Hey, Joe. Hi.
So, we are back, and today we are celebrating Voyager's 100th
episode.
It's series 5, episode 6, Timeless, and it's a teleplay by Brandon
Braga and Joe Manosky, and a story by Berman and Braga and Joe
Manosky.
And I have to say that this is, for me, the best episode of
Voyager that we have done so far.
I don't disagree.
I've also prepared a message for myself to send back into the
past.
When did we start our titled Star Trek project?
Uh, I don't know, like 2021, I think.
I'll send it back to the day that we recorded the episode on
Course Oblivion and say, don't worry, Joe. In the future, the
great things are coming with Voyager, okay?
There's at least one banger that you're going to talk about in the
future.
I think on that day we needed the hope, you know?
Yeah, yeah.
God, this is great.
And now I said to you last week when we did the picking of this
episode, I said that this was great.
And finally, we've reached the day where I'm telling the truth and
you rewatched something and it's as good as you remember.
Actually, it was better than I remember.
Visually, emotionally, creatively, structurally.
It was all on point.
Performance wise, I was like, bugger me.
There's some very often in voyage, you know, your worst things I
just mentioned there. something's off.
You know, one of those things are off very often that the stars
are line and all those things where you come away going, that was
an amazing hour of television.
Here we are.
Look, I remembered it.
I remembered that very, very strong opening image of Voyager
frozen under the ice. and I remember that being visually
spectacular.
I don't think I remembered the incredible shot of Voyager crashing
which I think absolutely blew.
Yeah, like a bit, but, but I mean, I think it's so much better
than the sequence where the Enterprise D crashes in a feature film
just a few years earlier.
That reminded me.
What's that?
Generations.
That reminded me of when Scorpio crashed in Blake Seven, you know
going from the trees.
Whereas here, it feels like a plane crash.
The sound effects are so dramatic as it's coming in.
But you know, I said to you, but I've seen this episode quite a
few times.
I've done a review about this episode on Doc I review.
I know what happens in this episode.
Watching it this time.
I was convinced because of the way the episode was going halfway
through.
I was like, oh, okay, we needed the end of an episode.
They're going to save the day.
Seven's going to get the message.
It's fine.
Yeah, in the back of my head.
I knew that ship crashed. so when it so when it all goes horribly
wrong.
I went, oh, God.
Like, Jesus Christ.
So there are a few things going on here that I think are all kind
of working for the show.
The 1st one is the strong visual.
Like, I think the initial idea is Voyager frozen under the ice, and
I think it's a really, really great image, and it's beautifully
realised, like, it just looks incredible.
That shot going into the opening credits, you know, the most
important shot of the beginning of the episode.
Here's what it's about.
It's perfect.
So good.
So it's inside as well.
Oh so impressively done.
I will complain about there being no cold breath.
But the actual, that I start voyager, because, you know, we always
complain about how dark and dingy and gray those sets are.
Good grief when they're slavered with ice, they look absolutely
arresting.
I think LeVar said that he had to send people in to then clean
them up so that they could be available for the rest of the
episode, which they must have shot later.
Can we order 15 Henry Hoovers, please, to sort out the carpet?
Thank you.
So there's that, the visual thing, and then the visual of the
crash, which again is absolutely spectacular.
It's not quite feature film quality, but it's very nearly there.
It's really, really good.
The decision to have that in the cell hit the rock and burst
because then you're like, fuck, they ain't getting out of this. at
that point, you know.
Yeah, well, and the fact, too, that that happens at a time when we
know that they're all being killed.
Like that that's a fatal crash that will kill everyone on board.
Same the puppies.
Yeah.
So we know what that means.
And so it's so good and it skids straight into the camera and
saves the outbreak.
You know, you know how we said before?
We like it when we're punched in the face when they thought this
time, Voyagers, punching us in the face.
It is amazing.
So there's that.
You've got a big telly, right, Nathan?
Were you there going?
Yeah, it was going towards you.
So the other thing too is I think that it gives Garrett his best
chance at bringing in a great performance.
They saw him the previous year doing the performance that we
remarked upon in the killing game, and they decided that they
wanted to give him this episode on the strength of that.
And this is intended to be a big event episode.
It's the 100th episode, and they give it to Garrett, and he does a
magnificently good job of it, I think.
They hugely always give these episodes to K to Jerry and to Robert
Picardo.
They usually get the big episodes.
I mean, before killing game.
There was an amazing performance he gives in the shoe. the episode
where him and Tom Paris are stuck on that prison.
Well, okay.
Oh, almost. gets a bit sexy.
But again, his hair's all messy.
He's all grimy and dirty and it's a very intense episode for him
and it just baffles me how he had so few opportunities beyond
those 3 episodes.
I can't think of another time where they really push him like
this.
The 3rd thing that I get right.
And I think there's other things they get right.
I think they get the characterisation, right?
I think the dialogue is really good.
I think, you know, the fact that Garrett's the lead and he's the
person who most wants to get home or most visibly wants to get
home.
He's the youngest.
He's, you know, like he misses his mother.
Like, all of her stuff are much such a great choice.
It's so good.
All everyone else loves him and wants him to succeed.
Like, it's all really, really terrific.
But then the other thing is just the way that the episode is
structured and the way that it moves between the 2 time periods
the way that it moves between what, 2390 and 2375.
And the way that everything comes to head, the way that those 2
time periods dovetail.
And so we don't get to see Voyager crash in flashback.
We get to see it happen as it happens and we get to see Harry
destroy Voyager again for a 2nd time.
And I just think that choice is so great.
And I had the same experience as you.
I thought, oh, so this is us working towards solving the problem
and then we're going to...
Before it crashes.
So you're like, okay.
And we're moving between the 2 time periods as that happens, we're
sending the message from one time period to the other, he sends
the message, she gets the message and it doesn't work and the ship
crashes anyway.
And I just think that's such a masterfully brilliant way of doing
it.
So the structure of the episode. making us wait until we truly
understand the consequences of the crash because they could have
done that at the end of act one.
Maybe they give back too.
It could have been the little teaser.
It's 2/3 into the episode that we actually get the crash.
So much so that I was convinced we weren't going to get it, even
though I know I got it.
The other thing this gets absolutely bang on.
You know me.
I have lots of complaints about Star Trek.
God knows why I'll do this podcast.
But I just hate techno Babble, right?
And it was so simple.
We've created a quantum slipscreen drive.
Basically, we're going to make a big tunnel through space and get
home nice and easily.
Great.
I can understand that.
In the future, we're going to send a message to 7 of 9 via our
implant to stop ourselves from doing that because it's so simple.
It's so simply delivered that even a simpleton like me can
understand what's happening.
Thank you And it absolutely has to be that because everything
everything is about Harry's feeling about having made this mistake
and how it changes Harry.
And like that's so well done and so well portrayed.
So because this is a high concept Brannan Braga episode, but
because it has a proper character thing going on and with a
character who's neglected, but kind of well-established.
Like, I just think it just lands in every way.
It's so good.
So one of the rare Voyager episodes that is utterly based on the
premise of the show, which they don't do as often as you might
think.
They're far too busy doing TNG knockoffs.
So it feels important.
It has consequences at the end because they do move 10 years
towards the out of a quadrant and that's a win after we've been
through all this horror.
And there was, I mean, there was even moments where they weren't
using dialogue and allowing actors to express what's happening on
the screen, which I'll talk about later in the episode, just on
every level.
I have one issue with this and we talked about this off, Mike, and
that is, it really irritates me that all alternative universe
versions of Voyager or, you know, things that are rewritten are
always more interesting than our Voyager.
Because I said to you at the end, oh, we're going back to our
Boring Voyager episodes now.
Oh, well, never mind.
You know, Living Witness, more interesting than a hot version of
Voyager.
I mean, geez, even stuff like, you know, when they go back in time
in futures end, more interesting than our usual Voyager.
Like whenever they divert from the show and these boring space
problems that they're nebulas and they go through.
It's always so great.
I don't understand.
I don't understand how they can get it so right when they do
something different and it's normally so kind of average.
Yeah, well, I mean, here, though, the scenes in 2375, the scenes
in the kind of Voyager episode that we tuned in to watch this
week.
They're great.
And like everyone's really well characterised.
Tom is really good in it.
You know, and...
No, he's really good.
Like he's absolutely watchable and he's nice, like he's
sympathetic and he's kind to Harry and and all of that stuff is
really, really good.
Like, I'm not cringing when he's he's on screen.
It's unusual though, isn't it?
Yeah.
I just think I, like I just think everything goes right for them
here and it's, it's spectacular.
So I'll stop whinging about, well, you know, what this episode
isn't, what Voyager normally is, and just enjoy it for the classic
that it is.
I think we should watch it, you know.
I think we should.
Great fun watching Robert Beltran slipping around in the ice.
It's not much of a slip, but he tries.
I organise in 5, 4, 3, 2, one, and we're off.
So stock footage of... snow superimposed on it.
Fabulous.
No, but it's got a sort of epic sweep to it.
Doesn't it?
Yeah.
Look, we could be opening in our usual cave set. all right.
Well, I have to say too, this set, which is just very clearly a
set, is not stock cave set number one.
Oh, how do you know?
Well, they've redressed it so that it's nearly unrecognisable.
It looks great.
Like it's properly good.
It's clearly a set.
It's clearly a set, but it is something different from what we
normally see.
Do you know what it reminded me of, Nathan?
You remember in Star Trek 6 when it was out in the snow?
And I was like, oh, yeah.
Oh, God, every time we go out and the snow is great.
Yeah, or the beginning of Strange New World. 1st episode.
Well, the thing is, they've always got that cave set, and we know
they're spending a bit of money, you know, because they've got to
go to the effort of making it snow.
Yeah, yeah, yeah.
Oh, actually, those are clearly sort of steps there.
Yeah, yeah, yeah.
Yeah.
Like, it's not for a 2nd. are we not in the studio?
Wait for Robert to slip in a minute. is great.
I'm not sure which one it is.
I can't tell.
Maybe it was a real slit ice.
Who knows?
But this amazing shot in a minute, the pullback to Voyager under
the ice.
Oh boy.
And we get dialogue.
This is our 1st dialogue.
And I think the plan had been to do the 1st act with no dialogue
at all.
And they don't quite do that.
This pullback is just spectacular, like absolutely unforgettable.
What a great shot.
What a great horse.
It's just enough that you can see NCC. like, oh, my God.
Yeah, where you can hear. the registry number.
Perfect.
Just absolutely perfect.
And it just, it feels bold already.
It feels like this is gonna be a brave episode.
Yeah.
It's terrific.
And we don't go back to our Voyager until after the next act.
So from here to the ad break, we're in, you know, what is it?
What did I say?
2390 for 15 years in the future.
Yeah, yeah.
I mean, I thought this whole 1st act as they're exploring the ship
fighting the bodies. barely reacting to them at all.
It's so haunting.
Like, you know, It's exactly the fucking same as what we saw in
the naked now, but really chilling.
It matters.
Like, I don't know what it is.
Like, am I in a really good mood at the moment or something, but
everything seemed to land and everything seemed to matter.
And I found myself thinking about how the characters are feeling
and I think it's just, I think it's just because it's well done.
I wonder if, like, very often in Voyager, we are questioning what
motivates anybody, because they don't usually think that thing
through.
Whereas here, you know, we know Harry, we know how badly he wants
to get home.
We know how much he loves Captain Janeway, as his mummy.
We know, you know, like, he's the one that's always excited when
there's a chance to get home somehow and, oh, let's risk it.
Who cares?
So to make this episode his fault.
Yeah, wonderful.
It's so good.
It's such a good choice.
It's the coolest thing they could do for real.
So it's the most dramatic.
But of course, it gets fixed for him.
And here we go.
It's wonderful.
So good.
I mean, why are they complaining about that special effect?
You can see all the right and sort of crinkly because it's under
the ice, you know?
Yeah, yeah, yeah.
So someone in memory alpha says that it looks like when they're
underwater, but I don't think so.
I think it really, really looks like just very clear eye.
So now we're in the sets that have been distressed.
And it's so well lit. doing the X-Files things with the torchlight
so everything's really atmospheric.
And now this is where we see that they're older.
We didn't know until this point, did we?
No, no, no.
And and I think that the makeup on Harry is really good.
Like they don't do old man makeup.
They just give him eyebags and stuff and sort of longer hair, a
little bit of gray.
Like they don't overdo the makeup.
I did notice there. actually notice it earlier today, but I have
just noticed that the ice did just flail in the wind there.
It was clearly a curtain at the back of the step.
Never mind, never mind.
Oh, no, no.
I think there's some, there's some, there's some coffee plastic
and stuff.
There's some clear plastic dangling from the ceiling.
This line here, and I think this line is really good.
So Harry says, decks 9 through 14 are now deck 10. they've been
compacted or they've been crushed.
And so Harry is saying this in this really flip way, like he does
a gag.
And the thing about this version of Harry is that, and it's, it's
cliched in all sorts of ways.
I know, but this Harry has put up this sort of barrier around
himself where he's making these flip quips about this terrible
tragedy that's kind of ruined his life.
It's when they are utterly unmoved by seeing Janeway that I was
like, what has gone wrong here?
So we saw Tom there in that shot.
We see some people.
And so the 2 of them split up.
Harry's now encountering a dead body in the Jeffrey's tube and
Chakotay's on the bridge and we see Tom and they both regard the
bodies but don't react.
Like that's Tom there, isn't it?
Oh, how lovely.
Oh, sorry, how sad.
Yeah.
But, but, but no one can afford to react because if they let
themselves react.
Do you know what I mean?
They just, it's just too much.
It's too much to respond.
It's come to change this, hasn't he?
Yeah, yeah, yeah, yeah.
But, but, but just being confronted with it. and the Janeway.
Like that.
Oh, look, they've iced up all of her hair as well and everything.
We know we're in a bad situation. you know, when her air's missy.
Are you telling me that when that when forger crashed into that
planet, all those decks just went crush and everyone in them.
Yeah, yeah, yeah.
Oh, fucking hell.
Yeah, so, so I think, you know, like you, it's Star Trek and
people aren't going to be overwrought about a pretend death that
you know, gets fixed by the end of the episode.
See, this is bleak as well with 7.
And like when Chakotay says to his girlfriend here, Tess, this
isn't exactly a happy reunion, make it quick, like make it quick.
And like that's super bleak and they could have played with it
more because they kind of, you know, the doctor's holding her
skull at some point, you know, with technology inside it.
I've got to say as well, whoever's doing the Foley on this episode
does a really great job when he's scraping ice away from the
things.
It was just, it was really visceral in a way that Voyager just
it's, usually.
Everything's so clean normally, isn't it?
You don't need sound effects.
I don't know, it was immersive.
It was really immersive.
And so that's the we're here to save history or change history.
That's our 1st end break, right?
Now we go back to history.
I think Janeway is slightly drunk.
I don't know why she says interstellar instead of interstellar.
And like this, again, the slow motion thing is a bit cheesy and
stuff and we only see it once.
It's established.
No, no, no.
It's probably confetti.
It looks quite pretty in slow motion.
No, look, another generational thing.
They're smashing champagne bottles against things.
Yeah, yeah, yeah.
But it is, you know, we only see it once, we know that they're all
dead, you know, and we know that this is, we've got to know that
this is going to kill them.
Do you think Laval said, look, we've already ruined all the sets.
We may as well do engineering as well.
We'll get the cleanup crews to do the whole lot.
Yeah.
But this is a big event too, isn't it?
Like when they're saying it's precisely how long we've been in the
Delta Quadrant and we're going home tomorrow.
Like, it's an amazingly huge event and it is a thing that we know
has to go wrong.
And I think, I think the idea of showing us the consequence at the
beginning allows us to even do the episode.
I mean, automatically, I've seen either the needle. seen all the
others.
If this had come first, I'd have had that feeling in my gut of
like, oh, dear.
They're going to be very disappointed at the end of the episode.
But it's much, yeah, they're all dead.
Yeah, yeah.
But here, like all of the dialogue, like both Robert, Medium
Robert and Kate are really great.
You got dinner plans.
Well, you're coming to mind.
Yeah, yeah, we do now.
It's an order.
Great.
And then kneeling to the Talaxian furfly is wonderful.
What does tuba say?
You never failed to astonish me, Mr. Neelix. so funny.
Look, like Roxanne's enjoying the scene.
Like everyone is really just kind of giving their best.
Look at the way she holds this thing that terrible...
You are an unended source of astonishment, Mr. Nick.
It's wonderful.
Just adorable.
So why are they always written like this?
Yes, I know.
I know. and now 7's drunk.
Which is just terribly cute.
My visual processors and motor cortex are sabotaged.
But we've gone from seeing her dead body frozen in ice on the
bridge and now we see this comedy scene with her.
I love her.
I am unable to comply when it...
No, I don't know.
I like, we are one.
We are one doctor.
It's great How many clocks did you have?
That would be me.
It's not even it's not even alcohol.
I've already got a sniffer beer and I want a kebab, you know.
Oh, she's so nice.
You are my mentor.
Yes.
This is what I would say to you if I was drunk.
But again, like having the 2 of them like that, that interaction
between the 2 of them where, for the rest of the episode, he's
carving her head up to get technology out of it.
He's really bruised. as well.
Brannan identifies.
Right.
Jane Wenchkotay, that works.
Chewbok and Neelix, that works.
The Doctor at 7.
That works.
Well, Tom and Harry will, yeah.
But this works.
Like, it's written, like, it's, it's good because Tom understands
how important this is to Harry, and it's Harry's project and Harry
wants to get home.
And Tom, Tom doesn't particularly want to get home because he's
got horrible Admiral Paris, I'm waiting for him.
But, but he understands and respects Harry's desire to get home
and everyone else's, you know.
And so he's really kind and gentle and stuff, but he has to be
blunt, you know?
So where's this Paris normally then?
Yeah, I don't know.
I don't know.
I think him and Belana are unpleasant.
I think the idea that him being a big whiny jerk, you know, like
he's, I don't know, the Brannan Braga school of manhood or
something.
I don't know.
Well, they shot these scenes here because that carpet looks
pristine now.
Do you think they shot this up post or pre-the ice?
I don't know.
LeVar did say something about having to clean the, having to clean
the sets up.
If you're making that much of a mess, Levar, you're clearing it up
yourself, all right?
Yeah, you would think that whoever, what's next week's episode?
Oh, it's the one with 7 where she's got the multiple
personalities.
Infinite Recress.
Okay, so you think that you just let the director of infinite
regress do the Hoovering?
I like to think he got on the phone.
Marie, now, Jonathan.
Come on now, I need the cleanup crew.
Get to the voyages.
It gets his mates to come and help.
It's very well directed this though.
And you have to have a good understanding of the structure of the
story in order for all of the, the, you know, the tone of it has
to be right at the right time.
And he just got it.
I feel like, um, Brannan and LeVar may have gone away on holiday.
He wrote the scripts and they were totally they're just so in sync
in this one.
There's something even that thing just now where Tom says to Harry
we have to tell them. and Harry's face falls and Tom reacts to
that.
You know, like...
Whenever they do this and it's like, oh, we're going to get home
and it fails miserably or there are bumps along the way, it always
works.
I don't understand why they don't lean into this more.
Yeah, just wrong.
But, yeah.
But this too, I mean, Harry, like Tom encourages Harry to, to, and
look, is looking at him concerned and looking at him
encouragingly.
Like there's something there.
I don't know.
Maybe this happens all the time and I'm just not inclined to
notice it.
We've done enough of these now. grief.
Remember we saw Alice recently.
Do you remember what Paris was like in that?
Do you remember when he was inciting rebellion in Course
Oblivion?
He a prick normally?
But, but if they had lent into, like, if their, if their
relationship had been more, you know, like, not sort of sub-sitcom
banter, like non-funny banter and stuff, like, if it had been that
Tom was slightly older, you know, and cared about Harry.
Like, you know, loved Harry.
Do you know what I mean?
Nowadays, I think they would be bisexual, you know, and they would
dare to go there.
They just wouldn't have done it then.
But the moment they tried that in the shoot where it really
genuinely looks like they're going to kiss, I mean, real, for real
there's such a charge there between them.
But this show, like this show has such a constrained view of what
masculinity is.
And, and some, but here there was some real kindness and some real
love in the way that they, that, that Tom was looking at Harry
then.
And look at Janeway as well.
Like Janeway, obviously, and it's not stated in dialogue, but
obviously it were that.
And look, like he goes, yes, and Tom smiles in encouragement.
And obviously one of the reasons why Janeway agrees to listen to
his proposal is because Janeway knows that he wants to get home
and loves him and staff.
I adore this scene between J.
Ray, I should say.
Not just for the gags, but just because of the intimacy, how it's
lit.
And this is what I asked for after resolutions. explore this
stuff.
There's a relationship here that's waiting to happen.
And of course, this is just mutual respects.
It's not romantic anyway, but it's kind of lit in a romantic way.
It's beautiful.
And, and, and like, and the other thing that I really like is that
Janeway is really rash, and I think it's partly because she, you
know, because she cares about Harry.
And also because, you know, she's aware that she stranded them
here.
And because that's her character, she takes risks.
You know, she takes risks and she's got Chakotay here saying
really don't do this.
It's not a good idea.
Something could go horribly wrong and, you know, like we, we, there
are too many variables.
He says, something goes wrong. we're screwed.
I bet she goes for it anyway.
This is played gently, but again, the best Janeway Chakotay scenes
is when she makes a decision and he's kind of appalled or pushes
against it and they just didn't do that enough.
Do you remember in Scorpion?
It was great.
Do you remember in Equinox when she's behaving like a psychopath
and he's going, why are you trying to flush people out of
airlocks?
going on?
But it always works.
I just I don't get why they forget it.
Yeah, yeah.
Also, again, like the looks between them as well.
That, like, it's mostly, to be fair.
Yeah, yeah, it is her.
But he's giving, he's, you know, like he's rising to it, I think.
Like, she puts her hand on him.
Are you ready to try some home cooking?
He says, alert, Sick Bay, which is a dumb gag, but her response to
it sells it.
Like she puts her hand on his neck and then just smiles at him and
now he's a great transition as well to the future because they
don't try and match up the pad because they're never going to get
it right.
So they just put one over the other.
Well, because the ship's been damaged and stuff and it's just like
so we just before going into the ad break.
And so we've out of the ad break now and we're back in the future
dreadful trousers he's wearing, Harry.
Oh, dear.
They are from a Deep Space 9 episode.
Is it called the Ascent?
That's the one where Odo and Quart go up the mountain?
you remember?
Yeah.
So they're wearing those.
Oh, wow, they look bad on almond and Renee as well.
I don't know why things, but all the clothes on Voyager, they
bunch sharp around the area in a very unfortunate way.
Yeah.
So again, so his Harry being flip about the death, you know, all
it took was just killing everyone we loved and and Chakotay says
Harry like stops him.
You know, um, I like the deep...
Like, he's going to do the, like the, he does his hand gesture to
to mime Voyager exploding.
We had no way to salvage your program.
I'm sorry, you're not important.
Stop this from happening.
No, I really like the line and you know how we sort of hate
bullshit backstory, but there's details here that I really like.
He says the hand of every admiral that I shook when I got home.
I went and saw every single one of them to try and make this
happen and all of them said no.
I don't know.
The detail just, it was convincing.
But think how much as the audience, we want to know what happens
when Voyager gets back home and we never...
Fashion, if it's fine.
Just the 2 of them.
Oh, we killed everyone getting here.
Yeah, yeah.
Like, I think that's brilliant.
Like that, we want to hear it, but it's a horrible poisoned
version of that narrative, like an awful version.
Like it's really good.
That's even worse than my version, Nathan.
Of course, oblivion. when I said they should have got home and
then all melted.
Yeah, yeah.
Yeah, yeah. and now we've got dead 7 here.
Um, Yeah.
Oh, they put gray in Chakotay's hair again.
Sorry.
I'm just, it does look great.
I mean, prodigy did that as well, didn't it?
Yeah, yeah, yeah.
You didn't see the episode, The Last Flight of the Protestar, where
he has the big beard.
You saw the flashback.
Prodigy with a beard.
It's amazing how well he can act as a cartoon character, you
know.
But he's so good in this.
Like, I really like him in this. unbelievable, isn't it?
An episode that's built around Beltran and Garrett Wang. this
good?
Yeah, yeah, yeah.
What are the old...
How much of it is because they're being given good material?
You know, they they stop bothering, I think, to give Chakotay
anything to do.
And I think he checks out.
I do like this character, the girlfriend, bar.
It was your standard voyager. murder she wrote actor of the week
playing it.
So, I mean, this is 90s TV. like they're all guests in all shows
are like this.
Excepting Simmons.
Excuse me?
Yeah, well, yeah, no, she's not a big name, but she, I think, like
there is a sense here There a kind of sense in which her job is to
do the emotional labour that she has got this man and this man is
so sad and so hurt and so, you know, she loves him, but there's
this deep hurt in him.
And when she gets the chance to do something, even something
dangerous and illegal to help him fix it, she does it, even
because... that their relationship will cease to be that they'll
never meet.
They have that conversation. have that conversation in the
episode.
So she's even prepared to forego him to let him go to give him the
chance to fix this.
And she's the one who says, you always lived here.
This, the Bridge of Voyager is where you belong, because he's
going to get to take her on board the bridge now, you know.
I thought this line was a bit shit again, where Harry says, we're
having sex.
And the reason it's terrible is no one on Star Trek.
90 Star Trek has sex. you know what I mean?
Like, it's just like, it's St.
John's Big Space 9, of course, but yeah, except Monday, so it's 9
where they're all willing.
Yeah, that's right.
But, you know, that's transgressive.
And again, it is trying to show that he's not the, you know, the
fresh faced young man.
He is in Voyager.
I like the fact that Voyager Crush, though.
We went back to the special effect and a whole glacier sort of
grown over the top of it.
Yeah, the snow's fallen.
Well, because it was, or do you think it got hot?
It was hot.
It came down hot and it melts the ice and sinks into the water and
then the ice freezes over it, you know.
Do you remember when we watched Scorpion and you were slightly
appalled by the scenes on the bullshit where David Livingstone was
trying to give us atmosphere with Strobe light and things like
this.
Well, I mean, it's not getting it right here, don't they?
I mean, they're not they're not doing that, but they're doing
atmosphere and suspense with the set and I just think it works
like gangbusters.
I don't want to go back to the normal boy, just say.
Yeah, yeah.
But look at this.
Like again, he's been given something to do.
This is very soapy acting.
Do you know what I mean?
This time I was in this chair, Nathan.
Yeah, yeah, they were all alive.
Like all of that's pretty ripe, right?
But like you're just giving him the chance to just sit and think
and he's looking down.
He's not looking around the sheep or anything like that.
He's now looking at her, but like he's really hurt.
You know, like, it's so good.
That is the usual Voyager thing by having him say it.
He could have just sat in the chair. and we could have probably
have gone there.
We knew.
Michael Burnham would have just sat down and looked sad and we
would have been like, oh, right.
Yeah, okay.
Yeah, okay, we get that.
Yeah, you're right.
Which is why, which is why when they fail. to have Harry Kim say
oh my god, what have I done when the crash happens?
I was cheering, going, thank you, you've let him do it with a
look.
Yeah, and this, so this is the thing.
You know, he makes a little gag.
You can't go to my quarters because they're a mess.
And now they're having the conversation about how they're never
going to meet.
Like if this works, we won't ever have met.
And we could not do this.
Sort of a bit cheeky, a bit.
Oh, Robert Belgium.
Where have you been?
Yeah, yeah, yeah, yeah.
Again, he's been given something to do.
They know this is the 100th episode.
Everyone is, like everyone's aware that this is a big milestone
and everyone's doing their best this week, and they've got
material that's worthy of it.
It happens more often than you'd think in season five, you know, I
think.
Okay.
There's quite a lot of event episodes in terms of everyone given
their A game.
Yeah.
I mean, I have to think that, again, it's that thing that I've
said before about shorter seasons.
If we just had a shorter season where everything was an event.
Well, we also have course oblivion this year as well.
It's not all.
It's not roses.
No, it's a calamity.
Joe, she does look a bit like Janeway in the right light.
It's gone for someone just like...
I like the fact, you know, that in Prodigy, ultimately, Chakotay
did end up with a version of Janeway, you know.
Finally, our desires were women.
Yeah, yeah, yeah.
Okay.
So we have just had Harry recording a message.
That's great.
It's just a little line, isn't it?
It's just a little line where it goes, I've just, does he say, I've
just made a message?
I can't remember what the line is, but it's throwaway.
Oh, he says, yeah, I was writing a letter.
And, and, but we just heard a message from Janeway, a recording
from Janeway, a captain's log from Janeway on the bridge that is a
message from 15 years in the past that's being sent to Chakotay in
the future.
We'll discover that the message that Harry was just recording is a
message from the future, which is going to be sent back in the
past so that Harry can see it.
And even that, just that little touch of those 2 messages coming
in successive scenes going in opposite directions.
I think it's really good.
Like, you just have no idea it was so easy to send messages
through time, you know.
Ah, well, you know, if you have to.
Well, it seems like in a bubble here.
Janeway's message was recorded and then left for 15 years and
that's how it ended up in the future.
It was just picked up.
These things happen.
It's a good thing those circuits weren't eroded.
And then this.
So there's this line here, which we just talked over, which I
think is absolutely stunning and a great performance from the 2 of
them, where the doctor makes this flip joke where he says, ah, you
know, like at least it's better than being buried under 20 metres
of ice.
And Harry just turns and looks at him and says, you don't know how
many times I wish I had been.
And the doctor looks genuinely abashed.
And because Harry had been super flip all the way through in
dialogue.
And when the doctor does it to him and he's just straightforwardly
honest, and that's heartbreaking because that's real.
Like, that's how you would feel.
Do you know what I mean?
Like even people who survive an accident that they're not
responsible for, feel guilt about it.
And like it's cliche.
It's a cliche line, but it's just so well delivered by both of
them.
I wouldn't want more.
I wouldn't want Harry Kim to be this unhappy all of the time
because that's just not who his character is.
But I wouldn't mind a little more because Garrett is selling it
and then some.
And usually when I look at him in a scene, he's vacant, you know
whereas he's really got something to grab hold of here and
deliver.
And when we go back to the future, he's still on.
Like Garrett is still being given interesting things to do.
And even though like it ends with him being saved, it ends so
positively...
I remember...
I'm being so frustrated because they have that dialogue scene at
him and Janeway and I'd forgotten a line about the letter.
And I was like, oh, come on, like, why do you always do this?
Why do you always rewrite the past?
There's no real consequences for anybody.
And then that message played.
I was like, thank you.
Thank you so much.
At the moment, I remembered it because he turns and says, doctor
I'm just coming or the doctor, you hear the doctor say something
he turns up, just coming.
I thought, oh, yes, of course, that's in the message because I
remember that the message happened.
But the message does something and the message does change Harry
and make a difference.
And so both Harry's get redeemed in that moment because both of
them fix each other.
Do you know what I mean?
Like Harry, like our Harry gets the chance to solve this
catastrophe, this mistake he's made, but he also gets the chance
to fix how he's felt about that as well more directly.
It's so good.
It's why I think this is better than the year of hell, which does
just wipe out the timeline and nobody's got any clue.
They go, oh, it's the crown.
Well, we'll just go round that then.
There you go.
It gives anorax a happy ending and that's all very satisfying.
That's good.
It should impact our character.
True.
Yeah.
But this probably does.
This properly does.
Wow, look at this editing. cut, cut, cut, she goes.
Yeah, yeah, yeah.
Even this cheesy line, lunch salami sandwiches.
And then... and then... and and but Medium Robert smiles like this
beautiful smile at this and and because we've seen them being so
so heavy.
Do you know what I mean?
and seeing them, like, it's a relief to see them having fun, but
it is also kind of awful to see them having fun as well because we
know it's going to happen.
Wow, the suspense it built in this, because from the very, you
know, the pre-toles, because we know the impact of Scott, oh, I
love seeing the galaxy class starship.
This is the 1st time that we switch between time periods in the
show, in the in, like without an ad break.
And for a 2nd when I 1st saw that, and the Delta Flyers going
along.
And instead of Voyager coming after it, it's a galaxy class.
It's really good and you just have that little moment, you know.
Well, it's done visually as well.
It's not explained.
But for a 2nd I thought, wait, what's that?
Oh my god, we're going to say LaVar's eyes.
How lovely.
Yeah.
So this is what he looks like in nemesis.
Has nemesis happened by now?
I think it probably works.
It is absolutely beautiful there, mate.
Yeah, he is a beautiful man.
Yeah.
It's my outfit's been cameo.
I would do a bit of Alfred Hitchcock in this episode, yeah.
Yeah, so, I mean, it wasn't his idea.
I think sort of once he was in it, and he hadn't directed an
episode with himself in it before or for a long time.
Well, who was going to be in it then?
La Forge.
Oh, well, it didn't, it could have been anyone.
I mean, the next time this happens, it'll be Captain Harry Kim
doing this in Endgame.
Yeah, yeah, yeah, yeah, yeah, that's right.
And oh gosh, he's so charming.
And again, that makes an event.
It makes it an event, doesn't it?
When someone from the parent show is in it.
Absolutely.
Yeah, yeah, yeah.
Because we don't ever have TNG and Voyager crossing over.
Yeah, we will.
It'll become a regular because...
Yeah, that's always an event, but then, you know, like... a break
episode, another episode that's tied into the premise of the show
and it's another banger as well.
Yeah.
God, maybe we were wrong about Voyager all these years, you know.
But that's what I'm wondering.
That's what I want.
Now, look, we come back and there's the same shot, but it's
Voyager instead of the Galaxy Class shift.
Just you go and watch a double helping of Twisted and the fight.
I remember.
I mean, the other thing too is, like, this is the point at which
you realise the thing that's motivating the switches between the
time periods is that they're about to coincide.
So we will see the message being sent and then being received.
And when you were watching it this afternoon, you thought...
It feels so triumphant and I was so convinced this was the end of
the episode.
Oh, they got to fix it.
We saw the beginning and now they're going to fix it and the
genius of it is that they don't.
I am convinced that is the best into the ad break Voyager moment
ever of the ship crash.
I don't think they ever top that.
So good.
And like we said, before we before we press play, we said the
reason that it works, so well, here, rather than as the cold open
is that we know what it means.
We know that this is everyone being killed.
And we know that it's Harry Failing again.
You know, like Harry's failing again.
And so, so, at the beginning, it looked like we were just going to
hear Harry tell us about what had happened in the past and we saw
the consequences.
But now we get to watch it happen, and we get to watch it happen
twice in 2 time periods.
And just the way that it breaks, Harry.
I think is his best performance.
He's desperately trying to save them.
Chakotay pulls him away and then the camera just lingers on him
when he realises he has murdered the entire crew and he's going to
have to watch it.
Yeah, yeah.
That's amazing. horrible, isn't it?
He's just never going to see them again. you know what I mean?
He doesn't even know what happens.
I feel even worse when I pop out back on earth.
Oh, God.
How am I gonna explain this?
Yeah, yeah, yeah.
Like, it's, oh, you can only do this once, can't you?
You can only do this sort of like, we're nearly home.
It's all wrong. again.
Several times.
Is that work, didn't it?
Yeah, let's try it again.
But that is what they do.
Like they do, like a crappy retrader piece is the finale.
That's where I was convinced.
The doctor goes, yes, I've done it.
And then 7 gets the message.
I was like, 0 my God. things in.
We've got the time.
We've got the date.
We're sending the phase variants.
About 15 years out he makes the same mistake.
Nathan, remember, right?
Obviously, I've noted how this ends.
I know it crashes.
I was convinced this time. imagine the 1st time I watched this.
Yeah, yeah, yeah.
I probably was thinking, oh, well, that's a nice easy out to the
episode.
Well, there you go.
Oh, shit in hell.
No, this is a show about people solving space problems, you know
and we know that the ship isn't destroyed because it's on next
week.
You know, so we know that it's fair.
We're 35 minutes into the episode.
It's just late enough that you might think, actually, that's the
end and we'll do some talking.
Yeah, yeah, yeah, exactly.
Exactly.
Maybe it's probably a bit slow moving on seven.
She's like, I'm receiving a message, you know, from my husband
class.
Yeah.
Coming from Harry Kim.
Harry, what are you doing?
And so now, instead of being separated by ad breaks.
We just cutting between one end of this and the other.
It's terrific.
But you have to do this with momentum, right?
It has to flow.
It has to build.
It's building up to that massive set piece of the ship crashing.
Yeah, I think Lavar really shows he can, he can stagger these
scenes together.
And the scenes in the holodeck earlier where they're doing the
simulation now tells us how to understand what's happening.
The moment that they say the phase variance is increasing.
We know that that's it.
There's a disaster.
There's no escape from it.
It crushes.
These ship crashes are always so shit because I don't feel like
they mean anything.
I don't know why this one.
I just felt sick to my car knowing...
So there's no look on that shot on Harry's face.
Yeah, yeah.
Oh my goodness.
And he's just allowed to act it.
And then the shit turns towards the camera and you're like, oh
dear, it's going down.
And there's several different shots.
It's not just one shot.
I love the line, not exactly how I want to cross the finishing
line.
Great line.
Yeah.
I mean, Kate can always deliver those.
Oh, yeah, yeah.
Yeah, yeah.
Yeah. do you know what?
It actually did make me think, because I always used to complain
how come this DS9 had such great battle scenes.
Sometimes they spent the money on Voyager in a very different sort
of a way, and this time they spent it absolutely brilliantly.
It's so good.
And so some of these...
Oh my gosh.
Yeah.
And so some of those elements are like baking powder, like they're
not computer generated.
There's real physical elements there.
Oh, God.
It's coming right towards me.
Yeah, yeah, yeah.
It's so visceral.
It's so good.
Because, you know, the Enterprise D sort of gradually goes past
the trees and stuff.
Effort, doesn't it?
Yeah, yeah.
Whereas that, there's several different shots from different
angles.
And now this, this is where all of that male, all of that sort of
masculine defence, all the flippantness, all of the kind of
refusal to pretend to give a shit.
All of the cynicism goes away and he's just our Harry again for a
second.
However...
I just think it's well done.
Well, look, I actually think that that scene, the problem with
that scene is that it's solved by everyone kind of just budding
horns, like the doctor yells at him.
Oh, I heard a problem with that, sort of thing.
He has a ceiling.
Yeah, yeah, yeah.
But I don't think the ceiling, I don't think that 1st line of his
where he says, like, I think, like, he's given too much to say
he's given too much to explain, um, because we know how he feels
and he just, but we need to see him collapse and be our Harry
again, and be vulnerable.
Don't need all of those...
That is our voyage of failing again.
They think screaming loudly equals drama.
Yeah, they do a bit.
I mean, it is a kind of Star Trek failure mode a little bit as
well.
It is a sort of thing that Star Trek does generally.
And he's not there yet.
Sure, he still looks pulling it together.
He's a beautiful man.
Yeah, yeah.
Oh, look at that fabulous shot there from underneath.
Wonderful.
I want you to take the Enterprise for the challenger.
Yeah.
Basically, we end the price, though, right?
Just with the challenge I slapped on it.
But I love that it's called the Challenger.
Like it's named after the space shuttle that exploded in 86.
Um, and so this is where he loses it, like he's tried, and it's
it's not here.
Like, it's not here.
Like, he just says one line.
This way he's a...
Yeah, yeah, yeah.
But it's because he's given 2 lines there.
And then we solve it by yelling at him.
And I don't think that's right.
And I do think that the scene later where we instead we get
Janeway, who cares about him and wants him to be okay, like, and
that's what solves the problem for him in these time periods, we
just all yell at each other.
I said to you, Bob Picardo, and kiss him here.
Like, it's like, this is how far you should go, all right?
And then immediately Garrett brings it down.
Yeah, yeah, yeah, yeah, yeah.
I think so.
Like, and I think Bob kind of, he's sort of saving the scene.
I don't think this scene is as bad as you because I do expect kind
of...
This is an operatic...
I killed them.
Yeah, see, that's too much.
But I do think that like he doesn't need to say that, but having
him break down.
Like having him actually, when he's been this, you know, has had
his shields up the entire episode to have him break down and
remind us that he is our Harry, I think, is the right choice.
Which absolutely should happen after the crash, right?
Right?
Yeah, it's the right moment in the episode.
Yeah.
And but just making us watch him do it again.
So making us see him react in, in, in real time to that, that
disaster is perfect.
Having it narrated to us, seeing it in flashback, none of it works
as well as this.
And you see, I think too, that this scene would have worked better
the saying goodbye to Harry, and him smiling.
He grabs it on... and they both sm at each other.
If they hadn't been kind of just yelling at each other earlier
like if it had been warmer, if it had been brave enough to just be
a little bit warmer and to allow the 2 men to, you know, show some
proper grown up emotion other than aggression.
Yeah, yeah, yeah, I know.
Oh, now we're doing it again.
Oh, I'm receiving some information in my court.
I see, you know.
So I just think my head cannon, and I, like, we don't explain it
but I'm just assuming that he just sent the message like half a
2nd earlier than the previous message.
And we had the line.
We had the line that says, the past is still there.
It's not going anywhere.
Like, just send another message, which I just think is perfect.
I'm very pleased. didn't go out at this point.
It wasn't her best hair, was it?
Oh, there we go.
And it all sorted out.
But what I love too is the 10 years that they don't make this a
failure.
Everyone doesn't look back disappointed that they had the chance
to go home, but it didn't work.
She does say you miscalculated, Harry.
And I like that as a like a little dick because it is, it's not a
kind thing to say.
No, but but this too, and I don't think this gets quite sold
properly enough, because who sent the message, I think it should
be clear that the source of wonder is that someone intervened to
save our lives, but because it's not super clear that they know
that they would have died.
Do you know what I mean at this point?
That would have landed better, I think.
If the mysterious message had come and somehow saved them and they
knew about it.
But this, so the warmth of it.
Like, it's a success for Harry.
You know, this wasn't the failure where he kills everyone.
It's not even the failure where he gets their hopes up and they're
dashed.
It didn't quite work out, but they're 10 years closer to home.
I think that's cool.
I mean, we saw off knew that was going to happen, right?
We weren't going to have the rest of Voyager on that icy ship with
half the crew did.
It had to be a success for Harry.
But it could have been, oh, well, it didn't work and everyone was
very disappointed.
We didn't have to have that 10 years.
Instead it worked.
They got 10 years ago.
I think this message at the end is so perfect.
There's just never any emotional consequences in these rewrite
episodes, these big red button episodes.
And it's so sweet.
We see in microcosm what happens to the other Harry, because Harry
is here thinking about the fact, because he knows that he sent the
wrong message.
He knows that if they had listened to him instead of seven, he
would have killed them all.
So he knows that he'd made a very bad mistake that nearly killed
everyone.
And then Harry from the future comes along and fixes it.
Are they telling us this?
We know everything she's saying right now.
The 2nd we see the bloody message.
We know it's him from the future.
Yeah.
I can't, they?
I know, I know, I know.
Yeah.
I know I'm being picky.
I know I'm being picky, but it is the flaws we normally point
out.
Yeah, yeah, yeah.
But because there's so much good here.
And I even like, I even like this conversation about temporal
paradoxes coming in a Braga episode where it's just like, yeah, try
not to think about it too much.
It's fine.
I and I love...
I do love the fact that they are pushed forward 10 years, that
there is a positive consequence to all of that.
That's right.
But I just wish this is another Voyager problem.
That doesn't impact anything else after this.
It means nothing at all.
It's just means something to this episode and that's it.
But see what that scene did just then, which is Kate, which is
Catherine saying to him, it doesn't matter what the time paradox
is.
All that matters is that somehow at some point in the future you
came through for us.
And so this is a story not about how Harry failed and nearly
killed them all.
It's about how they saved them and saved them from her decision
and got them closer to home.
The way she looks at him.
Oh, I know.
I know.
Oh boy.
She was just looking and then a little smile just graced her
lips.
She just adored it.
But that's actor to actor as well as characters.
Why didn't we get more of that?
We needed more of that.
Yeah, it's they always bang on about the fact that they're a
family.
I don't know why they didn't show us more fun.
Garrett's tearing up here a little bit.
He must have been so happy to get this episode.
Yeah, yeah.
He's so good in it.
Like he's really good.
Yes, Mr Kim, your assistance, please.
Do you remember the other Harry Kim episodes?
the one where he's convinced he gets an SCD, the one where...
Yeah, they're just terrible episodes.
Bravo, Voyager.
Absolutely.
Bravo.
Absolutely superb.
That's like, like, you know what?
I was picky.
I'd still give that 10 out of 10.
I just think that is Voyager doing everything that it can do to
such a high standard.
Oh, it's top tier Star Trek, just generally, I think.
You know, like just a really excellent Star Trek episode.
Even the things we usually always complain about, the execution
even that, they were like, no, let's go above and beyond in this
episode because it's something special.
And just a decision to give it to Garra.
It's unusual, but it paid off in space, you know.
And I think that's what kind of makes it unusual, right?
If that had been about Janeway, it would have just been another
great Janeway episode, you know?
as we will see at the end of series.
I don't know that that's that's a great Janeway episode.
It's all right.
Yeah.
But it's the 1st, like, massive win, and there's a couple of good
episodes before this in season five.
It's the 1st of quite a few huge wins.
I mean, latent image, brighter Chaotica.
I know you threw shade on it the other day, but I love
relativity.
1159. someone to watch over me.
They really would.
I mean, there's still the trilogy of terror here.
You get the fight, the disease and course oblivion back to back.
So, you know what?
It's still Voyager.
But this really was empiring on all cylinders, I think. 4 and
five.
I think they there was something in the air.
That didn't last long, but you know, bloody hell, take it in while
it's there because it's pretty glorious.
Alright, it's the end of the episode, and it's time for us to find
out where we're going next.
This excellent choice was mine, and so it's time for me to hand
the reins of the randomiser over to you, uh, in order to what, ruin
it, I guess.
I don't know what's going on.
What's the time in on Star Trek project where pretty much every
choice you ever made was a complete dog of an episode.
And I chose all the bangers and now we've totally reverse
positions.
I'm swapped.
What happened to do it?
You put me just in the mood for great 90s trek.
Okay?
Okay, good.
And because you have handed me the wonderful gift of being able to
select the seasons that I want to choose as well as the series, I
am going straight to my favourite season of Dick Space 9.
Season five.
Come on.
Please don't give me.
Oh, God.
Let him is without sin or something.
Oh, I want to say that, though.
Here we go.
Ooh, your random Star Trek D Space 9 episode is season five
episode 16.
Dr. Bashir, I presume?
It is Bob Picardo.
Romancing Chase Masterson.
Oh wow.
Okay.
Oh, it's Louis Imerman. not the doctor.
It, not the AMH.
It's Dr. Zimmerman.
There's a really great scene where you've got Bashir and the
Bashir MH and Zimmerman and the EMH all in the scene together and
they're all in. am I being replaced?
Goes the EMH.
No, I'm sorry.
I do really want to watch that as well, but I'm going to press it
again.
I think I can get better than that, you know.
All right.
Okay.
I hope.
Oh, God.
Oh.
What the hell?
Oh, Empoc Noor, which we have already done.
You've done that already.
Oh, episode eight, things passed.
The sequel to Necessary Evil.
Okay.
That I mean, that's as good as Levar again. is very atmospheric.
Okay.
But I don't want to do that one.
No.
Season five, episode 12, the begotten.
That's the one where Kira gives birth to the baby and Keiko says
you can come in as long as you both behave.
Shakar and O'Brien.
Oh, it's terrible.
Oh my god.
It's like all these sitcom antics where they try and go through
the door at the same time.
It's really very bad.
That sounds great. keep going.
That's exactly what I actually need to do.
So can you tell I'm trying to find a particular episode?
Oh my god.
I get it.
Let him move without saying.
If let him who is without sin comes up, you have to do it, you
have to abandon the search for this episode.
Okay.
Well, if you have to.
I finally found the episode.
I was going for.
Yes.
Okay, I mean, you're the one that's allowed this, all right.
But allowed me to select the season.
I can just keep pressing until I find something I fancy.
Well, or until we get bored or embarrassed by the whole rose.
Are you embarrassed yet?
Bit.
Okay.
I don't know if you'll be embarrassed when we've watched this one
though.
I may have broken my curves.
Season five, episode six. trials and tribulations.
Yeah.
Oh, wonderful.
Come on.
I really wanted to watch it.
It's gonna keep pressing.
So this, of course, is season five, episode six, and we have, of
course, just watched series five, episode 6 of Voyager as well.
Oh, shit, we have.
Yeah, yeah, yeah, yeah.
So I think it's absolutely...
Which one's going to win?
out of the 2 of them because they're both bangers.
They're both really great, aren't they?
For completely different reasons.
Oh, yeah, no, we haven't do that.
Boy, you put a bomb in a triple in Cisco.
Tell me, Nathan, do they still sing songs of the great triple
hump?
I mean, I think regardless of anything, we'll have a lot of fun
with this.
It's brilliant.
It's superb.
It's one of my favourites.
Delivering his love letter to the original series.
Yeah, yeah.
Terry Farrell in that uniform.
I mean Jesus Christ.
Beautiful.
I'll just say one thing.
Do you remember this whole scene in Turbolift with Bashir?
Was it?
Maybe I'm supposed to go and meet her.
I've become my own going bang, my grandmother.
Now, that's a joke that Brannan would never write, all right?
He might.
Now, I realise I basically manipulated an abused randomiser there
to find something that I had pre-selected to watch.
It wouldn't be the 1st time.
I mean, we did watch kids these days a few weeks ago.
The 1st Strange New Worlds episode.
The Stranger Worlds episode, yeah.
It has happened before.
And I don't think anyone can really complain with us talking about
this.
I don't think so Okay, let's do it.
Well, to station K7 we go again. again You've been listening to
entitled Star Trek Project with Joe Ford and Nathan Bottomley
where online at untitled Star Trek Project.com, where you can find
subscription links and links to our social media accounts.
Our podcast artwork is by Kayla Ciceran, and the theme was
composed by Cameron Lamb.
This episode was recorded on the 31st of March 2026 and released
on the 3rd of April.
We'll see you next time for Star Trek Deep Space 9, trials and
tribulations.
Oh, sorry, I know that was a bit in Norway.
Oh, you wanted to leave.
I'm really tempted to use the same photo that I used for...
Astro. trolls. kind of chest deep in shribbles, you know, with, and
now that we know that it was Dax and Cisco throwing them.
She's just going like this over her shoulder.
Yeah, yeah, yeah.
And then we cut and they're they're single ones for, yeah.
Do you know what I mean?
Like they've clearly gone, oh, maybe we could have maybe...
I be interested to see how the matting holds up with them in the
other scenes or whether it's just like terrible.
There's one or 2 that are a bit terrible, I have to say.
The one I always remember has been not too bad is them in the
corridor where they replace that guy.
I mean, we get to watch trouble tribles again.
That's going to be great.
Yeah, yeah, yeah.
Now, the worst one is that they're in the kind of mess hall or
whatever, and Cisco's sitting at the table and he's been replaced
and the camera's moving across, and it doesn't quite, like, that's
probably the worst one.
I remember it being so funny.
Please be funny.
I haven't watched it for ages.
It's one of the ones that I have rewatched a bit because it is so
good.
It's just so much fun.
What did I say to Wolf?
You've got an earthy PT aroma.
With just a touch of lilac.
Lilac.
Yeah, yeah, yeah, yeah.
Oh, yeah, good.
Don't they drag the actor back on Darville?
It's the same man, isn't it?
Yeah, yeah, yeah.
It's the same guy.
Yeah, yeah, yeah. playing Barry.
Is it Barry?
Yeah, okay.
Well, there you go. have a little run of great naughty Trex
episodes before we head off somewhere else again.
Yeah, yeah, that's great.
That's free.
It's kind of like, oh, no, it isn't 3 because we hadn't.
What was before this?
Oh, no, we did the TOS one, didn't we?
shockingly bad one.
What was the last TNG one we did?
Hang on.
Oh, mate, I'm here on the site.
I can just look.
Uh, Rob Ross, homecoming.
Oh, devil's Jew.
Jesus Christ.
Oh, that was awesome.
Devil's Jew's great.
See, I was so right.
I was right about that.
Just scroll down a little bit.
Oh, God, we did fury before.
That was the last night's stroke before.
Oh, where the warrior?
Yeah, banger.
Thank you, Charles.
Yeah, Memorial, which we quite liked.
Oh, best of both of us.
We've done some pretty big ones lately.
We're going to have to start doing the sort of mediocre ones
aren't we?
Yeah, the Royale.
Twisted.
Oh, they're terrible.
Resurrection, you know, with mirror barile.
Oh my god.
Terrible.
Oh, there's Renee out of makeup for Oasis.
Oh, look at that.
Oh, these are the ones you do when you was here.
Field of Fire.
Hedgeon and me.
Arena.
Did we do make it now when you was here?
Was it afterwards?
No, you gone.
I think you'd gone then, didn't you?
Yeah.
Well, I can't remember.
Did we do?
Did we do the gone one together?
We did.
Yeah, we did.
We did all the gone ones together.
Yeah, yeah, yeah, yeah, yeah.
And we watched the other gore episode where the blue man burst.
The last time, yeah, yeah, yeah.
All those who glister.
They're going to have to give us some more corn episodes.
We did it for the next time, though.
Otherwise.
Yeah, we didn't record that one because the only one we recorded
the 1st time I came over was some justice.
Oh, subspace rafters.
Oh, Dragon's teeth.
That was a bit average, wasn't it?
To the deaf, we were a bit so so on that.
We quite liked it.
Forsaken.
Oh, tapestry.
Oh, Atlas.
God.
It's a lottery, isn't it, this?
Oh, look, we did, we did do context is for Kings.
I realised that we were so out of sync with the sort of standard
Star Trek fan when I picked up the Gross and Altman, you know, the
2 experts around all the sort of Star Trek review books.
It sort of came out in the 90s.
They were sort of the big Star Trek reviewers, Edwin Gross and
Mark Altman.
And I'd sort of opened up and then they were given the empath 3.5
stars out of 4 and I was giving um, the turd monster one, Savage
Curtain, that was getting like 3 stars out of 4.
I'm like, 0 God.
You can't understand how people even think that's acceptable
television.
Like how did it even air?
Like nothing happens.
I just think we learned.
We learned last week that time, not last week.
We learned that evil people, the difference between good and evil
is that evil people run away at the end of the episode.
That was what we learned.
And smoking turds make bad television.
They do make bad television.
For other smoking tours.
So bad.
So terrible.