579 --> 01:15:58.960 [SPEAKER_01]: I know I'm dead at this point. 01:15:59.180 --> 01:16:00.401 [SPEAKER_00]: But that's not what he says. 01:16:00.561 --> 01:16:03.643 [SPEAKER_00]: Yes, I'll be able, I'm not, I'm gonna try. 01:16:03.703 --> 01:16:05.084 [SPEAKER_00]: I'll be able to fix this later. 01:16:05.844 --> 01:16:10.347 [SPEAKER_00]: The one thing we've learned about the intended is, oh, she holds her in that. 01:16:10.487 --> 01:16:10.847 [SPEAKER_01]: Yes. 01:16:10.887 --> 01:16:11.788 [SPEAKER_00]: Yes. 01:16:12.088 --> 01:16:19.899 [SPEAKER_01]: Is he trying to let this universe cure it down easily because he's shared, you know, intimacy with time with her. 01:16:20.179 --> 01:16:20.900 [SPEAKER_01]: I don't know. 01:16:20.920 --> 01:16:23.023 [SPEAKER_01]: He said I just didn't even care. 01:16:23.203 --> 01:16:24.245 [SPEAKER_02]: I don't like them. 01:16:24.265 --> 01:16:25.286 [SPEAKER_02]: I don't care. 01:16:25.306 --> 01:16:26.588 [SPEAKER_02]: And I don't buy. 01:16:27.909 --> 01:16:32.370 [SPEAKER_02]: That's not okay, fine, but I'm fine, Norman, like it makes no sense. 01:16:32.751 --> 01:16:42.393 [SPEAKER_02]: I feel like and with all due respect to the writers of Star Trek in general and this and Michael Taylor, who I think is super talented, whose name is on the script. 01:16:42.614 --> 01:16:48.375 [SPEAKER_02]: I don't think it does serve us to these characters or the intelligence of the audience. 01:16:48.555 --> 01:16:51.696 [SPEAKER_02]: Quark is the only one that seems to have any intelligence in this episode. 01:16:52.056 --> 01:16:53.597 [SPEAKER_02]: All right, Jake, for not being here at all. 01:16:55.439 --> 01:16:57.783 [SPEAKER_01]: I'll take straight away on purpose, right? 01:16:57.903 --> 01:16:58.203 [SPEAKER_01]: Okay. 01:16:58.424 --> 01:16:59.165 [SPEAKER_01]: I wrote a script. 01:16:59.205 --> 01:16:59.926 [SPEAKER_01]: I'm not going to make it. 01:16:59.946 --> 01:17:00.607 [SPEAKER_01]: I'm not going to make it. 01:17:00.687 --> 01:17:02.009 [SPEAKER_01]: I'm not going to make it. 01:17:02.069 --> 01:17:03.732 [SPEAKER_01]: You take my scene out now. 01:17:03.912 --> 01:17:04.213 [SPEAKER_01]: Okay. 01:17:09.221 --> 01:17:14.563 [SPEAKER_01]: Let's talk about theme slash lessons last moral if there is one to be had in the sub So there's a moral. 01:17:14.663 --> 01:17:15.904 [SPEAKER_01]: All right, go ahead. 01:17:16.124 --> 01:17:16.944 [SPEAKER_01]: There's a lot of it. 01:17:16.964 --> 01:17:17.764 [SPEAKER_01]: We'll hear from you. 01:17:17.784 --> 01:17:18.485 [SPEAKER_00]: We'll go a robby. 01:17:18.505 --> 01:17:19.225 [SPEAKER_00]: No, and we'll go be. 01:17:19.285 --> 01:17:19.985 [SPEAKER_00]: Okay. 01:17:20.045 --> 01:17:23.847 [SPEAKER_00]: So the moral is don't be deceived by appearances. 01:17:24.807 --> 01:17:25.227 [SPEAKER_02]: Okay. 01:17:25.708 --> 01:17:26.428 [SPEAKER_02]: Oh, okay. 01:17:26.488 --> 01:17:26.788 [SPEAKER_02]: Great. 01:17:27.008 --> 01:17:27.488 [SPEAKER_02]: Great. 01:17:27.808 --> 01:17:32.990 [SPEAKER_02]: I wrote down romantic fantasy can be foolish for an episode and for characters. 01:17:33.531 --> 01:17:33.771 [SPEAKER_02]: Yeah. 01:17:33.811 --> 01:17:36.552 [SPEAKER_02]: You can get lost in a fantasy and just look like a fool. 01:17:37.273 --> 01:17:47.799 [SPEAKER_01]: Yeah, and that's, I think the lesson for me, uh, I guess my lesson would be if you're writing Star Trek do 90% sci-fi 10% so popular. 01:17:48.159 --> 01:17:49.880 [SPEAKER_01]: Yeah, that's a good lesson, general. 01:17:51.141 --> 01:17:52.482 [SPEAKER_01]: But my other lesson was just do 01:17:52.582 --> 01:17:54.683 [SPEAKER_01]: the right thing, which he kind of does in the end. 01:17:54.724 --> 01:17:59.106 [SPEAKER_01]: He doesn't allow, you know, Mira Kira to do anything to this universe's character. 01:17:59.126 --> 01:18:01.688 [SPEAKER_00]: But it's antithetical to all the characters. 01:18:01.768 --> 01:18:22.062 [SPEAKER_01]: You're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right, you're right 01:18:22.580 --> 01:18:31.642 [SPEAKER_02]: Honorable mention for theme and moral is submitted by Martin, and that is the past is seductive, but it can't be reclaimed. 01:18:32.643 --> 01:18:35.323 [SPEAKER_02]: That's a fair, that's us, yes, a good lesson. 01:18:35.364 --> 01:18:36.124 [SPEAKER_00]: Thank you, Martin. 01:18:36.424 --> 01:18:38.784 [SPEAKER_00]: So here's a question, I'm sorry, a question. 01:18:38.924 --> 01:18:40.005 [SPEAKER_00]: And I don't have any answer. 01:18:40.065 --> 01:18:41.725 [SPEAKER_00]: I'm looking for advice here. 01:18:41.985 --> 01:18:49.467 [SPEAKER_00]: Is she taken with the new barile, or is she taken with the old memories of the old barile? 01:18:52.269 --> 01:18:59.898 [SPEAKER_02]: Both, it's kind of mashed up together into a fantasy imaginary version of who he is. 01:18:59.918 --> 01:19:01.160 [SPEAKER_01]: I wouldn't know why. 01:19:01.480 --> 01:19:04.664 [SPEAKER_01]: I would agree with Robbie, but my percentage would be 20% old-Brile 80%. 01:19:07.207 --> 01:19:08.388 [SPEAKER_01]: Fasten it in a new braille. 01:19:08.528 --> 01:19:10.609 [SPEAKER_01]: Yeah, because this guy's totally caught. 01:19:10.649 --> 01:19:11.330 [SPEAKER_00]: He's different. 01:19:11.370 --> 01:19:12.651 [SPEAKER_00]: Yes, he's dead. 01:19:12.771 --> 01:19:13.691 [SPEAKER_01]: You don't know what he's going to do. 01:19:13.851 --> 01:19:16.193 [SPEAKER_01]: He's like, oh, this is a different braille. 01:19:16.213 --> 01:19:18.094 [SPEAKER_01]: This is the kind of braille I wish the old braille was. 01:19:18.194 --> 01:19:19.595 [SPEAKER_01]: So I do feel like that. 01:19:19.655 --> 01:19:26.940 [SPEAKER_00]: Why Quark tells her I'm happy that the two of you together, because an NGD does say to her, you know, he was controlled and controlling. 01:19:27.140 --> 01:19:32.384 [SPEAKER_00]: This Quark happy for the fact that she's found so much, she could physically be attracted to. 01:19:32.424 --> 01:19:33.585 [SPEAKER_00]: We get done in the opening scene. 01:19:34.525 --> 01:19:38.608 [SPEAKER_00]: also someone who matches her demeanor. 01:19:38.828 --> 01:19:39.608 [SPEAKER_00]: Yes, I think so. 01:19:40.929 --> 01:19:41.369 [SPEAKER_00]: I think so. 01:19:41.589 --> 01:19:44.831 [SPEAKER_00]: Wow, this is such a controversial episode to talk about isn't it? 01:19:45.251 --> 01:19:47.333 [SPEAKER_01]: All right, that's the end of our podcast. 01:19:47.693 --> 01:19:53.256 [SPEAKER_01]: Thank you for everyone for tuning in and thank you to Armin for hosting with us again yet again. 01:19:53.316 --> 01:19:53.816 [SPEAKER_01]: Thank you, Armin. 01:19:53.856 --> 01:19:54.377 [SPEAKER_01]: Thanks, Armin. 01:19:55.037 --> 01:19:55.658 [SPEAKER_00]: My pleasure. 01:19:55.978 --> 01:20:00.702 [SPEAKER_01]: And for all of our Patreon patrons, please stay tuned for your bonus material for everyone else. 01:20:01.322 --> 01:20:06.546 [SPEAKER_01]: We will see you when we recap and discuss the episode statistical probabilities with Terry. 01:20:06.967 --> 01:20:08.008 [SPEAKER_01]: And yeah. 01:20:08.528 --> 01:20:11.710 [SPEAKER_01]: So for our Patreon patrons, stay tuned for your bonus material for everyone else. 01:20:12.051 --> 01:20:12.431 [SPEAKER_01]: See you later. 01:20:12.651 --> 01:20:12.951 [SPEAKER_02]: Bye-bye. 01:20:13.212 --> 01:20:13.532 [SPEAKER_01]: Bye-bye. 01:20:13.992 --> 01:20:14.673 [SPEAKER_01]: Thanks everybody.