September 28, 2025 • 50 mins
Dominic Keating and Connor Trinner watch Star Trek: Enterprise's "Oasis", where not everything is as it seems on this felled ship... We also pay tribute to the stars of this installment, René Auberjonois and Annie Wersching.
Each week, we explore and celebrate the lives that the Star Trek universe has forever changed. From former and future cast and crew members to celebrities, scientists, and astronauts whose personal and professional journeys have been affected by the franchise, we sit down and dive deep with a new friend, laughing and learning from their stories. Sit back, grab a drink, and join our hosts, Dominic Keating and Connor Trinneer, as we get geeky in The D-Con Chamber.
Let's get social! -
📘 Facebook: The D-Con Chamber
📸 Instagram: @thedconchamber
🐦 Twitter: @thedconchamber
⏰ TikTok: @thedconchamber
🌐 Website: https://thedconchamber.com
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-d-con-chamber--6181422/support.
Each week, we explore and celebrate the lives that the Star Trek universe has forever changed. From former and future cast and crew members to celebrities, scientists, and astronauts whose personal and professional journeys have been affected by the franchise, we sit down and dive deep with a new friend, laughing and learning from their stories. Sit back, grab a drink, and join our hosts, Dominic Keating and Connor Trinneer, as we get geeky in The D-Con Chamber.
Let's get social! -
📘 Facebook: The D-Con Chamber
📸 Instagram: @thedconchamber
🐦 Twitter: @thedconchamber
⏰ TikTok: @thedconchamber
🌐 Website: https://thedconchamber.com
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-d-con-chamber--6181422/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The show has been gun with car.
Speaker 2 (00:05):
It's the.
Speaker 3 (00:07):
Conch ladies and gentlemen, boys and girls, trekkies and trekkers.
Welcome back to another episode of the Decon Chamber. I
am with as always my best friend and co defendant,
Dominic Keating. We are doing a watch party today of
(00:28):
the episode Oasis.
Speaker 2 (00:31):
Nineteen as episode twenty.
Speaker 3 (00:33):
Episode twenty in the first season, written by Stephen Beck
and directed by Jim Charleston, both of which I don't
really recall.
Speaker 2 (00:46):
I don't recall either of them. It's hopeful to say that, but.
Speaker 3 (00:49):
No, But I mean, I don't know that we ever
had Jim first season.
Speaker 2 (00:53):
We were we really want sort of you know, involved
in that area of the studio.
Speaker 3 (01:03):
Yeah, also thought that, like you know, a director showed up,
they'd show up again. Now now maybe maybe Jim did,
but I don't recall him again, and I'll be honest,
I think that he directed a very fine episode. This
episode is is interesting and heavy because one it deals
(01:24):
with ghosts and someone who was trying to keep alive
the people that he cares about, and in reality, the
two leads in this reneer Burgeois and Annie Wershing have
passed and you know, I watched this episode with you know,
(01:46):
a sense of sadness, and the episode itself also lends
itself to that element of sesson.
Speaker 2 (01:56):
It's it is, it's it's quite sobering to think that
those two people have gone, and particularly Annie, who was
far too young. It was her first job, that's right,
it was her first job. And then she went on
to have great success.
Speaker 3 (02:11):
A great career, a great career.
Speaker 2 (02:13):
And she played the board Queen in Picard for crying.
Speaker 3 (02:15):
Out loud, she was in Vampire Diaries, she was in Bosh,
she was in twenty four. She had so many significant
roles and and she passed away a couple of years ago,
I believe at forty five, due to cancer.
Speaker 2 (02:32):
Yeah, we still have last, didn't we When we were
in Philadelphia, we saw in Chicago, Chicago tell her line
Chicago was.
Speaker 3 (02:41):
Yeah, she had. She had just finished playing the board
Queen and had sort of entered the Star Trek family
of going to conventions and most likely probably already sick
and left three three boys and a husband. And Renee
also had an extraordinary career, one that we could all
(03:04):
only hope for. And Renee sadly passed probably four or
five years ago.
Speaker 2 (03:11):
It's cybering.
Speaker 3 (03:13):
Yeah, not only that, and but but then to have
this be the episode.
Speaker 2 (03:19):
I know, yeah, it's uh, it's it's yes, it's somewhat.
I don't know, I don't know what the word is.
It's it's it's it's aerially synchronistic and fatal and yeah, yeah,
and you.
Speaker 3 (03:38):
Know, I I the episode itself take us away from
it reminded me of that Bruce Dern sci fi movie
Silent Running where he keeps these robots alive and he's
tend to harden. Yeah, and there must have been some
(03:59):
inspiration for this episode from that film. And you know,
in the end Bruce Den's character has to let Huey,
Dewey and Louis go.
Speaker 2 (04:09):
Yeah. Yeah, yeah, And there was that's a nice refrain
the ghost story. Do you remember the episode that you
all went to when you went down to the Bronston
Caves and Babs was telling ghost stories and had a
(04:30):
nice sort of refrain there that I noticed. And what
else was notable in the casting? Tom Berger On who
plays in at the beginning.
Speaker 4 (04:41):
Hell Jarn, the warlord's on Prenus use it to test
their courage.
Speaker 3 (04:45):
First. I was like, I was like I know him.
I know him, I know him. Who is that? Who
is that?
Speaker 2 (04:50):
He's apparently a huge Star Trek fan, so he sort of,
you know, fought to get apart as an alien on
one of our shows, and there he is. He did
a quick of episodes, yeah, but went on to have
massive success with hosting Dancing with the Stars, America's Funniest Videos,
Hollywood Squares.
Speaker 4 (05:10):
It was the whole opening scene of this episode called Oasis.
I play DeMar trader of Exotic Goods, and it's set
in the Captain's mess on the Enterprise, and it's a
dinner scene with me and Scott and Julie Blailock, Connor Treneer,
and they put me in four and a half hours
worth of makeup and I could not have been happier.
Speaker 2 (05:32):
It was very well directed. That's something I noted that
he got some beautiful shots oft to Paul through those
light shafts where they were the technology was that was
creating these holograms, and yeah, it was nicely done. Sadly,
(05:52):
Brannon said in twenty twelve that this was one of
the most horrible episodes that we ever did.
Speaker 3 (05:58):
I disagreed.
Speaker 2 (06:00):
I would disagree too.
Speaker 3 (06:02):
I mean I think this is one of the better
episodes that we did, at least in the first half
of the first season. Yeah, it literally echoes the ethos
that what Star Trek is entirely about.
Speaker 2 (06:13):
Yeah, because because it was I thought the the the
way they that there was there was obviously an element
of secrecy and foreboding right from the minute of meeting
them all and and us piecing it together that you know,
something's not quite right with their their telling of their story.
(06:36):
Whoever attack them has to be gone by now. Why
they're still hiding, not least that you know, the hydroponic
garden wasn't enough to feed you know, fifty of them,
you know, the pair that were actually living. There's also
their eponics pain what about it? It's not big enough
to feed all the people on that ship, sir, not
(06:57):
by a long shot.
Speaker 3 (06:58):
And as we walk into to me, I really thought,
I was like, is this a Halloween episode or a
few see any signs of the crew? I can, all right,
I really did with the teaser, and it's immediately about ghosts.
Speaker 2 (07:18):
So we're floating around, we've met the Sadium. We have.
The teaser is the dinner scene where he.
Speaker 3 (07:25):
He's a marauders.
Speaker 2 (07:27):
He's he's a yeah, he's a wheeler dealer, and he
gives note of this ship that he knows is crashed
on the nearby planet.
Speaker 4 (07:37):
A ship crashed on one of the inner planets. There
were no life signs aboard, so I landed to claim
my rights of salvage.
Speaker 2 (07:46):
But there are no vital signs that we can seem
to detect. And yet when we get down there, there's
a host of them seemingly walking and talking in a
humanoid species that can tarry. I noticed that. I never
I don't think. Did I wear that nifty away jacket
(08:08):
with the padded it was? It was a very nifty jacket,
did you That's one of the one of the ones,
you go, I have mine? Oh, I want to see that.
And as there's a lovely bit uh to. Paul is
super jealous of you mixing up with Leanna. Annie Wasshing's said,
(08:28):
the last time you found an engineer this competent, you
became back. You came back as her baby daddy.
Speaker 3 (08:34):
She's very competent. So is the female engineer on the's
Aurelian ship.
Speaker 2 (08:39):
You're never gonna let that go, are you.
Speaker 3 (08:42):
I'm simply noting that the last time you found someone
this competent, you wound up carrying her child.
Speaker 2 (08:49):
Or was it her baby? Mommy. Yeah, it's rather amusing
that I know.
Speaker 3 (08:54):
But I also thought it was interesting when when in
Act one, after we go out of the intro, you know,
to Paul is addressed about by trip. You know, are
you frightened? But don't you get frightened every once in
a while?
Speaker 2 (09:11):
No, not by anything?
Speaker 3 (09:14):
No, And I think that because that's not true.
Speaker 2 (09:18):
They do get frightened, yeah.
Speaker 3 (09:22):
Affected by things, and so I just thought that was
kind of an interesting diamondism about that. She just says no, no, no.
And the reality is is we find out later in
the series that all of these things occur. I wish
I knew more about the Vulcan soul in a way,
(09:46):
because what we wind up finding out is pretty much
what they tell us.
Speaker 2 (09:51):
Yes, right, you know, they're as fallible as we are.
They are, they just learned some sort of and I
think they were more fallible than we we were in
our infants, you know, infancy as a as a species,
they were obviously much more pugnacious and warlike, and but
(10:13):
they've managed to sort of you know, find a mechanism
to sort of put a handle on that, and yah,
take it out of the equation, but it's yeah, I
think they're still susceptible.
Speaker 3 (10:29):
Trip. He did this a lot, sort of like teased
her out of her moments like that, and I think
it probably was an element of of of of their
initial relationship and like you said earlier, like she was
clearly jealous that that's rather amusing.
Speaker 2 (10:52):
Had some lovely close ups Joe in this in the
early moments of this show, and when she's not saying
anything but just figuring stuff out, looking of the screen,
figuring out you know, who's on the planet, and they
were just flickers of the eye and you know, you know,
cognizant moments in her face. That was like, Yeah, that's
good acting, because we always know that that's the trickiest
(11:15):
acting there is, when you're just acting in a bubble
and being present without lions exactly and making it all
up in your head. I mean, you know, one's always
goes back to Roger Rabbit with that London actor passed away,
Bob Hoskins.
Speaker 3 (11:36):
I don't, I don't, I don't, I.
Speaker 2 (11:39):
Do you know that must? I mean a tour de force.
I mean in the early days of shooting a film
like that, when it really was you know, nuts and
bolts and tennis balls on the sea stands, and yeah,
you were acting in a complete imagine your own imagination,
which I find always quite remarkable.
Speaker 3 (12:03):
H it was. It was a very keen example, which
we did a lot in the first season of Flashlight acting.
Speaker 2 (12:14):
Yes you did, you have a lovely lovely moment with
your flash did you? I noticed that there's the ghost
but Las, Yes, and lovely pinpoison of Joelne And yeah,
Marvin had us really working overtime. That was our DP
lighting scenes with flashlights. Uh. But we then we start
(12:36):
to sort of, you know, uh, detect the inconsistencies when
Leanna tours the Enterprise with you.
Speaker 3 (12:43):
Any three are humans you met Pauls just fucking and
doctor Flox is from a planet called the Nobbul Plant.
Speaker 2 (12:51):
Honestly, you're like a sort of puppy dog in that
in those scenes. And cute, it's a meet cute is
what it is. I love the fact that she din't
doesn't know what dogs are, and there's Porthos capt Nurcher's
dog dog. I guess you don't have a word for
that's funny.
Speaker 3 (13:11):
I was thinking about this today and we get asked
this all the time. It was asked of us in Vegas,
where we just were this last weekend for a convention,
and so, how much of you were in your characters?
And the relationship in this episode is exactly me. It's
(13:38):
exactly how I would do something. You know, I come
from a small town. I come very strong, loving parents.
I think that I have a you know, respect for
any situation that I'm in and I and I watched
this episode and I thought to myself, Yeah, that tell
(14:00):
you would do it so because really, you know, anybody
could be given these lines and operate them in a
thousand different ways. And you know, I guess for our audience,
for you, how he operated within this I don't know,
Puppy Dog, Yeah, experience is exactly how I would have.
Speaker 2 (14:25):
Done it, all right. I might take this moment to
just say when we were at the convention in Las Vegas,
many people came up to the table to say how
much they loved this show and what we've been doing
over the last couple of years and actually even longer
with a previous incarnation of it. And I'm usually the
(14:48):
first one to ask, well are you a Patreon member?
And invariably a lot of the times the answer came
back a year not yet. And I'm going to half
make it known here now. If you are watching this show,
please and you love it, and you say you love it,
please support this show. It costs money to make, and
(15:09):
we have to.
Speaker 3 (15:11):
We're looking to survive.
Speaker 2 (15:12):
We're looking to survive. Conor and I are doing this
literally for no money, I mean seriously, and we need
money to edit, we need money to do the social
media and all these bills add up, and if we
do go in the studio, we need quite a lot
of money for the big ticket guests. So please, if
(15:35):
you've got it in your heart and you know you
have it in your pocketbook, if you know in your
heart you've got the five ten bucks a month, and
there's now a donate button on the website, so if
you just want to bung Us twenty to fifty bucks
when you feel like you've got it to give, please
do that too. We're not doing this to make a fortune,
(15:55):
guys and dolls. We're just not leave it the rest.
Connor is going to tell you why we're doing this.
Speaker 3 (16:02):
And to our audience. I just want to say this
to you as well. We love doing this. We do,
and we've done it for quite some time, and we've
determined that what we want to do is to have
our commentary on all of our episodes be an addendum
and an aside and together with our show. No one
(16:24):
else is doing this. It's just Mom and I talking
about the show for posterity, and I think there's there's
absolute value in that. And to be honest, I'm quite
proud of the idea that that's what we're going to do.
Having said that, we need help to finish this. We
need this, Yeah, and if you like this, and I
(16:48):
think this is a this truly is an element of
posterity for the two of us to be able to
talk about our show and to be able to share
this with our audience and for this to live forever. Yeah,
we need your help to make that happen.
Speaker 2 (17:03):
So this is a worthy cause, ladies and gents, and
we we we really hope you consider that. Anyways, it's
during that tour that you know the math doesn't add up.
That are our sensors. I quite like what I did here,
and there just the the sort of logistics of you know,
(17:24):
figuring out you know what this is.
Speaker 3 (17:26):
There's a lovely captain. You're basically saying, this isn't possible.
Speaker 2 (17:29):
Yeah, in the ready room, it's nice. It was at
the situation room at the back. That was the situation room. Yeah,
I liked some of that. Wasn't much to do, but
it was just just sort of nice sleeping and it
for you know, just pushing the story or the the
the inconsistency of their story forward.
Speaker 5 (17:50):
How she translated the data module we found on their ship,
we were able to reconstruct what happened right before they crashed.
You know, they say they crashed and have been living
like this for three years, but actually, you know, all
the data from our senses show that this vessel crashed
twenty two years ago. It went down nearly twenty two
years ago, Tripp, That didn't make any sense.
Speaker 2 (18:15):
Check, let's scand yourself. And then we find that there
are escape pods floating around in the nearby stratosphere of
said planet, and we re rescue one of them and
lo and behold. That's a nice moment where Flox comes
in and says, you know, this is going to be
a sarcophagus.
Speaker 3 (18:35):
This is obviously someone's final resting place.
Speaker 2 (18:38):
What do you expect to accomplish by opening it?
Speaker 3 (18:40):
You know?
Speaker 2 (18:40):
Is this something we want to do? Open up someone's
resting place? And we do, and it's this character Shalatte
who you just saw down on the planet in the
vessel as live as large as life as you like.
And there he is, mummif and said, escape pod. So
(19:03):
what is going on?
Speaker 3 (19:06):
And I kind of I really appreciate the we didn't
just go along with it. Well, we did go along
with it to see where it ended up. I think
that we knew the reality of it before the reality
got played. As as members of the ship, we had
(19:28):
an idea that there were no life signs, and clearly they.
Speaker 2 (19:37):
So neatly packaged that up with They had some shielding
around the inner a sanctum of the ship where they lived.
Speaker 3 (19:45):
What didn't any of the show up on censors.
Speaker 1 (19:48):
There appears to be a dampening field in this section
of the ship.
Speaker 3 (19:51):
And they also it's very important for them to get
the who's what's it thingy working properly because we find
that that is basically as generating the hollow, yeah, generating
their beings. Yeah.
Speaker 2 (20:08):
And so he gets her about act three, and you
confront Leana about how long they've been there, and she
desperately avoids your questions, how long have.
Speaker 3 (20:19):
You been on this planet? Captain Column told you, I
want you to tell me why, because our scans show
your ship crashed twenty two years ago.
Speaker 4 (20:32):
Your scans must be wrong.
Speaker 2 (20:34):
But in the meantime, to Paul is captured while still
down on the planet in the vessel, Where's to Paul?
Don't worry about her.
Speaker 3 (20:44):
I'm gonna need her help.
Speaker 2 (20:45):
You can do it on your own.
Speaker 3 (20:47):
Yeah.
Speaker 2 (20:47):
And then there and then the cavalry arrive. Yeah, and
there's a good shoot out and I get shot right
in the back. All the cases and eats, and I
guess it's then after I get shot that that's the
final straw. And she she finally reveals, does she reveal
(21:08):
to you that they're all holograms.
Speaker 3 (21:19):
Renee's the one who details it. They were holograms.
Speaker 1 (21:22):
They were our friends, our family for over twenty years.
Speaker 2 (21:27):
He's so good, isn't he? And he it's just experienced
seasoned acting, you know. He he has several speeches that
are quite long. He takes he never takes a breath.
He just delivers and quite sort of intricate thoughts that
(21:52):
lead into other intricate thoughts. And I just noticed that
the the wonderful rhythm he creates, He's got a great
sense of that, yes, instinctial.
Speaker 3 (22:04):
Yeah, you know. And I don't know how well you
knew Renee. I mean well, we very well. I did.
I didn't know him very well.
Speaker 2 (22:13):
We did a couple of those back to back ones
down in Australia and New Zealand, and I got to
know him and his wife quite well. We became quite
close on over a sort of two and a half
week period. And yeah, he was a lot lovely chat
lovely guy.
Speaker 3 (22:29):
I mean remarkable too. I believe that that Renee lived
his life as an artist. You could sit at dinner
with him and he would recite under Milkwood.
Speaker 2 (22:43):
Yeah he would.
Speaker 3 (22:44):
You know. He he was. He was of a particular generations,
actually royalty in Switzerland.
Speaker 2 (22:56):
His mother Swiss, Isn't he was Swiss?
Speaker 3 (23:00):
His mother was Princess Laura Louise Napoleon Eugenie Caroline Mirott
no kidding.
Speaker 2 (23:09):
Yeah, yeah, Well that explains the eyes being quite close
to gother.
Speaker 3 (23:19):
And the blood never coagulating.
Speaker 2 (23:22):
I didn't know that, but it was. Yes, he was
of Swiss heritage. I'm pretty sure.
Speaker 3 (23:27):
I think he was Franco Swiss who was oh yes,
and Ferdinand virgin Wise father was Swiss born. Sometimes you're
blessed by the opportunity to know someone, however well you
know them, and I always felt like Renee was one
of those guys you know as a kid. I watched
(23:47):
him on Benson and we were in New Jersey at
a convention and this is just around the time that
you know, they're making like weed gummies and.
Speaker 6 (23:59):
We lollipop ranchers and the two of us I believe
was the two of us, I think it was, and
about to go on stage.
Speaker 3 (24:11):
I'll take a break here because the week before somebody
had given me like half of a Jolly Rancher rancher
gummy and I had to go to bed, and so
we walk up to our day and say hi, and
he's just working a great jolly rancher gummy. He was like,
I gotta go on stage in like five seconds. And
I'm like, oh my god, you're gonna well, good luck, Bretee.
(24:36):
And he was just he was fine.
Speaker 2 (24:38):
He always had a lollipop in his mouth or something. Yeah, yeah,
he liked, he certainly liked to partake a bit.
Speaker 3 (24:47):
God bless.
Speaker 2 (24:50):
His big break came, of course in the Cab and
Missus Miller And yeah, that was that was Renee's big
sort of breakout role. I mean, you never look back
from that way. Yeah. He played a rat and he
looked like, yeah, playing the sort of you know exactly,
the town rat.
Speaker 3 (25:04):
Yeah, and.
Speaker 2 (25:07):
That film is famous for the last I think it
might be last eight to ten minutes and there is
no music. There's just the sound track of the gun fight.
And yeah, they just used the muffled sound of the
snow snowed in you know, western whatever you want to
(25:29):
call it, town barely And it was a terrific film,
But that was that was what kicked him off. So
she's captured, I come down, the cavalry arrive, I get shot.
So yeah, so it all comes out in the wash
that you're that she deactivates the holograms as they're.
Speaker 3 (25:51):
We do it together. Huh, we do it together?
Speaker 2 (25:55):
Yes, yeah, exactly. It's rather rather poignant moment. And then
ezral Renee embarks on the story of what actually really happened,
that there was an iron storm they had a whole breach,
and he left his post as the captain of that
(26:16):
vessel because he knew his daughter was in the bowels
of the ship and that it was very unlikely that
she would survive the impending crash. And everyone died. By
him and his daughter. It was my decision.
Speaker 1 (26:35):
She was in our quarters on the lowest deck. I
knew she'd never survive a crash landing down there, so
I went to get her.
Speaker 3 (26:45):
Any father would have done the same thing.
Speaker 1 (26:47):
I left my station.
Speaker 2 (26:50):
It's rather it's very moving, actually, and he's been you know,
what's the word troubled and you know, crossed by that
ever since. Uh. And so he decides to with his
you know, expertise in this field of science, he decides
(27:10):
to recreate the crew.
Speaker 1 (27:13):
So I decided to bring them back her mother first,
then Captain Kulan and the others. I did everything I
could to make it like it was for her.
Speaker 2 (27:26):
And so she has no no real understanding that these
people for a long time are not actually people there.
Speaker 3 (27:37):
I will say this about about that bit of it.
So if you could punch one of them and get
punched by one of them, but when you shot them,
you went right through them.
Speaker 2 (27:49):
Well that was it. It was quite odd. They could
walk through walls and phase of them and it would
go straight through them.
Speaker 3 (27:56):
A certain amount of convenience.
Speaker 2 (27:57):
But you could, yes, you could get you could get
no out by one of them. And they could hold guns, right,
it's for real. I mean they could.
Speaker 3 (28:05):
Kiss you and they could touch you. But in terms
of yeah, when like I was like I raised a
red flag. When archer or you tries to shoot one,
it goes right through them.
Speaker 2 (28:17):
And I was like, wait a minute, wait a minute, wait,
wait a damn minute. Yeah, so that so that he
creates these holograms so that Leanna wouldn't grow up alone.
And and it's Trip who who you know, makes the
argument that you know all good intentions, but surely wouldn't
(28:43):
you want more for your daughter's life than to be
hanging out with a bunch of you know, holographic ghosts
right when you have the capacity, particularly now that we've
arrived on the scene to excavate, and yeah, take you home.
Speaker 1 (29:01):
Maybe it's time I stop being so afraid of change.
Speaker 2 (29:09):
Will you help me take my daughter home? And his
his argument is an odd one, isn't it that this
is his home? And that he's become so accustomed to it.
Speaker 3 (29:21):
Well, it's Doctor Frankenstein, isn't it. I mean, you know,
somewhat creating your environment for your seize. Yeah, yeah, I
just I found the the argument to be. And you
see these stories and read these stories, and see these
films about almost one caring too much. Mm hmmm in
(29:50):
a way that you you wind up over Preduca making
the rare decisions that just doesn't exist. That's not that's
not real and proper, and it's actually hurtful and harmful
to write a person you're trying to help, all right, right? Uh.
Speaker 2 (30:09):
Some trivia associated with the episode. Apparently this is quite
a similar episode to the Deep Space nine one shadow play.
Now there's never coming back issue?
Speaker 3 (30:21):
Why do you say that.
Speaker 2 (30:25):
To my grandfather?
Speaker 3 (30:26):
Tomy?
Speaker 2 (30:29):
And an episode in Discovery called Sue Sue Cal I
think it's called Yeah, references Travis's ghost stories from Strange
New World.
Speaker 4 (30:40):
This isn't turning into one of your famous golf stories,
is It.
Speaker 2 (30:44):
Wouldn't make a good one, sir? And your romance from
Unexpected You find me.
Speaker 3 (30:51):
Attractive?
Speaker 2 (30:53):
You like having people find you attractive. And I've touched
on the fact that Brannon called this a terrible episode
in twenty twelve, which is a little unkind.
Speaker 3 (31:03):
I didn't think that. You know, look, there are some
episodes that just sort of like fall flat. And maybe
because I'm more sensitive to the fact that we're I mean,
you look, I didn't never took notes before. You know,
I'm taking notes on the intro and all the acts.
And believe me, I know there are clunkers, But I
(31:26):
don't think.
Speaker 2 (31:27):
This was my fault. I means yeah, by no means
our biggest clunk up.
Speaker 3 (31:32):
No.
Speaker 2 (31:33):
No.
Speaker 3 (31:33):
In fact, as I said before, I think it sort
of echoes Gene Roddenberry's message. It Also, I think this
is one of the times that I found myself as
the actor a little concerned about the character. I was
playing his influence on scenarios and not having to have
(31:55):
any addressing of that. All right, so it gets involved
in this and you know, there there's a you know
that there's this young woman's life in balance and and
what that means, and we're just going to fly off
at the end of you.
Speaker 2 (32:11):
I know, there's not the ending is I mean, it's
somewhat laughable, isn't it may there like that, I guess
I'll see you around it.
Speaker 3 (32:27):
I did think it was really cute. I did think
it was gentle.
Speaker 2 (32:31):
Yeah, I guess. I mean, look, it's a TV show,
it's not like real life, so what better way to
end it with, you know, a kiss on the lips
and around the block. In other circumstances, yeah, we would
be together, but you know, I'm on a five year mission.
Speaker 3 (32:51):
And you'll know I will I will say that. You know,
I remember because I spent a lot of time that
week with Annie. And she was so young and so
new to the business, and.
Speaker 2 (33:07):
That said, yeah, her first job.
Speaker 3 (33:10):
She's from Saint Louis as well as scott Is. And
I remember talking to her and and and and she
was she was she was at the time. At that time,
she she seemed like a relatively fragile person. I mean,
she had moved into her apartment in Korea Town. It
had been robbed the week before, and when she was
(33:35):
in it she moved into it wasn't there, but it
was rob department. Yeah, and you know, and and she
was a little raw to the newness of the whole thing.
Speaker 2 (33:44):
And I gave her a great wig, right.
Speaker 3 (33:52):
Are there great wigs?
Speaker 2 (33:53):
Can you say?
Speaker 3 (33:54):
Where did they find that way from the name a
great wig.
Speaker 2 (33:59):
No, I mean missedly. Jolene's first wig was pretty You know, we.
Speaker 3 (34:04):
Have been watching h Texas Hunting Wives, which its it's
it's great fun.
Speaker 2 (34:14):
Is it a reality show?
Speaker 3 (34:16):
No, you'd think it would be, and it should be.
But it's a Maelan Ackerman Dermot mulrooney. It's on Netflix.
Speaker 2 (34:23):
Oh I saw that. I saw it, yes, advertised.
Speaker 3 (34:25):
Yeah, it's just fun, okay, But Maelan Ackerman has the
worst wig. And I can't think of a time when
somebody had like, what a great wig that is.
Speaker 2 (34:38):
Oh, I'm sure there must have been some man, I
mean there are some wig masters that but yeah, I
mean on our show they were pulling them out of
the back of the cupboard from you know, three shows ago.
Speaker 3 (34:48):
Either way, the only Emmy or show ever won Hair
and Maker first season is that, right, isn't right? Well, well,
well it wasn't my hair nor mind. But nonetheless, you know,
Annie was just such a sort of classic newbie in
(35:12):
the business and very seemingly sensitive, like that's how she
that's why she got the part. She was who she was.
Annie went on to do so much with twenty four
and Bosh and Vampire Diaries and really and the board
(35:33):
queen in was it Picard? Yeah, yeah, a real loss
to especially our family.
Speaker 2 (35:45):
Yeah she was forty five. Sad. Oh, I'd say one thing.
I noticed the extracurriculum use of the warp elevator, you know,
that clunky elevator up and down engineering poor legs figures,
thank you? What does he do?
Speaker 3 (36:07):
Not much?
Speaker 2 (36:08):
Here's the caps We never we barely never used it.
And it was a bit because you know, that was
two strong lads. I forget their names. Do you remember
what were their names? Those grip guys who I don't remember.
I can't remember. Damn.
Speaker 3 (36:27):
I can see the one who opened the door. It
was the main one who opened and shut the doors,
the old thing, Yeah, with the with the been there
seventeen years. Terrible when you can't remember now. He was
such fun. Yeah, yeah, that one was.
Speaker 2 (36:43):
It was basically two strong guys holding you up with
the cuffs of weights, I'm sure, levering you up and down.
That was it. And yeah, that first the first descent was.
Speaker 3 (36:57):
You know, I'm wondering I've noticed this. I haven't really
thought about this until now that we're revisiting these episodes.
But for for let's say Tripp's character in particular, you know,
a sad sack and love. Yeah, I can't think of
(37:21):
a single character that has a satisfying relationship. Granted we're
on a spaceship, fine, but there is I can't think
of a single character in all of Star Trek where
there is a relationship that is fulfilling to anyone.
Speaker 2 (37:43):
Do Wharf and Dacks have something of it? Before? You know,
they had to kill her? I mean, well, what made
rest my case? Yeah, but that was that was that
was contract It was that was a contractual killing.
Speaker 3 (38:01):
In all honesty. I mean I get why in particular,
like our show has thought of as somewhat like, you know,
a boys club, because there's there's really no three dimensional
life being lived on our ship, at least on our ship. No.
Speaker 2 (38:24):
I always regretted that I thought our show was going
to be that that we I've said it before that
we were going to be the er in space show,
so that all the storylines would be amongst the crew members,
of which we were the seven you know, regulars, and
that that would be the thrust of the show. But
(38:45):
as it quickly turned out, that was not what they
had in mind, and we we were you know, he
used to I mean, I know, you know, we know.
It pissed off Anthony and it used to get to
me sometimes that, you know, these guest stars would come
on and have pages of dialogue, great scenes with everyone
but me, and I'd be like, well, what what what
(39:08):
did you cast me for? I mean, you know, just
to say yay, sir, no, sir, you know the photon
torpedoes halfway donezir? I mean it there were there were, yeah,
there were. There were swaths of time where I was like, yeah,
you're wasting You're wasting good talents sitting right here, and
(39:31):
you're paying them a lot of money.
Speaker 3 (39:33):
I mean, really enough, my add But what it comes
down to is that the ship was number one on
the call sheet, and everywhere else it was two through nine.
But also, you know, I've begun to think about this,
the want and loss of all of the characters in
(39:57):
Star Trek. It's significant. Nobody ever wins in terms of,
you know, a relationship, And I guess I'll circle that
back to because the relationship is with you in a ship.
Speaker 2 (40:12):
All right, right, Yeah, I mean it's odd that you
Malcolm's farewell speech in Shuttle Pod one is exactly that.
You know, none of these relationships worked out, but my
relationship with the crew members of the of the Enterprise
I was just becoming close to. And yeah, that's it's
(40:35):
quite telling that it is.
Speaker 3 (40:38):
And then you get the need for Nana to write
women in track. Then you get the need for people
to express how they feel about the lack of dimension
our characters. And I'm curious about this because because you know,
(41:01):
the show went for I don't know, one hundred thousand
straight years before it stopped for a minute, and and
these sorts of things weren't even addressed. And to the
point where in this episode to Paul says to Trip,
you know really again you yeah, but there's something telling
(41:25):
about that. I think that there's something.
Speaker 2 (41:29):
Well it is it avoidance? I mean, are they avoiding
dealing with something like that?
Speaker 3 (41:35):
That's a good that's a good question.
Speaker 2 (41:36):
I don't actually, I just don't feel comfortable rising that.
Speaker 3 (41:40):
Yeah, I don't know. I mean I think that when
you get a lot of boys and men together figuring
out things, they may leave other parts out of it.
And you know, so Jerry Taylor being an executive producer
huge part of Voyager, you know, you can sort of
(42:02):
follow the track on that. Yeah, and and I think
that there's you know, validity too, and value in having
those kinds of conversations. And bless them off for writing
that book that was you know, it's a tone, it's
a it stands alongside I guess some of the best
Star Trek novels out there, books out there, and and
(42:24):
and look, if we're talking about a new world in
the future where there's no wars and we're people say
live long and prosper and we're doing the best that
we can in humanity, I feel as though the representation
(42:50):
is a little bit slim, to be honest with you, Yeah,
I think I'm never getting hired again by Paramount, by
the way.
Speaker 2 (43:01):
Letting you dig your own gray there. But no, you've
got a point, you know, they they it wasn't fair
that they felt comfortable dealing with and you knowing the
people that we now know them as and the era
that we were on in and that just wasn't Yeah,
(43:24):
it wouldn't have. It wouldn't have. It wouldn't have flown
well in the Rice's room with one or two people
in charge, particularly, But I.
Speaker 3 (43:33):
Mean, you know, we came off the heels of a
show that it had a female captain and a female
lead yours, And I don't know, is that is that
the pendulum ball swinging back to Stacy.
Speaker 2 (43:48):
Well, given that we were the prequel and now we're
you know, that's a very different kettle of fish than
Voyager and a female captain two hundred years in the
future or whatever it might be. And so maybe you
know that it was you know, a more mascular, had
(44:11):
a more masculine aspect to it.
Speaker 3 (44:15):
And we can also Monday Morning quarterback this to death.
I mean, look, if you if you have an issue
with anything anybody ever did on a show, make your
own yeah, right, tell your own story. You know, you know,
we are a cast of characters that came together to
tell a story. There were other casts of characters also
to tell that story. But you know, look in the
(44:39):
in the pantheon of Star Trek, I think it's worth
a worth a conversation, We're worth worth addressing, worth looking at,
and it's one of the great opportunities that we get
in this community where people really think about this stuff.
Speaker 2 (45:02):
All right, all right, well, I think we've covered pretty
much all the this you know, irrelevant points. Can you
think of anything else you'd like to say?
Speaker 3 (45:15):
I have one question about this. So they have technology
for holograms and we don't at the time, and we
don't even address it.
Speaker 2 (45:32):
Ah, right, and talk about that curious. Yeah, well that
might have been the constraints of you know, thirty six
minutes in an hour. Well, sure, there's always those constraints
to consider. And if you out they have time for
a scene where you explain explains to us how you
(45:53):
do that when the audience already knows about holograms and like,
you don't need to explain who you're explaining to, you know, captain,
captain understand that.
Speaker 3 (46:04):
But but but for us to not even address to
do that, that must be fun. Do you have a
person in this thing?
Speaker 2 (46:14):
Yeah? Right, can Yeah, but you don't have dogs. Yeah
that's true. It wasn't touched on at all, and yeah,
who knows. All right, well we have covered Oasis. I
think a pretty good episode and certainly not worth the
(46:36):
slander that Brannon gave it. I think I think it
was a tough judge of most episodes, you know, apparently
every episode that any writer ever gave him as a
final draft he just went through with a red pen. Yeah. Literally,
there wasn't one, I don't think, And I wonder about that.
(46:59):
I mean, you know, when you've got such a one
man control over the entirety of a show, I guess
it's vision, but sometimes you can you can, you know,
especially when you've done it for sixteen years, you can't
see the wood for the trees.
Speaker 3 (47:17):
And yeah, yeah, I mean I think that there is
something about what is the term absolute control? Absolute? What
is it controls? Absolutely? But yeah, you can be too
(47:41):
close to something. Yeah, I think by the end, by
the time they got to us, there was something about
like how do we how do we strip off the
label of a voyager Deep Space nine or Next Generation
episode and slap on an enterprise one? And I think
that probably occurred later on in seasons. I think that initially,
(48:05):
you know, episodes like this, there's always going to be
a similarity. I mean, God, if you make if you
make a thousand episodes of something, you're going to be
dipping back into that cup cranky.
Speaker 2 (48:14):
I mean, you know, I always refer to Will.
Speaker 3 (48:17):
Dexter get away with It this week exactly? I wonder.
I guess the.
Speaker 2 (48:24):
Story is, how is he going to get away with
it in rather than Willie in it. Yeah, so I.
Speaker 3 (48:34):
Partly, you know, I was drawn to this episode because
it was like oh, renee oh, and also the topic
of the episode itself oddly sadly serendipitous to the event.
But I don't know, I thought that was a good
(48:56):
episode of Star Trek.
Speaker 2 (48:57):
Yeah I did too. All right, well, I think we've
published a short episode short ish. Have you enjoyed listening
to our musings about it? And we shall see you
back here in the decon chamber, n nan, and we
will see you next time. Thank you, guys, all.
Speaker 7 (49:18):
Right, She'll thank you, boy boy
Speaker 2 (50:05):
By one
The show has been gun with car.
Speaker 2 (00:05):
It's the.
Speaker 3 (00:07):
Conch ladies and gentlemen, boys and girls, trekkies and trekkers.
Welcome back to another episode of the Decon Chamber. I
am with as always my best friend and co defendant,
Dominic Keating. We are doing a watch party today of
(00:28):
the episode Oasis.
Speaker 2 (00:31):
Nineteen as episode twenty.
Speaker 3 (00:33):
Episode twenty in the first season, written by Stephen Beck
and directed by Jim Charleston, both of which I don't
really recall.
Speaker 2 (00:46):
I don't recall either of them. It's hopeful to say that, but.
Speaker 3 (00:49):
No, But I mean, I don't know that we ever
had Jim first season.
Speaker 2 (00:53):
We were we really want sort of you know, involved
in that area of the studio.
Speaker 3 (01:03):
Yeah, also thought that, like you know, a director showed up,
they'd show up again. Now now maybe maybe Jim did,
but I don't recall him again, and I'll be honest,
I think that he directed a very fine episode. This
episode is is interesting and heavy because one it deals
(01:24):
with ghosts and someone who was trying to keep alive
the people that he cares about, and in reality, the
two leads in this reneer Burgeois and Annie Wershing have
passed and you know, I watched this episode with you know,
(01:46):
a sense of sadness, and the episode itself also lends
itself to that element of sesson.
Speaker 2 (01:56):
It's it is, it's it's quite sobering to think that
those two people have gone, and particularly Annie, who was
far too young. It was her first job, that's right,
it was her first job. And then she went on
to have great success.
Speaker 3 (02:11):
A great career, a great career.
Speaker 2 (02:13):
And she played the board Queen in Picard for crying.
Speaker 3 (02:15):
Out loud, she was in Vampire Diaries, she was in Bosh,
she was in twenty four. She had so many significant
roles and and she passed away a couple of years ago,
I believe at forty five, due to cancer.
Speaker 2 (02:32):
Yeah, we still have last, didn't we When we were
in Philadelphia, we saw in Chicago, Chicago tell her line
Chicago was.
Speaker 3 (02:41):
Yeah, she had. She had just finished playing the board
Queen and had sort of entered the Star Trek family
of going to conventions and most likely probably already sick
and left three three boys and a husband. And Renee
also had an extraordinary career, one that we could all
(03:04):
only hope for. And Renee sadly passed probably four or
five years ago.
Speaker 2 (03:11):
It's cybering.
Speaker 3 (03:13):
Yeah, not only that, and but but then to have
this be the episode.
Speaker 2 (03:19):
I know, yeah, it's uh, it's it's yes, it's somewhat.
I don't know, I don't know what the word is.
It's it's it's it's aerially synchronistic and fatal and yeah, yeah,
and you.
Speaker 3 (03:38):
Know, I I the episode itself take us away from
it reminded me of that Bruce Dern sci fi movie
Silent Running where he keeps these robots alive and he's
tend to harden. Yeah, and there must have been some
(03:59):
inspiration for this episode from that film. And you know,
in the end Bruce Den's character has to let Huey,
Dewey and Louis go.
Speaker 2 (04:09):
Yeah. Yeah, yeah, And there was that's a nice refrain
the ghost story. Do you remember the episode that you
all went to when you went down to the Bronston
Caves and Babs was telling ghost stories and had a
(04:30):
nice sort of refrain there that I noticed. And what
else was notable in the casting? Tom Berger On who
plays in at the beginning.
Speaker 4 (04:41):
Hell Jarn, the warlord's on Prenus use it to test
their courage.
Speaker 3 (04:45):
First. I was like, I was like I know him.
I know him, I know him. Who is that? Who
is that?
Speaker 2 (04:50):
He's apparently a huge Star Trek fan, so he sort of,
you know, fought to get apart as an alien on
one of our shows, and there he is. He did
a quick of episodes, yeah, but went on to have
massive success with hosting Dancing with the Stars, America's Funniest Videos,
Hollywood Squares.
Speaker 4 (05:10):
It was the whole opening scene of this episode called Oasis.
I play DeMar trader of Exotic Goods, and it's set
in the Captain's mess on the Enterprise, and it's a
dinner scene with me and Scott and Julie Blailock, Connor Treneer,
and they put me in four and a half hours
worth of makeup and I could not have been happier.
Speaker 2 (05:32):
It was very well directed. That's something I noted that
he got some beautiful shots oft to Paul through those
light shafts where they were the technology was that was
creating these holograms, and yeah, it was nicely done. Sadly,
(05:52):
Brannon said in twenty twelve that this was one of
the most horrible episodes that we ever did.
Speaker 3 (05:58):
I disagreed.
Speaker 2 (06:00):
I would disagree too.
Speaker 3 (06:02):
I mean I think this is one of the better
episodes that we did, at least in the first half
of the first season. Yeah, it literally echoes the ethos
that what Star Trek is entirely about.
Speaker 2 (06:13):
Yeah, because because it was I thought the the the
way they that there was there was obviously an element
of secrecy and foreboding right from the minute of meeting
them all and and us piecing it together that you know,
something's not quite right with their their telling of their story.
(06:36):
Whoever attack them has to be gone by now. Why
they're still hiding, not least that you know, the hydroponic
garden wasn't enough to feed you know, fifty of them,
you know, the pair that were actually living. There's also
their eponics pain what about it? It's not big enough
to feed all the people on that ship, sir, not
(06:57):
by a long shot.
Speaker 3 (06:58):
And as we walk into to me, I really thought,
I was like, is this a Halloween episode or a
few see any signs of the crew? I can, all right,
I really did with the teaser, and it's immediately about ghosts.
Speaker 2 (07:18):
So we're floating around, we've met the Sadium. We have.
The teaser is the dinner scene where he.
Speaker 3 (07:25):
He's a marauders.
Speaker 2 (07:27):
He's he's a yeah, he's a wheeler dealer, and he
gives note of this ship that he knows is crashed
on the nearby planet.
Speaker 4 (07:37):
A ship crashed on one of the inner planets. There
were no life signs aboard, so I landed to claim
my rights of salvage.
Speaker 2 (07:46):
But there are no vital signs that we can seem
to detect. And yet when we get down there, there's
a host of them seemingly walking and talking in a
humanoid species that can tarry. I noticed that. I never
I don't think. Did I wear that nifty away jacket
(08:08):
with the padded it was? It was a very nifty jacket,
did you That's one of the one of the ones,
you go, I have mine? Oh, I want to see that.
And as there's a lovely bit uh to. Paul is
super jealous of you mixing up with Leanna. Annie Wasshing's said,
(08:28):
the last time you found an engineer this competent, you
became back. You came back as her baby daddy.
Speaker 3 (08:34):
She's very competent. So is the female engineer on the's
Aurelian ship.
Speaker 2 (08:39):
You're never gonna let that go, are you.
Speaker 3 (08:42):
I'm simply noting that the last time you found someone
this competent, you wound up carrying her child.
Speaker 2 (08:49):
Or was it her baby? Mommy. Yeah, it's rather amusing
that I know.
Speaker 3 (08:54):
But I also thought it was interesting when when in
Act one, after we go out of the intro, you know,
to Paul is addressed about by trip. You know, are
you frightened? But don't you get frightened every once in
a while?
Speaker 2 (09:11):
No, not by anything?
Speaker 3 (09:14):
No, And I think that because that's not true.
Speaker 2 (09:18):
They do get frightened, yeah.
Speaker 3 (09:22):
Affected by things, and so I just thought that was
kind of an interesting diamondism about that. She just says no, no, no.
And the reality is is we find out later in
the series that all of these things occur. I wish
I knew more about the Vulcan soul in a way,
(09:46):
because what we wind up finding out is pretty much
what they tell us.
Speaker 2 (09:51):
Yes, right, you know, they're as fallible as we are.
They are, they just learned some sort of and I
think they were more fallible than we we were in
our infants, you know, infancy as a as a species,
they were obviously much more pugnacious and warlike, and but
(10:13):
they've managed to sort of you know, find a mechanism
to sort of put a handle on that, and yah,
take it out of the equation, but it's yeah, I
think they're still susceptible.
Speaker 3 (10:29):
Trip. He did this a lot, sort of like teased
her out of her moments like that, and I think
it probably was an element of of of of their
initial relationship and like you said earlier, like she was
clearly jealous that that's rather amusing.
Speaker 2 (10:52):
Had some lovely close ups Joe in this in the
early moments of this show, and when she's not saying
anything but just figuring stuff out, looking of the screen,
figuring out you know, who's on the planet, and they
were just flickers of the eye and you know, you know,
cognizant moments in her face. That was like, Yeah, that's
good acting, because we always know that that's the trickiest
(11:15):
acting there is, when you're just acting in a bubble
and being present without lions exactly and making it all
up in your head. I mean, you know, one's always
goes back to Roger Rabbit with that London actor passed away,
Bob Hoskins.
Speaker 3 (11:36):
I don't, I don't, I don't, I.
Speaker 2 (11:39):
Do you know that must? I mean a tour de force.
I mean in the early days of shooting a film
like that, when it really was you know, nuts and
bolts and tennis balls on the sea stands, and yeah,
you were acting in a complete imagine your own imagination,
which I find always quite remarkable.
Speaker 3 (12:03):
H it was. It was a very keen example, which
we did a lot in the first season of Flashlight acting.
Speaker 2 (12:14):
Yes you did, you have a lovely lovely moment with
your flash did you? I noticed that there's the ghost
but Las, Yes, and lovely pinpoison of Joelne And yeah,
Marvin had us really working overtime. That was our DP
lighting scenes with flashlights. Uh. But we then we start
(12:36):
to sort of, you know, uh, detect the inconsistencies when
Leanna tours the Enterprise with you.
Speaker 3 (12:43):
Any three are humans you met Pauls just fucking and
doctor Flox is from a planet called the Nobbul Plant.
Speaker 2 (12:51):
Honestly, you're like a sort of puppy dog in that
in those scenes. And cute, it's a meet cute is
what it is. I love the fact that she din't
doesn't know what dogs are, and there's Porthos capt Nurcher's
dog dog. I guess you don't have a word for
that's funny.
Speaker 3 (13:11):
I was thinking about this today and we get asked
this all the time. It was asked of us in Vegas,
where we just were this last weekend for a convention,
and so, how much of you were in your characters?
And the relationship in this episode is exactly me. It's
(13:38):
exactly how I would do something. You know, I come
from a small town. I come very strong, loving parents.
I think that I have a you know, respect for
any situation that I'm in and I and I watched
this episode and I thought to myself, Yeah, that tell
(14:00):
you would do it so because really, you know, anybody
could be given these lines and operate them in a
thousand different ways. And you know, I guess for our audience,
for you, how he operated within this I don't know,
Puppy Dog, Yeah, experience is exactly how I would have.
Speaker 2 (14:25):
Done it, all right. I might take this moment to
just say when we were at the convention in Las Vegas,
many people came up to the table to say how
much they loved this show and what we've been doing
over the last couple of years and actually even longer
with a previous incarnation of it. And I'm usually the
(14:48):
first one to ask, well are you a Patreon member?
And invariably a lot of the times the answer came
back a year not yet. And I'm going to half
make it known here now. If you are watching this show,
please and you love it, and you say you love it,
please support this show. It costs money to make, and
(15:09):
we have to.
Speaker 3 (15:11):
We're looking to survive.
Speaker 2 (15:12):
We're looking to survive. Conor and I are doing this
literally for no money, I mean seriously, and we need
money to edit, we need money to do the social
media and all these bills add up, and if we
do go in the studio, we need quite a lot
of money for the big ticket guests. So please, if
(15:35):
you've got it in your heart and you know you
have it in your pocketbook, if you know in your
heart you've got the five ten bucks a month, and
there's now a donate button on the website, so if
you just want to bung Us twenty to fifty bucks
when you feel like you've got it to give, please
do that too. We're not doing this to make a fortune,
(15:55):
guys and dolls. We're just not leave it the rest.
Connor is going to tell you why we're doing this.
Speaker 3 (16:02):
And to our audience. I just want to say this
to you as well. We love doing this. We do,
and we've done it for quite some time, and we've
determined that what we want to do is to have
our commentary on all of our episodes be an addendum
and an aside and together with our show. No one
(16:24):
else is doing this. It's just Mom and I talking
about the show for posterity, and I think there's there's
absolute value in that. And to be honest, I'm quite
proud of the idea that that's what we're going to do.
Having said that, we need help to finish this. We
need this, Yeah, and if you like this, and I
(16:48):
think this is a this truly is an element of
posterity for the two of us to be able to
talk about our show and to be able to share
this with our audience and for this to live forever. Yeah,
we need your help to make that happen.
Speaker 2 (17:03):
So this is a worthy cause, ladies and gents, and
we we we really hope you consider that. Anyways, it's
during that tour that you know the math doesn't add up.
That are our sensors. I quite like what I did here,
and there just the the sort of logistics of you know,
(17:24):
figuring out you know what this is.
Speaker 3 (17:26):
There's a lovely captain. You're basically saying, this isn't possible.
Speaker 2 (17:29):
Yeah, in the ready room, it's nice. It was at
the situation room at the back. That was the situation room. Yeah,
I liked some of that. Wasn't much to do, but
it was just just sort of nice sleeping and it
for you know, just pushing the story or the the
the inconsistency of their story forward.
Speaker 5 (17:50):
How she translated the data module we found on their ship,
we were able to reconstruct what happened right before they crashed.
You know, they say they crashed and have been living
like this for three years, but actually, you know, all
the data from our senses show that this vessel crashed
twenty two years ago. It went down nearly twenty two
years ago, Tripp, That didn't make any sense.
Speaker 2 (18:15):
Check, let's scand yourself. And then we find that there
are escape pods floating around in the nearby stratosphere of
said planet, and we re rescue one of them and
lo and behold. That's a nice moment where Flox comes
in and says, you know, this is going to be
a sarcophagus.
Speaker 3 (18:35):
This is obviously someone's final resting place.
Speaker 2 (18:38):
What do you expect to accomplish by opening it?
Speaker 3 (18:40):
You know?
Speaker 2 (18:40):
Is this something we want to do? Open up someone's
resting place? And we do, and it's this character Shalatte
who you just saw down on the planet in the
vessel as live as large as life as you like.
And there he is, mummif and said, escape pod. So
(19:03):
what is going on?
Speaker 3 (19:06):
And I kind of I really appreciate the we didn't
just go along with it. Well, we did go along
with it to see where it ended up. I think
that we knew the reality of it before the reality
got played. As as members of the ship, we had
(19:28):
an idea that there were no life signs, and clearly they.
Speaker 2 (19:37):
So neatly packaged that up with They had some shielding
around the inner a sanctum of the ship where they lived.
Speaker 3 (19:45):
What didn't any of the show up on censors.
Speaker 1 (19:48):
There appears to be a dampening field in this section
of the ship.
Speaker 3 (19:51):
And they also it's very important for them to get
the who's what's it thingy working properly because we find
that that is basically as generating the hollow, yeah, generating
their beings. Yeah.
Speaker 2 (20:08):
And so he gets her about act three, and you
confront Leana about how long they've been there, and she
desperately avoids your questions, how long have.
Speaker 3 (20:19):
You been on this planet? Captain Column told you, I
want you to tell me why, because our scans show
your ship crashed twenty two years ago.
Speaker 4 (20:32):
Your scans must be wrong.
Speaker 2 (20:34):
But in the meantime, to Paul is captured while still
down on the planet in the vessel, Where's to Paul?
Don't worry about her.
Speaker 3 (20:44):
I'm gonna need her help.
Speaker 2 (20:45):
You can do it on your own.
Speaker 3 (20:47):
Yeah.
Speaker 2 (20:47):
And then there and then the cavalry arrive. Yeah, and
there's a good shoot out and I get shot right
in the back. All the cases and eats, and I
guess it's then after I get shot that that's the
final straw. And she she finally reveals, does she reveal
(21:08):
to you that they're all holograms.
Speaker 3 (21:19):
Renee's the one who details it. They were holograms.
Speaker 1 (21:22):
They were our friends, our family for over twenty years.
Speaker 2 (21:27):
He's so good, isn't he? And he it's just experienced
seasoned acting, you know. He he has several speeches that
are quite long. He takes he never takes a breath.
He just delivers and quite sort of intricate thoughts that
(21:52):
lead into other intricate thoughts. And I just noticed that
the the wonderful rhythm he creates, He's got a great
sense of that, yes, instinctial.
Speaker 3 (22:04):
Yeah, you know. And I don't know how well you
knew Renee. I mean well, we very well. I did.
I didn't know him very well.
Speaker 2 (22:13):
We did a couple of those back to back ones
down in Australia and New Zealand, and I got to
know him and his wife quite well. We became quite
close on over a sort of two and a half
week period. And yeah, he was a lot lovely chat
lovely guy.
Speaker 3 (22:29):
I mean remarkable too. I believe that that Renee lived
his life as an artist. You could sit at dinner
with him and he would recite under Milkwood.
Speaker 2 (22:43):
Yeah he would.
Speaker 3 (22:44):
You know. He he was. He was of a particular generations,
actually royalty in Switzerland.
Speaker 2 (22:56):
His mother Swiss, Isn't he was Swiss?
Speaker 3 (23:00):
His mother was Princess Laura Louise Napoleon Eugenie Caroline Mirott
no kidding.
Speaker 2 (23:09):
Yeah, yeah, Well that explains the eyes being quite close
to gother.
Speaker 3 (23:19):
And the blood never coagulating.
Speaker 2 (23:22):
I didn't know that, but it was. Yes, he was
of Swiss heritage. I'm pretty sure.
Speaker 3 (23:27):
I think he was Franco Swiss who was oh yes,
and Ferdinand virgin Wise father was Swiss born. Sometimes you're
blessed by the opportunity to know someone, however well you
know them, and I always felt like Renee was one
of those guys you know as a kid. I watched
(23:47):
him on Benson and we were in New Jersey at
a convention and this is just around the time that
you know, they're making like weed gummies and.
Speaker 6 (23:59):
We lollipop ranchers and the two of us I believe
was the two of us, I think it was, and
about to go on stage.
Speaker 3 (24:11):
I'll take a break here because the week before somebody
had given me like half of a Jolly Rancher rancher
gummy and I had to go to bed, and so
we walk up to our day and say hi, and
he's just working a great jolly rancher gummy. He was like,
I gotta go on stage in like five seconds. And
I'm like, oh my god, you're gonna well, good luck, Bretee.
(24:36):
And he was just he was fine.
Speaker 2 (24:38):
He always had a lollipop in his mouth or something. Yeah, yeah,
he liked, he certainly liked to partake a bit.
Speaker 3 (24:47):
God bless.
Speaker 2 (24:50):
His big break came, of course in the Cab and
Missus Miller And yeah, that was that was Renee's big
sort of breakout role. I mean, you never look back
from that way. Yeah. He played a rat and he
looked like, yeah, playing the sort of you know exactly,
the town rat.
Speaker 3 (25:04):
Yeah, and.
Speaker 2 (25:07):
That film is famous for the last I think it
might be last eight to ten minutes and there is
no music. There's just the sound track of the gun fight.
And yeah, they just used the muffled sound of the
snow snowed in you know, western whatever you want to
(25:29):
call it, town barely And it was a terrific film,
But that was that was what kicked him off. So
she's captured, I come down, the cavalry arrive, I get shot.
So yeah, so it all comes out in the wash
that you're that she deactivates the holograms as they're.
Speaker 3 (25:51):
We do it together. Huh, we do it together?
Speaker 2 (25:55):
Yes, yeah, exactly. It's rather rather poignant moment. And then
ezral Renee embarks on the story of what actually really happened,
that there was an iron storm they had a whole breach,
and he left his post as the captain of that
(26:16):
vessel because he knew his daughter was in the bowels
of the ship and that it was very unlikely that
she would survive the impending crash. And everyone died. By
him and his daughter. It was my decision.
Speaker 1 (26:35):
She was in our quarters on the lowest deck. I
knew she'd never survive a crash landing down there, so
I went to get her.
Speaker 3 (26:45):
Any father would have done the same thing.
Speaker 1 (26:47):
I left my station.
Speaker 2 (26:50):
It's rather it's very moving, actually, and he's been you know,
what's the word troubled and you know, crossed by that
ever since. Uh. And so he decides to with his
you know, expertise in this field of science, he decides
(27:10):
to recreate the crew.
Speaker 1 (27:13):
So I decided to bring them back her mother first,
then Captain Kulan and the others. I did everything I
could to make it like it was for her.
Speaker 2 (27:26):
And so she has no no real understanding that these
people for a long time are not actually people there.
Speaker 3 (27:37):
I will say this about about that bit of it.
So if you could punch one of them and get
punched by one of them, but when you shot them,
you went right through them.
Speaker 2 (27:49):
Well that was it. It was quite odd. They could
walk through walls and phase of them and it would
go straight through them.
Speaker 3 (27:56):
A certain amount of convenience.
Speaker 2 (27:57):
But you could, yes, you could get you could get
no out by one of them. And they could hold guns, right,
it's for real. I mean they could.
Speaker 3 (28:05):
Kiss you and they could touch you. But in terms
of yeah, when like I was like I raised a
red flag. When archer or you tries to shoot one,
it goes right through them.
Speaker 2 (28:17):
And I was like, wait a minute, wait a minute, wait,
wait a damn minute. Yeah, so that so that he
creates these holograms so that Leanna wouldn't grow up alone.
And and it's Trip who who you know, makes the
argument that you know all good intentions, but surely wouldn't
(28:43):
you want more for your daughter's life than to be
hanging out with a bunch of you know, holographic ghosts
right when you have the capacity, particularly now that we've
arrived on the scene to excavate, and yeah, take you home.
Speaker 1 (29:01):
Maybe it's time I stop being so afraid of change.
Speaker 2 (29:09):
Will you help me take my daughter home? And his
his argument is an odd one, isn't it that this
is his home? And that he's become so accustomed to it.
Speaker 3 (29:21):
Well, it's Doctor Frankenstein, isn't it. I mean, you know,
somewhat creating your environment for your seize. Yeah, yeah, I
just I found the the argument to be. And you
see these stories and read these stories, and see these
films about almost one caring too much. Mm hmmm in
(29:50):
a way that you you wind up over Preduca making
the rare decisions that just doesn't exist. That's not that's
not real and proper, and it's actually hurtful and harmful
to write a person you're trying to help, all right, right? Uh.
Speaker 2 (30:09):
Some trivia associated with the episode. Apparently this is quite
a similar episode to the Deep Space nine one shadow play.
Now there's never coming back issue?
Speaker 3 (30:21):
Why do you say that.
Speaker 2 (30:25):
To my grandfather?
Speaker 3 (30:26):
Tomy?
Speaker 2 (30:29):
And an episode in Discovery called Sue Sue Cal I
think it's called Yeah, references Travis's ghost stories from Strange
New World.
Speaker 4 (30:40):
This isn't turning into one of your famous golf stories,
is It.
Speaker 2 (30:44):
Wouldn't make a good one, sir? And your romance from
Unexpected You find me.
Speaker 3 (30:51):
Attractive?
Speaker 2 (30:53):
You like having people find you attractive. And I've touched
on the fact that Brannon called this a terrible episode
in twenty twelve, which is a little unkind.
Speaker 3 (31:03):
I didn't think that. You know, look, there are some
episodes that just sort of like fall flat. And maybe
because I'm more sensitive to the fact that we're I mean,
you look, I didn't never took notes before. You know,
I'm taking notes on the intro and all the acts.
And believe me, I know there are clunkers, But I
(31:26):
don't think.
Speaker 2 (31:27):
This was my fault. I means yeah, by no means
our biggest clunk up.
Speaker 3 (31:32):
No.
Speaker 2 (31:33):
No.
Speaker 3 (31:33):
In fact, as I said before, I think it sort
of echoes Gene Roddenberry's message. It Also, I think this
is one of the times that I found myself as
the actor a little concerned about the character. I was
playing his influence on scenarios and not having to have
(31:55):
any addressing of that. All right, so it gets involved
in this and you know, there there's a you know
that there's this young woman's life in balance and and
what that means, and we're just going to fly off
at the end of you.
Speaker 2 (32:11):
I know, there's not the ending is I mean, it's
somewhat laughable, isn't it may there like that, I guess
I'll see you around it.
Speaker 3 (32:27):
I did think it was really cute. I did think
it was gentle.
Speaker 2 (32:31):
Yeah, I guess. I mean, look, it's a TV show,
it's not like real life, so what better way to
end it with, you know, a kiss on the lips
and around the block. In other circumstances, yeah, we would
be together, but you know, I'm on a five year mission.
Speaker 3 (32:51):
And you'll know I will I will say that. You know,
I remember because I spent a lot of time that
week with Annie. And she was so young and so
new to the business, and.
Speaker 2 (33:07):
That said, yeah, her first job.
Speaker 3 (33:10):
She's from Saint Louis as well as scott Is. And
I remember talking to her and and and and she
was she was she was at the time. At that time,
she she seemed like a relatively fragile person. I mean,
she had moved into her apartment in Korea Town. It
had been robbed the week before, and when she was
(33:35):
in it she moved into it wasn't there, but it
was rob department. Yeah, and you know, and and she
was a little raw to the newness of the whole thing.
Speaker 2 (33:44):
And I gave her a great wig, right.
Speaker 3 (33:52):
Are there great wigs?
Speaker 2 (33:53):
Can you say?
Speaker 3 (33:54):
Where did they find that way from the name a
great wig.
Speaker 2 (33:59):
No, I mean missedly. Jolene's first wig was pretty You know, we.
Speaker 3 (34:04):
Have been watching h Texas Hunting Wives, which its it's
it's great fun.
Speaker 2 (34:14):
Is it a reality show?
Speaker 3 (34:16):
No, you'd think it would be, and it should be.
But it's a Maelan Ackerman Dermot mulrooney. It's on Netflix.
Speaker 2 (34:23):
Oh I saw that. I saw it, yes, advertised.
Speaker 3 (34:25):
Yeah, it's just fun, okay, But Maelan Ackerman has the
worst wig. And I can't think of a time when
somebody had like, what a great wig that is.
Speaker 2 (34:38):
Oh, I'm sure there must have been some man, I
mean there are some wig masters that but yeah, I
mean on our show they were pulling them out of
the back of the cupboard from you know, three shows ago.
Speaker 3 (34:48):
Either way, the only Emmy or show ever won Hair
and Maker first season is that, right, isn't right? Well, well,
well it wasn't my hair nor mind. But nonetheless, you know,
Annie was just such a sort of classic newbie in
(35:12):
the business and very seemingly sensitive, like that's how she
that's why she got the part. She was who she was.
Annie went on to do so much with twenty four
and Bosh and Vampire Diaries and really and the board
(35:33):
queen in was it Picard? Yeah, yeah, a real loss
to especially our family.
Speaker 2 (35:45):
Yeah she was forty five. Sad. Oh, I'd say one thing.
I noticed the extracurriculum use of the warp elevator, you know,
that clunky elevator up and down engineering poor legs figures,
thank you? What does he do?
Speaker 3 (36:07):
Not much?
Speaker 2 (36:08):
Here's the caps We never we barely never used it.
And it was a bit because you know, that was
two strong lads. I forget their names. Do you remember
what were their names? Those grip guys who I don't remember.
I can't remember. Damn.
Speaker 3 (36:27):
I can see the one who opened the door. It
was the main one who opened and shut the doors,
the old thing, Yeah, with the with the been there
seventeen years. Terrible when you can't remember now. He was
such fun. Yeah, yeah, that one was.
Speaker 2 (36:43):
It was basically two strong guys holding you up with
the cuffs of weights, I'm sure, levering you up and down.
That was it. And yeah, that first the first descent was.
Speaker 3 (36:57):
You know, I'm wondering I've noticed this. I haven't really
thought about this until now that we're revisiting these episodes.
But for for let's say Tripp's character in particular, you know,
a sad sack and love. Yeah, I can't think of
(37:21):
a single character that has a satisfying relationship. Granted we're
on a spaceship, fine, but there is I can't think
of a single character in all of Star Trek where
there is a relationship that is fulfilling to anyone.
Speaker 2 (37:43):
Do Wharf and Dacks have something of it? Before? You know,
they had to kill her? I mean, well, what made
rest my case? Yeah, but that was that was that
was contract It was that was a contractual killing.
Speaker 3 (38:01):
In all honesty. I mean I get why in particular,
like our show has thought of as somewhat like, you know,
a boys club, because there's there's really no three dimensional
life being lived on our ship, at least on our ship. No.
Speaker 2 (38:24):
I always regretted that I thought our show was going
to be that that we I've said it before that
we were going to be the er in space show,
so that all the storylines would be amongst the crew members,
of which we were the seven you know, regulars, and
that that would be the thrust of the show. But
(38:45):
as it quickly turned out, that was not what they
had in mind, and we we were you know, he
used to I mean, I know, you know, we know.
It pissed off Anthony and it used to get to
me sometimes that, you know, these guest stars would come
on and have pages of dialogue, great scenes with everyone
but me, and I'd be like, well, what what what
(39:08):
did you cast me for? I mean, you know, just
to say yay, sir, no, sir, you know the photon
torpedoes halfway donezir? I mean it there were there were, yeah,
there were. There were swaths of time where I was like, yeah,
you're wasting You're wasting good talents sitting right here, and
(39:31):
you're paying them a lot of money.
Speaker 3 (39:33):
I mean, really enough, my add But what it comes
down to is that the ship was number one on
the call sheet, and everywhere else it was two through nine.
But also, you know, I've begun to think about this,
the want and loss of all of the characters in
(39:57):
Star Trek. It's significant. Nobody ever wins in terms of,
you know, a relationship, And I guess I'll circle that
back to because the relationship is with you in a ship.
Speaker 2 (40:12):
All right, right, Yeah, I mean it's odd that you
Malcolm's farewell speech in Shuttle Pod one is exactly that.
You know, none of these relationships worked out, but my
relationship with the crew members of the of the Enterprise
I was just becoming close to. And yeah, that's it's
(40:35):
quite telling that it is.
Speaker 3 (40:38):
And then you get the need for Nana to write
women in track. Then you get the need for people
to express how they feel about the lack of dimension
our characters. And I'm curious about this because because you know,
(41:01):
the show went for I don't know, one hundred thousand
straight years before it stopped for a minute, and and
these sorts of things weren't even addressed. And to the
point where in this episode to Paul says to Trip,
you know really again you yeah, but there's something telling
(41:25):
about that. I think that there's something.
Speaker 2 (41:29):
Well it is it avoidance? I mean, are they avoiding
dealing with something like that?
Speaker 3 (41:35):
That's a good that's a good question.
Speaker 2 (41:36):
I don't actually, I just don't feel comfortable rising that.
Speaker 3 (41:40):
Yeah, I don't know. I mean I think that when
you get a lot of boys and men together figuring
out things, they may leave other parts out of it.
And you know, so Jerry Taylor being an executive producer
huge part of Voyager, you know, you can sort of
(42:02):
follow the track on that. Yeah, and and I think
that there's you know, validity too, and value in having
those kinds of conversations. And bless them off for writing
that book that was you know, it's a tone, it's
a it stands alongside I guess some of the best
Star Trek novels out there, books out there, and and
(42:24):
and look, if we're talking about a new world in
the future where there's no wars and we're people say
live long and prosper and we're doing the best that
we can in humanity, I feel as though the representation
(42:50):
is a little bit slim, to be honest with you, Yeah,
I think I'm never getting hired again by Paramount, by
the way.
Speaker 2 (43:01):
Letting you dig your own gray there. But no, you've
got a point, you know, they they it wasn't fair
that they felt comfortable dealing with and you knowing the
people that we now know them as and the era
that we were on in and that just wasn't Yeah,
(43:24):
it wouldn't have. It wouldn't have. It wouldn't have flown
well in the Rice's room with one or two people
in charge, particularly, But I.
Speaker 3 (43:33):
Mean, you know, we came off the heels of a
show that it had a female captain and a female
lead yours, And I don't know, is that is that
the pendulum ball swinging back to Stacy.
Speaker 2 (43:48):
Well, given that we were the prequel and now we're
you know, that's a very different kettle of fish than
Voyager and a female captain two hundred years in the
future or whatever it might be. And so maybe you
know that it was you know, a more mascular, had
(44:11):
a more masculine aspect to it.
Speaker 3 (44:15):
And we can also Monday Morning quarterback this to death.
I mean, look, if you if you have an issue
with anything anybody ever did on a show, make your
own yeah, right, tell your own story. You know, you know,
we are a cast of characters that came together to
tell a story. There were other casts of characters also
to tell that story. But you know, look in the
(44:39):
in the pantheon of Star Trek, I think it's worth
a worth a conversation, We're worth worth addressing, worth looking at,
and it's one of the great opportunities that we get
in this community where people really think about this stuff.
Speaker 2 (45:02):
All right, all right, well, I think we've covered pretty
much all the this you know, irrelevant points. Can you
think of anything else you'd like to say?
Speaker 3 (45:15):
I have one question about this. So they have technology
for holograms and we don't at the time, and we
don't even address it.
Speaker 2 (45:32):
Ah, right, and talk about that curious. Yeah, well that
might have been the constraints of you know, thirty six
minutes in an hour. Well, sure, there's always those constraints
to consider. And if you out they have time for
a scene where you explain explains to us how you
(45:53):
do that when the audience already knows about holograms and like,
you don't need to explain who you're explaining to, you know, captain,
captain understand that.
Speaker 3 (46:04):
But but but for us to not even address to
do that, that must be fun. Do you have a
person in this thing?
Speaker 2 (46:14):
Yeah? Right, can Yeah, but you don't have dogs. Yeah
that's true. It wasn't touched on at all, and yeah,
who knows. All right, well we have covered Oasis. I
think a pretty good episode and certainly not worth the
(46:36):
slander that Brannon gave it. I think I think it
was a tough judge of most episodes, you know, apparently
every episode that any writer ever gave him as a
final draft he just went through with a red pen. Yeah. Literally,
there wasn't one, I don't think, And I wonder about that.
(46:59):
I mean, you know, when you've got such a one
man control over the entirety of a show, I guess
it's vision, but sometimes you can you can, you know,
especially when you've done it for sixteen years, you can't
see the wood for the trees.
Speaker 3 (47:17):
And yeah, yeah, I mean I think that there is
something about what is the term absolute control? Absolute? What
is it controls? Absolutely? But yeah, you can be too
(47:41):
close to something. Yeah, I think by the end, by
the time they got to us, there was something about
like how do we how do we strip off the
label of a voyager Deep Space nine or Next Generation
episode and slap on an enterprise one? And I think
that probably occurred later on in seasons. I think that initially,
(48:05):
you know, episodes like this, there's always going to be
a similarity. I mean, God, if you make if you
make a thousand episodes of something, you're going to be
dipping back into that cup cranky.
Speaker 2 (48:14):
I mean, you know, I always refer to Will.
Speaker 3 (48:17):
Dexter get away with It this week exactly? I wonder.
I guess the.
Speaker 2 (48:24):
Story is, how is he going to get away with
it in rather than Willie in it. Yeah, so I.
Speaker 3 (48:34):
Partly, you know, I was drawn to this episode because
it was like oh, renee oh, and also the topic
of the episode itself oddly sadly serendipitous to the event.
But I don't know, I thought that was a good
(48:56):
episode of Star Trek.
Speaker 2 (48:57):
Yeah I did too. All right, well, I think we've
published a short episode short ish. Have you enjoyed listening
to our musings about it? And we shall see you
back here in the decon chamber, n nan, and we
will see you next time. Thank you, guys, all.
Speaker 7 (49:18):
Right, She'll thank you, boy boy
Speaker 2 (50:05):
By one
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!