WEBVTT NOTE This file was generated by Descript 00:01:09.550 --> 00:01:11.260 Rob: It's that time again. 00:01:11.265 --> 00:01:12.520 Welcome back. 00:01:12.550 --> 00:01:15.640 Welcome back to the Subspace Radio channel. 00:01:15.880 --> 00:01:17.140 I am Rob. 00:01:17.524 --> 00:01:18.874 Kevin: Coming through loud and clear. 00:01:18.874 --> 00:01:19.834 Rob, it's Kevin here. 00:01:20.470 --> 00:01:20.830 Rob: Yes. 00:01:20.830 --> 00:01:24.970 Here on the intergalactic wireless, we are here to talk about another Star 00:01:24.975 --> 00:01:26.710 Trek episode that has just dropped. 00:01:27.070 --> 00:01:33.590 It is Lower Decks season three, episode six, "Hear All, Trust 00:01:33.650 --> 00:01:36.490 Nothing" and, "O frabjous day! 00:01:36.680 --> 00:01:37.320 Callooh! 00:01:37.320 --> 00:01:38.150 Callay!" 00:01:38.360 --> 00:01:44.040 as Lewis Carroll has said, they have dedicated an entire episode to the 00:01:44.040 --> 00:01:46.110 greatest Star Trek series of all time. 00:01:46.110 --> 00:01:53.050 Yes, the Cerritos has finally gone to Deep Space Nine. 00:01:54.810 --> 00:01:57.060 Kevin: I feel a little ashamed making you introduce this episode 00:01:57.060 --> 00:01:59.880 cuz I feel like you are going to do most of the talking as it is. 00:01:59.880 --> 00:02:00.960 And rightly so. 00:02:00.960 --> 00:02:05.730 You are by far the biggest Deep Space Nine fan here, though I acknowledge 00:02:05.730 --> 00:02:07.590 its greatness and supremacy. 00:02:07.850 --> 00:02:08.270 Rob: Yes. 00:02:08.584 --> 00:02:12.776 Kevin: This was an episode that caught me by surprise, even though— I'm very good 00:02:12.776 --> 00:02:18.206 at watching trailers and then forgetting what I've seen, because as soon as uh, 00:02:18.246 --> 00:02:22.596 Deep Space Nine appeared on the screen, I was like, Oh yeah, we're doing this. 00:02:22.630 --> 00:02:23.500 Rob: Oh, yeah. 00:02:23.529 --> 00:02:27.719 Kevin: The "continue circling" line was one that was in a trailer early 00:02:27.719 --> 00:02:29.159 in the lead up to this season. 00:02:29.159 --> 00:02:30.756 So I should have known it was coming, 00:02:30.788 --> 00:02:34.981 Rob: It was a great cold opener, and it was one of the most Lower Decksian 00:02:35.451 --> 00:02:37.221 cold openers I have ever seen. 00:02:37.221 --> 00:02:41.241 It was pretty much just going, here's some Star Trek stuff. 00:02:41.271 --> 00:02:44.601 Here's us commenting on it in a meta cool way. 00:02:45.011 --> 00:02:46.911 Bang, welcome to Lower Decks. 00:02:46.928 --> 00:02:47.746 Kevin: Yeah, exactly. 00:02:48.101 --> 00:02:51.866 Rob: And yeah, just to have the classic music kick in as they, 00:02:52.236 --> 00:02:55.936 got outta hyperspace into Deep Space Nine, it looked beautiful. 00:02:58.936 --> 00:03:02.146 That glorious music from the first couple of seasons before they changed 00:03:02.146 --> 00:03:04.096 it up and added a bit more oomph to it. 00:03:04.646 --> 00:03:07.736 And yeah, classic gag of sort of like, yeah, just circle around 00:03:07.736 --> 00:03:09.296 as if we're in awe of the pylons. 00:03:09.296 --> 00:03:13.826 And then as they go past, the music comes and yes, the wormhole opens, 00:03:13.831 --> 00:03:18.566 and then the poor ensign at the front going, Uh… Just go around 00:03:18.566 --> 00:03:20.786 again and then buh-buh-buh-buhhh! 00:03:21.086 --> 00:03:21.736 Great. 00:03:21.996 --> 00:03:24.996 Kevin: I dare say that station has never looked better. 00:03:25.056 --> 00:03:27.816 Deep Space Nine is one of the series of Star Trek that has 00:03:27.816 --> 00:03:30.876 yet to be remastered for HD. 00:03:30.876 --> 00:03:35.866 And so every time I watch it, I admit to myself the effects 00:03:35.866 --> 00:03:37.426 looked better in my memory. 00:03:38.111 --> 00:03:42.281 Rob: Yeah, it is the best that Deep Space Nine has looked, and sadly will ever look. 00:03:42.381 --> 00:03:45.131 You know, from what we've heard, all the original footage and 00:03:45.131 --> 00:03:46.751 stuff like that is lost to time. 00:03:46.756 --> 00:03:50.381 So going back to the originals to update that and all this type of stuff, 00:03:50.411 --> 00:03:53.591 it's a mess, and it'll never get done. 00:03:53.796 --> 00:03:54.906 Kevin: Name your price. 00:03:54.906 --> 00:03:55.716 I will pay it. 00:03:57.341 --> 00:03:58.001 Rob: Oh, me too. 00:03:58.061 --> 00:04:00.421 That is a price that I'll be willing to pay. 00:04:00.421 --> 00:04:04.111 There's some glorious battle scenes in the later seasons that 00:04:04.111 --> 00:04:06.906 would just kill to be updated. 00:04:07.006 --> 00:04:07.576 But yes. 00:04:07.656 --> 00:04:12.476 Our episode focuses on the Cerritos being dragged in for a trade negotiation 00:04:12.476 --> 00:04:16.361 with a mercantile species – I love it when they use terminology like that 00:04:16.631 --> 00:04:18.431 – from the Gamma Quadrant coming in. 00:04:18.531 --> 00:04:21.351 The crew who were meant to be doing it, were looking after an emergency 00:04:21.351 --> 00:04:24.351 of a brown hole and the captain says, that's not even a thing. 00:04:24.531 --> 00:04:25.131 Hilarious. 00:04:25.461 --> 00:04:30.321 Um, it's given to the Cerritos to deal with the negotiations and yes, what 00:04:30.321 --> 00:04:35.971 better place to have trade negotiations and diplomatic chat at Deep Space Nine? 00:04:36.241 --> 00:04:41.531 And look, right off the bat, it is great to come back to a place that is so iconic 00:04:41.531 --> 00:04:44.791 within Star Trek, and they're doing okay. 00:04:45.086 --> 00:04:48.986 Kira is looking after Deep Space Nine, working hard. 00:04:48.986 --> 00:04:50.156 Quark's doing well. 00:04:50.346 --> 00:04:52.026 The years have been good. 00:04:52.156 --> 00:04:55.726 You know, Kira went through a lot of crap within her seven years on Deep 00:04:55.731 --> 00:04:57.976 Space Nine, even beforehand as well. 00:04:58.066 --> 00:05:00.098 And it ended in a heartbreaking way. 00:05:00.128 --> 00:05:04.628 So to come back, couple of years later and, you know, she's working hard, 00:05:04.628 --> 00:05:08.268 doing well, got the respect and it's a great place to come in when we come 00:05:08.273 --> 00:05:12.295 back to a place that, especially for me, holds such a special place in my heart. 00:05:12.399 --> 00:05:14.529 Kevin: I feel like they made a list of things that they 00:05:14.534 --> 00:05:15.849 needed to do with this episode. 00:05:15.849 --> 00:05:19.226 I feel like they wanted to reassure us that everyone is fine. 00:05:19.556 --> 00:05:24.536 We knew Quark was doing great for himself as we saw his bars peppered across the 00:05:24.541 --> 00:05:27.936 episodes of Star Trek Picard and beyond. 00:05:27.996 --> 00:05:31.512 But seeing that he is still right back here on Terok Nor, where it 00:05:31.542 --> 00:05:36.197 all started, still running his bar, still serving drinks to Morn 00:05:36.297 --> 00:05:38.757 and trading barbs with Kira Nerys. 00:05:38.807 --> 00:05:43.487 Everything is as it should be, reassuring to see it that way. 00:05:43.608 --> 00:05:47.738 Rob: And it goes to show that the sacrifice that Sisko made and the whole 00:05:47.768 --> 00:05:52.418 essence of what the show ended on, there is a positive spin to it, which is great. 00:05:52.418 --> 00:05:55.298 You know, Star Trek is okay with being positive. 00:05:55.448 --> 00:05:57.311 You hear me, Picard? 00:05:57.401 --> 00:05:58.301 You hear me? 00:05:58.478 --> 00:05:58.898 So yes. 00:05:59.258 --> 00:06:02.678 Unlike our usual Lower Decks, instead of being an A plot, B 00:06:02.678 --> 00:06:05.288 plot, we've got A, B, C, and D. 00:06:05.288 --> 00:06:07.028 We've got four plots going on. 00:06:07.082 --> 00:06:11.042 Kevin: There is an entire episode of Deep Space Nine buried inside 00:06:11.047 --> 00:06:15.932 this episode of Lower Decks, and it all in half an hour somehow. 00:06:16.508 --> 00:06:17.348 Rob: Beautifully well. 00:06:17.348 --> 00:06:22.633 So we have all the different levels of this diplomatic meeting. 00:06:22.783 --> 00:06:27.503 So you have the captain and the higher decks working on the negotiations. 00:06:27.653 --> 00:06:32.893 You've then got the Lower Decks, Tendi and Rutherford working on transporting 00:06:32.893 --> 00:06:35.473 the supplies from one ship to the other. 00:06:35.653 --> 00:06:38.823 You've got Boimler just, working on his Dabo skills. 00:06:39.153 --> 00:06:43.673 And you've got some crucial developments for Mariner with her finally meeting 00:06:43.733 --> 00:06:45.293 the friends of her girlfriend. 00:06:46.528 --> 00:06:48.623 A big step, big step in their relationship. 00:06:48.682 --> 00:06:51.376 We've got Shaxs and, Kira reconnecting. 00:06:51.376 --> 00:06:52.336 It's a great moment. 00:06:52.436 --> 00:06:56.006 I haven't even mentioned the part when we finally see Deep Space Nine, the 00:06:56.011 --> 00:06:59.926 first sight of it, and of course the Bajoran on the ship just goes, Urrr 00:06:59.946 --> 00:07:02.752 Cardassian fascist architecture, rrrrrr! 00:07:04.357 --> 00:07:05.317 Kevin: Yeah, it is amazing. 00:07:05.647 --> 00:07:08.107 Like when they met and they knew each other, I went, Of 00:07:08.107 --> 00:07:09.187 course they knew each other. 00:07:09.187 --> 00:07:10.177 They're old war buddies. 00:07:10.327 --> 00:07:14.977 Never even occurred to me like these obvious, satisfying connections. 00:07:15.007 --> 00:07:16.807 Uh, so good. 00:07:17.292 --> 00:07:21.357 Rob: And again, I'm finding out the hidden gem of this series, because 00:07:21.477 --> 00:07:24.807 some of my favorite lines in the whole show are coming from the captain. 00:07:25.677 --> 00:07:29.727 While Shaxs and Kira are trading, I saved you, I saved you. 00:07:30.207 --> 00:07:32.577 The captain says in a beautiful tone. 00:07:32.697 --> 00:07:36.507 Well, that I'm sure that was all very … rebellious. 00:07:39.087 --> 00:07:42.934 Such an incredibly diplomatic way of going, well, this is 00:07:42.934 --> 00:07:44.654 awkward, let's just move on, 00:07:44.714 --> 00:07:45.845 Kevin: Yeah, the dry wit. 00:07:45.989 --> 00:07:48.774 Rob: Tendi is in particularly fine form this episode. 00:07:48.819 --> 00:07:49.599 Kevin: She is. 00:07:50.089 --> 00:07:52.729 Getting to see the extra layer to Tendi. 00:07:52.759 --> 00:07:55.819 Getting to see the extra layer to Rutherford last week. 00:07:55.819 --> 00:07:59.539 It seems like this is the season of fleshing out the characters and 00:07:59.539 --> 00:08:00.899 making them more than skin deep. 00:08:01.469 --> 00:08:05.469 Rob: Yes, especially cuz Ruthford was so very much one note. 00:08:06.082 --> 00:08:08.552 Oh no, he was two notes: shock and awe. 00:08:08.607 --> 00:08:08.937 Kevin: Yes. 00:08:10.442 --> 00:08:12.972 Rob: So much so that he's there going, Oh, Bajoran food court! 00:08:13.162 --> 00:08:13.752 Oh, this! 00:08:14.002 --> 00:08:17.162 Oh, gotta tone it down a bit. 00:08:18.052 --> 00:08:23.237 Kevin: We had seen Tendi among her people previously when she and Mariner visited 00:08:23.477 --> 00:08:27.177 an Orion colony to try and repair Dr. 00:08:27.177 --> 00:08:29.577 T'Ana's scratching post last season. 00:08:30.207 --> 00:08:34.098 And there was a bit of a, there was a something, there was a dynamic there. 00:08:34.537 --> 00:08:37.417 It was obvious she was uncomfortable among her people. 00:08:37.422 --> 00:08:38.052 Rob: Yes. 00:08:38.467 --> 00:08:42.297 Kevin: Also obvious that her people looked at her in a way that she didn't see 00:08:42.297 --> 00:08:46.447 herself anymore, but it was not addressed. 00:08:46.937 --> 00:08:50.627 And in this episode, I feel like we're closing that loop, now. 00:08:50.627 --> 00:08:53.747 We're understanding a bit more of what the deal was there. 00:08:54.217 --> 00:08:55.387 Rob: Definitely, definitely. 00:08:55.392 --> 00:09:00.641 And her interacting with another Orion, uh, Mesk who is… He was very much a 00:09:00.646 --> 00:09:02.621 creation of a bygone era of comedy. 00:09:02.621 --> 00:09:05.471 Sorta like late nineties, early noughties type stuff. 00:09:05.471 --> 00:09:08.351 He's very much had a sense of a character from like the American 00:09:08.356 --> 00:09:13.278 Office or those frat squad type films, like Old School and stuff like that. 00:09:13.278 --> 00:09:17.568 Kevin: We've seen, some Orions in the flesh, in Star Trek Discovery, 00:09:17.598 --> 00:09:19.248 recently, in the far future. 00:09:19.758 --> 00:09:24.858 And they cast actors in that— I don't know if they are wearing a prosthetic 00:09:24.858 --> 00:09:31.882 or if they are just the square jawed football player sort of stature, but 00:09:31.882 --> 00:09:35.205 it seems like they have decided that's what the modern interpretation of 00:09:35.205 --> 00:09:42.667 a male Orion is, is intimidatingly large, ridiculously square jaw to the 00:09:42.667 --> 00:09:47.132 point where you wonder if there's some CG enhancement of the jaw going on. 00:09:47.162 --> 00:09:52.512 And that is represented delightfully in the animation here. 00:09:52.822 --> 00:09:56.428 Rob: And with all this going on, you also have a rather intimate moment of 00:09:56.538 --> 00:10:01.308 Mariner being taken out of her comfort zone and actually having to be in a 00:10:01.308 --> 00:10:03.258 situation that she has no control over. 00:10:03.533 --> 00:10:03.883 Kevin: Mm. 00:10:04.278 --> 00:10:08.173 Rob: With another one of my favorite moments, when Jennifer appears, and all 00:10:08.173 --> 00:10:11.923 three of them just go, Hiii, Jennifer. 00:10:12.053 --> 00:10:16.293 Kevin: She appears out of Mariner's bunk as far as I can tell. 00:10:16.293 --> 00:10:20.403 So apparently they have been bunking together in their hallway bunks. 00:10:20.475 --> 00:10:23.565 She appears fully clothed, which is unusual for that 00:10:23.625 --> 00:10:25.305 area of the ship, apparently. 00:10:25.475 --> 00:10:28.535 Rob: Well, they, there's the one guy who shows you with just the towel… 00:10:28.605 --> 00:10:29.445 Kevin: Yeah, that's right. 00:10:29.952 --> 00:10:30.912 Rob: Barely a towel. 00:10:31.062 --> 00:10:32.292 Like a hand flannel. 00:10:32.601 --> 00:10:37.186 Kevin: So I love the cartoon version of the scandalous morning after of 00:10:37.186 --> 00:10:40.876 like she just pops outta the bunk and everyone goes, Hi, Jennifer. 00:10:40.893 --> 00:10:42.303 Rob: And then they're going, Oh, no, no, no, no. 00:10:42.303 --> 00:10:44.748 You go and play with your girlfriend's friends. 00:10:44.748 --> 00:10:46.443 And then she goes, I'm not bossy. 00:10:46.563 --> 00:10:50.483 And all three of them, Rutherford, Tendi and Boimler just go Ha-ha-ha! 00:10:51.693 --> 00:10:55.203 This is what endears me to Mariner even more. 00:10:55.263 --> 00:10:55.893 She's great. 00:10:55.893 --> 00:10:56.553 She's kickass. 00:10:56.553 --> 00:10:57.333 She's amazing. 00:10:57.383 --> 00:10:58.343 She knows everybody. 00:10:58.343 --> 00:10:59.483 Of course she knows everybody. 00:10:59.753 --> 00:11:03.980 But, you know, I don't like her being untouchable. 00:11:04.010 --> 00:11:06.476 I love to see how she deals with this situation. 00:11:06.516 --> 00:11:09.536 Kevin: So you like Mariner when she's having chunks torn out of 00:11:09.536 --> 00:11:11.816 her by her well-meaning friends. 00:11:12.166 --> 00:11:14.386 Rob: Diamonds are created when they're put under pressure. 00:11:15.090 --> 00:11:19.643 And she has become a beautiful diamond, because we get to see her under pressure. 00:11:19.833 --> 00:11:24.167 And, you know, when in doubt and they're losing oxygen and just phaser all of 00:11:24.167 --> 00:11:26.227 Jennifer's friends, which is hilarious. 00:11:26.307 --> 00:11:29.592 Kevin: The salon… a salon, right? 00:11:30.107 --> 00:11:31.197 Rob: It is a salon. 00:11:31.217 --> 00:11:32.507 They're making candles. 00:11:32.657 --> 00:11:35.717 I love the moment when the girls are wanting to talk about Boimler, and she 00:11:35.717 --> 00:11:41.717 goes, Yeah, I'm gonna need all of this and pours the entire glass of, I'm 00:11:41.717 --> 00:11:43.667 assuming it's Romulan Ale or something, 00:11:44.172 --> 00:11:46.392 Kevin: What kind of salon do you make candles in? 00:11:46.392 --> 00:11:49.512 I mean, I know it's not supposed to make sense, but 00:11:50.327 --> 00:11:53.087 Rob: What type of salon do you have a dance, an interpretive 00:11:53.087 --> 00:11:55.037 dance called the Kobayashi Maroon? 00:11:55.142 --> 00:11:57.926 Kevin: Random small thing that stood out to me, I think this is 00:11:57.926 --> 00:12:02.066 the first time anyone in Star Trek history has ever pointed a phaser 00:12:02.066 --> 00:12:04.706 at themselves on stun and fired. 00:12:05.282 --> 00:12:07.777 Rob: Yeah, I can't remember seeing that in anything before. 00:12:07.957 --> 00:12:08.297 Kevin: Yeah. 00:12:08.533 --> 00:12:12.023 Rob: So the main thrust of the story is negotiating with the Karemma 00:12:12.353 --> 00:12:16.253 who are very on edge, and if they don't get things exactly their way 00:12:16.253 --> 00:12:18.083 they like to cause a bit of a fuss. 00:12:18.178 --> 00:12:21.012 Kevin: This whole thing feels to me just like Quark's greatest hits. 00:12:21.012 --> 00:12:25.349 Rob: And look, we can't go further without mentioning it is so great to have Nana 00:12:25.349 --> 00:12:31.299 Visitor back as Kira and especially the legend, the icon, the myth, the man 00:12:31.299 --> 00:12:34.499 himself, Armin Shimerman, to do Quark. 00:12:34.569 --> 00:12:37.089 Some people are just born into roles. 00:12:37.169 --> 00:12:39.479 It was just so great, even in animated form. 00:12:39.484 --> 00:12:44.003 And he was in his prime Quark outfit, the patchwork jacket that he wears. 00:12:44.003 --> 00:12:45.043 Kevin: Yeah, so amazing. 00:12:45.146 --> 00:12:46.696 Rob: And yeah, just the level of performance. 00:12:46.906 --> 00:12:48.609 I love Starfleet. 00:12:48.723 --> 00:12:52.953 Kevin: I love nothing more than Quark pretending to be 00:12:52.953 --> 00:12:55.473 humble for selfish reasons. 00:12:56.703 --> 00:12:59.493 When he is behind the counter and Kira is like, Tell us about 00:12:59.493 --> 00:13:01.853 your amazing bar franchise. 00:13:01.853 --> 00:13:02.873 And he is like, Nope, no. 00:13:02.933 --> 00:13:04.553 I, it's, it's fine. 00:13:04.733 --> 00:13:06.833 I'd rather not, I'd rather not talk about… 00:13:06.943 --> 00:13:08.143 Rob: I keep my trade secrets. 00:13:09.563 --> 00:13:10.403 Kevin: So good. 00:13:10.573 --> 00:13:11.473 Rob: So great. 00:13:11.503 --> 00:13:12.613 So great. 00:13:12.803 --> 00:13:15.223 We've got the special replicator. 00:13:15.283 --> 00:13:19.243 And of course Ransom just goes, Couldn't you just use a replicator? 00:13:19.273 --> 00:13:19.603 No, no, no. 00:13:20.293 --> 00:13:22.633 Not the special ones we have. 00:13:22.793 --> 00:13:24.533 Kevin: It's got algorithms. 00:13:24.553 --> 00:13:26.623 Rob: Algorithms that he stole, of course. 00:13:26.693 --> 00:13:30.815 Kevin: I love the reveal that it's just a cardboard cut-out pasted 00:13:30.815 --> 00:13:32.834 on the front of their technology. 00:13:33.235 --> 00:13:35.215 Rob: Which you kind of get the impression of going, that's just 00:13:35.215 --> 00:13:36.655 something cardboard— of course it is. 00:13:36.685 --> 00:13:37.805 Yeah, that's fine. 00:13:38.017 --> 00:13:39.675 Kevin: The low tech deception. 00:13:40.205 --> 00:13:42.875 Rob: He is kidnapped, he is gonna be taken into the Gamma quadrant. 00:13:43.065 --> 00:13:47.435 Tendi, who was trapped on the ship with Rutherford and saves the day. 00:13:47.435 --> 00:13:51.595 They turn to the Orion Mesk and go, All right, use all your pirating skills. 00:13:51.655 --> 00:13:53.965 And he just crumbles under pressure. 00:13:54.085 --> 00:13:56.295 He goes, I don't know, I've never pirated before. 00:13:56.295 --> 00:13:57.325 And what's my favorite line? 00:13:57.565 --> 00:13:59.365 I've never even been to Orion. 00:13:59.515 --> 00:14:00.775 I'm from Cincinnati! 00:14:02.275 --> 00:14:04.505 And Tendi's great, Are you freaking serious? 00:14:05.735 --> 00:14:08.515 Kevin: I learned everything I know about Pirating from bad holonovels, 00:14:08.705 --> 00:14:10.355 the one with the boobs on the cover. 00:14:12.440 --> 00:14:16.690 Rob: That's just like classic early noughties type of flip around 00:14:16.690 --> 00:14:20.460 comedy that you saw in a lot of the TV shows that were huge at that 00:14:20.460 --> 00:14:21.830 time and the movies of the time. 00:14:22.023 --> 00:14:29.733 And then Tendi is… Oh my Lord, my heart and my lower regions skipped a beat. 00:14:29.853 --> 00:14:31.953 That was impressive stuff. 00:14:32.918 --> 00:14:36.063 Like removing a tooth to use… 00:14:37.070 --> 00:14:37.923 Kevin: It can remove teeth?! 00:14:39.783 --> 00:14:40.173 Rob: Yeah. 00:14:40.533 --> 00:14:41.433 You took the ship! 00:14:41.493 --> 00:14:42.903 You took the ship! 00:14:43.880 --> 00:14:50.653 Kevin: And another like tick the box moment of our return to DS9 is seeing 00:14:50.863 --> 00:14:53.573 the wormhole up close in all its glory. 00:14:53.573 --> 00:14:57.613 And there's no better way to look at the wormhole than stuck 00:14:57.893 --> 00:15:02.193 stationary in the opening while awaiting rescue by the station. 00:15:02.573 --> 00:15:05.613 Rob: And I'm sure the prophets and Sisko were there with their opera 00:15:05.613 --> 00:15:08.553 glasses and their popcorn watching going, This is a great show. 00:15:08.553 --> 00:15:09.703 We haven't had a show… 00:15:09.778 --> 00:15:10.258 Kevin: …applauding. 00:15:10.258 --> 00:15:11.348 Slow clap. 00:15:12.263 --> 00:15:16.033 Rob: My favorite shots of Deep Space Nine on the outside is when it's 00:15:16.038 --> 00:15:19.173 actually a thriving space port. 00:15:19.498 --> 00:15:20.738 Kevin: Bustling traffic. 00:15:20.756 --> 00:15:22.577 Rob: Yeah, when there's ships coming and going. 00:15:22.757 --> 00:15:28.197 It's very haunting and beautiful to see this lone station out in the middle of 00:15:28.197 --> 00:15:34.163 nothing, but for me, it should always be a thriving base of people coming and going. 00:15:34.485 --> 00:15:38.223 Kevin: And you get the impression it only, the only reason it, often wasn't 00:15:38.223 --> 00:15:44.043 was just the cost of the practical effects that many models or mixing the 00:15:44.043 --> 00:15:46.263 CG ships with the models of the station. 00:15:46.373 --> 00:15:49.373 like that would always have been expensive at the time. 00:15:49.808 --> 00:15:50.348 Rob: Exactly. 00:15:50.693 --> 00:15:53.033 Kevin: They were limited in their ability to portray it that way. 00:15:53.653 --> 00:15:58.803 Rob: And of course, one of my… one of my favorite moments is when Boimler's 00:15:58.803 --> 00:16:03.183 winning Dabo over and over again, and the Ferengi comes up and goes, 00:16:03.303 --> 00:16:05.733 Surprising for a man with a coin purse. 00:16:05.793 --> 00:16:08.283 And he goes, Actually, it's clutch. 00:16:10.498 --> 00:16:11.818 Kevin: Knocking down barriers left and… 00:16:11.823 --> 00:16:14.073 Rob: Knocking down the, knocking down those walls. 00:16:14.103 --> 00:16:19.313 So, yeah, for unfair reasons, this is just one of my favorite episodes. 00:16:19.488 --> 00:16:20.418 Kevin: They can stop now. 00:16:20.423 --> 00:16:23.618 They have done your favorite episode of Lower Decks. 00:16:24.503 --> 00:16:25.493 Rob: That'll do pig. 00:16:25.583 --> 00:16:26.333 That'll do. 00:16:26.653 --> 00:16:27.583 How'd you find it? 00:16:27.873 --> 00:16:29.103 Kevin: It was magnificent. 00:16:29.133 --> 00:16:33.923 I said afterwards, my immediate review was I now want Deep 00:16:33.923 --> 00:16:35.843 Space Nine, the animated series. 00:16:37.973 --> 00:16:38.393 Rob: Yes, 00:16:38.633 --> 00:16:40.368 Kevin: They've proven they can do it well. 00:16:40.398 --> 00:16:44.783 Let's just bring 'em all back and tell some stories from between the stories. 00:16:45.193 --> 00:16:45.853 Rob: Exactly. 00:16:45.883 --> 00:16:49.993 So that led us to discussing, what would we talk about? 00:16:49.998 --> 00:16:51.133 What has inspired 00:16:51.228 --> 00:16:55.483 Kevin: The cold opening of this episode spoke to my heart, continue circling. 00:16:55.973 --> 00:16:58.743 I circle that station all day, gazing at it beautifully. 00:16:58.743 --> 00:17:03.363 I am a sucker for a great fly-by in Star Trek. 00:17:03.830 --> 00:17:09.820 I appreciate the ships as much as I appreciate the characters and the stories. 00:17:10.036 --> 00:17:14.469 Rob: There's not enough said about the design of ships that are very 00:17:14.474 --> 00:17:19.234 unique to Star Trek, and also how they've evolved what Federation 00:17:19.234 --> 00:17:24.369 tech looks like, what a Klingon ship compared to Cardassian ships as well. 00:17:24.369 --> 00:17:31.589 So to have those long, slow, in awe of the pylons shots to see what 00:17:32.089 --> 00:17:36.489 Cardassian technology looks like, and architecture, whether it is fascist 00:17:36.489 --> 00:17:38.669 or not, is a fascinating sight to see. 00:17:39.053 --> 00:17:39.593 Kevin: Yeah. 00:17:39.623 --> 00:17:44.453 So as the Cerritos slowly orbits the station, I thought we could look back 00:17:44.453 --> 00:17:50.483 on other times that we have been given a long, good look at a beautiful Starship 00:17:50.933 --> 00:17:53.123 as it slow panned across the screen. 00:17:53.684 --> 00:17:54.284 Rob: Oh yeah. 00:17:54.930 --> 00:17:57.960 Kevin: Yeah, once again, I'd like to start at the beginning and work 00:17:57.960 --> 00:17:59.880 our way towards the present day. 00:18:00.261 --> 00:18:01.761 Rob: It's a very good place to start. 00:18:01.766 --> 00:18:04.371 Kevin, are you going all the way back to the original? 00:18:05.114 --> 00:18:06.494 Kevin: No, I will not. 00:18:06.494 --> 00:18:10.214 And I think that is just a limitation of the technology 00:18:10.214 --> 00:18:12.254 and the budgets of the time. 00:18:12.455 --> 00:18:17.975 The Original Series, certainly the ship was iconic, but it was never beautiful. 00:18:18.205 --> 00:18:19.715 It never took your breath away. 00:18:20.445 --> 00:18:22.275 And so I will skip the Original Series. 00:18:22.415 --> 00:18:24.305 You must have something from the movies though. 00:18:24.815 --> 00:18:28.292 Rob: Are we thinking of the famous shot that everyone talks 00:18:28.292 --> 00:18:31.772 about and everyone makes fun of from a certain Motion Picture? 00:18:31.781 --> 00:18:32.351 Kevin: Yes. 00:18:32.741 --> 00:18:33.611 Yes I am. 00:18:33.611 --> 00:18:34.781 And that's not just shot. 00:18:34.781 --> 00:18:36.821 That is 20 minutes of shots, my friend. 00:18:37.562 --> 00:18:42.530 Rob: Well I just recently picked up on 4K the Director's Cut, and so 00:18:42.530 --> 00:18:47.510 I've watched that and it was great to re-watch it again because even as a kid, 00:18:47.520 --> 00:18:51.880 I loved Star Trek The Motion Picture cuz it didn't feel completely the, 00:18:51.970 --> 00:18:55.443 you know, Star Trek II, where Nicholas Meyer just went, It's Navy in space. 00:18:55.443 --> 00:18:56.873 It's Hornblower in space. 00:18:56.873 --> 00:18:57.743 We're doing it, baby. 00:18:57.748 --> 00:18:58.793 We're leaning into that. 00:18:58.903 --> 00:19:02.443 Kevin: The Motion Picture was a step back to the original vision of Star Trek, 00:19:02.443 --> 00:19:06.513 where they were back into the muted colors before the TV network asked them 00:19:06.518 --> 00:19:09.243 to make it more colorful to sell TV sets. 00:19:09.428 --> 00:19:09.984 Rob: Exactly. 00:19:09.984 --> 00:19:16.884 But that concept of V'Ger being figured out to be Voyager, and so to have in the 00:19:16.884 --> 00:19:21.264 23rd century, them talking about something from the 20th century, me as a young 00:19:21.264 --> 00:19:23.548 sci-fi nerd went, Oh, that's so exciting. 00:19:23.719 --> 00:19:24.279 Kevin: It's real. 00:19:24.279 --> 00:19:25.369 It's the real thing. 00:19:25.374 --> 00:19:26.544 Rob: That's a real thing. 00:19:26.574 --> 00:19:27.529 That stuff I loved. 00:19:27.529 --> 00:19:31.579 And of course there's the iconic, 20 minute sequence of, You haven't 00:19:31.579 --> 00:19:32.859 seen this on the big screen. 00:19:33.089 --> 00:19:33.659 Kevin: That's right. 00:19:33.659 --> 00:19:38.159 So, for people who haven't seen the Motion Picture, it is a slow burn 00:19:38.164 --> 00:19:42.539 at the start, as our characters are slowly pulled out of retirement and 00:19:42.539 --> 00:19:45.269 reunited onboard the Enterprise. 00:19:45.269 --> 00:19:50.759 And when Kirk, Admiral Kirk makes his way to the Enterprise, he is 00:19:50.759 --> 00:19:56.439 ostensibly going there to tour the Enterprise being run by Decker, but 00:19:56.439 --> 00:19:58.029 he comes on board and takes command. 00:19:58.389 --> 00:20:05.709 Before he does though, he has Scotty fly him up there in a slow, looping path 00:20:05.739 --> 00:20:08.659 around the ship that is in spacedock. 00:20:08.934 --> 00:20:13.724 It is a good, long, sequence that is really designed to show off the 00:20:13.724 --> 00:20:17.464 Enterprise in her newly reimagined form. 00:20:17.694 --> 00:20:21.800 Rob: And her newly realized big screen adventure as well. 00:20:21.800 --> 00:20:26.270 It really is that beautiful moment of going, We are not on the small screen. 00:20:26.420 --> 00:20:29.253 This is a truly cinematic experience. 00:20:29.253 --> 00:20:33.623 And even me watching it on my big screen here at home, I'm there 00:20:33.623 --> 00:20:38.920 going, Ah, I want to see this Director's Cut on the big screen. 00:20:38.950 --> 00:20:44.648 I want to see that 20 minutes, William Shatner just going, Yep, yep, again. 00:20:44.768 --> 00:20:47.348 Let's go for it again and again, and again and every angle. 00:20:47.777 --> 00:20:51.117 Kevin: Yeah, there's lots of shots of them just gazing at the 00:20:51.117 --> 00:20:53.837 ship in pride and thinking, Yep. 00:20:54.377 --> 00:20:55.517 It's a nice ship, isn't it? 00:20:58.037 --> 00:21:02.477 What stands out to me is the scale of the ship. 00:21:02.537 --> 00:21:08.417 This is the first time, ever, that the Enterprise looked huge. 00:21:08.788 --> 00:21:09.208 Rob: Yes. 00:21:09.587 --> 00:21:13.127 Kevin: And the thing that makes the difference is what became 00:21:13.127 --> 00:21:19.027 known as the Aztecing, which is the visible plating of the hull. 00:21:19.385 --> 00:21:19.995 Rob: Yes. 00:21:20.137 --> 00:21:24.627 Kevin: The light plays over it, and it's not a uniform surface. 00:21:24.627 --> 00:21:28.737 You can see the squares of metal that form the hull and they each reflect 00:21:28.737 --> 00:21:30.207 light in a slightly different way. 00:21:30.537 --> 00:21:35.157 The model makers manage to find some phosphorescent paint of slightly 00:21:35.157 --> 00:21:39.727 different colors and they laboriously painted this thing in this pattern 00:21:39.997 --> 00:21:42.637 that creates a sense of scale. 00:21:42.858 --> 00:21:43.278 Rob: Yes. 00:21:43.629 --> 00:21:47.169 Kevin: It is that that takes my breath away more than anything else about 00:21:47.169 --> 00:21:51.779 this, that it feels like a thing that hundreds of people could be inhabiting. 00:21:52.009 --> 00:21:55.159 Rob: Oh, and especially with the new Directors Cut with the enhanced 00:21:55.159 --> 00:21:58.789 special features, you see the scale of it so much more with the amount of 00:21:58.789 --> 00:22:01.499 ships flying by or the people nearby. 00:22:01.899 --> 00:22:06.559 And again, like we talked about last week about, this is the end point 00:22:06.559 --> 00:22:09.859 of a journey that's taken years. 00:22:09.859 --> 00:22:14.409 So like with one gag about Data going, You know, sometimes I envy you. 00:22:14.409 --> 00:22:16.569 That's taken us years to get to that point. 00:22:16.899 --> 00:22:23.049 But for this particular shot, this has taken years of those people who watched 00:22:23.049 --> 00:22:26.469 the Original Series that was meant to be five seasons, only went for three, 00:22:26.474 --> 00:22:30.189 but they stuck at it and they found it in syndication and they rallied 00:22:30.189 --> 00:22:32.049 and they wanted this to come out. 00:22:32.619 --> 00:22:37.059 And they had only seen this ship, this iconic ship, either as a 00:22:37.059 --> 00:22:42.179 small little recreation, or on this small, crappy analog TV. 00:22:42.229 --> 00:22:47.959 To finally see it on the big screen and go, this is the scale that we want. 00:22:47.969 --> 00:22:49.679 This is what we can achieve. 00:22:50.219 --> 00:22:51.739 Kevin: …how we imagined it all along. 00:22:52.059 --> 00:22:55.709 Rob: Yeah, it's a beautiful shot and it's a beautiful statement 00:22:55.739 --> 00:22:58.199 about we are here, we are relevant. 00:22:58.199 --> 00:23:01.799 They're claiming the cinematic world for themselves. 00:23:01.799 --> 00:23:06.123 Kevin: This sequence of the Enterprise being seen in dry dock and then 00:23:06.183 --> 00:23:10.516 setting out amongst the stars was so good, they reused it in Star Trek II. 00:23:11.313 --> 00:23:14.263 They cut down to a much more, uh, curt moment. 00:23:14.853 --> 00:23:19.383 But just like in Star Trek I, Star Trek II begins by Kirk taking a shuttle 00:23:19.388 --> 00:23:23.703 trip to the Enterprise, and, uh, then it heading out on its merry way. 00:23:23.703 --> 00:23:25.153 And it's the exact same shots. 00:23:25.653 --> 00:23:26.073 Rob: Yes. 00:23:26.073 --> 00:23:26.793 Yes it is. 00:23:28.994 --> 00:23:32.534 Kevin: So we won't revisit it the second time, but I'm not gonna take us far, 00:23:32.534 --> 00:23:36.834 because I want to make another stop in Star Trek movie land with Star Trek III. 00:23:37.580 --> 00:23:41.700 Rob: Oh, oh, the film that dare not speak Lloyd's name. 00:23:41.938 --> 00:23:47.063 Kevin: This is in the good starting bit of Star Trek III, so you may wanna give it 00:23:47.063 --> 00:23:49.283 another watch, at least up to this point. 00:23:50.033 --> 00:23:55.223 Battered and bruised from their battle with Khan in Star Trek II, the start 00:23:55.223 --> 00:24:00.153 of Star Trek III is the Enterprise limping home to space dock, with the 00:24:00.153 --> 00:24:05.563 repairs completed and its side patched with metal panels on it, the new 00:24:05.563 --> 00:24:08.833 cadet on the bridge asking if they're gonna get a parade when they get home. 00:24:09.689 --> 00:24:14.944 But the shot that stands out to me here is, it goes from close up on the 00:24:14.944 --> 00:24:21.904 Enterprise and pulls out as the Enterprise flies over the earth towards space 00:24:21.904 --> 00:24:25.504 dock, this giant structure in space. 00:24:25.600 --> 00:24:28.450 Rob: I can only imagine how huge that dock is. 00:24:28.473 --> 00:24:33.193 They use it a lot in Star Trek III and IV it a lot as well. 00:24:33.193 --> 00:24:34.303 And I think VI as well. 00:24:34.463 --> 00:24:35.513 It's, yeah, epic. 00:24:35.793 --> 00:24:40.093 Kevin: This zoom out from this ship that we now appreciate the scale of, 00:24:40.093 --> 00:24:47.983 to see something that dwarfs it, to me was a moment of the world of Star 00:24:47.983 --> 00:24:52.813 Trek and the Federation taking shape and you feeling for the first time 00:24:52.813 --> 00:24:57.823 that the Enterprise is a small part of the Federation and Starfleet. 00:24:57.823 --> 00:25:05.313 It's a tiny little dot dwarfed against the fleet assembled in earth orbit. 00:25:05.363 --> 00:25:09.129 Those moments that make you feel small, when you're used to feeling large. 00:25:09.829 --> 00:25:12.139 That is the sense I get from this shot. 00:25:12.189 --> 00:25:16.389 As soon as my computer let me choose a desktop background, this shot 00:25:16.394 --> 00:25:20.379 of the Enterprise flying towards Spacedock was my background for years. 00:25:20.889 --> 00:25:21.799 Um, I love it. 00:25:22.650 --> 00:25:23.190 Rob: Look at you. 00:25:23.190 --> 00:25:28.530 You're tempting me to go back and do the thing that I never said I would do, and 00:25:28.530 --> 00:25:30.720 I've got it on 4K, just sitting there. 00:25:30.954 --> 00:25:31.944 Kevin: It's so good. 00:25:32.010 --> 00:25:33.090 Rob: It's calling out. 00:25:33.540 --> 00:25:37.020 Well, I'm gonna jump ahead to the very next film, Kevin. 00:25:37.680 --> 00:25:39.930 As we all know, Star Trek IV: The Voyage Home, 00:25:39.930 --> 00:25:43.147 Kevin: Is gonna be a flyby of a Klingon Bird of Prey? 00:25:43.602 --> 00:25:44.622 Rob: It is not! 00:25:45.162 --> 00:25:51.077 It is the welcome return, the final sequence, where Kirk has faced trial 00:25:51.077 --> 00:25:55.397 for his insubordination to go save Spock, and Spock has stood by with 00:25:55.397 --> 00:25:59.490 his crewmates, who have all been put on trial as well, which they are let 00:25:59.490 --> 00:26:01.715 off because they saved the planet. 00:26:02.255 --> 00:26:07.937 But Kirk is demoted from Admiral and back to the position he always 00:26:07.937 --> 00:26:11.387 should be, the captain of a starship. 00:26:11.927 --> 00:26:17.267 I love how the president, that old, bald, white haired man just delivers 00:26:17.272 --> 00:26:20.837 the line, the captain of a starship. 00:26:20.897 --> 00:26:24.347 And the beautiful sequence, all the crew are in the shuttle going 00:26:24.347 --> 00:26:27.597 through Spacedock and they're going, Oh, it's gonna be this ship. 00:26:27.597 --> 00:26:28.617 It's gonna be this ship. 00:26:28.707 --> 00:26:32.657 Kevin: They fly towards the Excelsior and everyone grits their teeth… 00:26:32.750 --> 00:26:36.664 Rob: Cuz Sulu goes I'm planning on Excelsior, and Scotty goes, Why 00:26:36.664 --> 00:26:38.184 do you want that bucket of bolts? 00:26:38.234 --> 00:26:41.774 And of course Kirk, in his magnanimous way, he goes, a ships a ship. 00:26:42.084 --> 00:26:44.224 Aye captain, thy will be done. 00:26:44.229 --> 00:26:46.387 And they go towards the Excelsior, which we've seen in 00:26:46.387 --> 00:26:48.037 Star Trek III the previous film. 00:26:48.037 --> 00:26:54.180 And it goes over, and the music crescendos, and there it is: a 00:26:54.180 --> 00:26:57.020 completely rebuilt Enterprise. 00:26:57.060 --> 00:26:58.260 Kevin: The reveal of the Enterprise A. 00:26:58.697 --> 00:26:59.567 Rob: The Enterprise A. 00:26:59.572 --> 00:27:05.597 Now this is before, well before we get to the era of the Chris Pine Star 00:27:05.597 --> 00:27:09.887 Trek, where they destroy the Enterprise pretty much every frigging movie. 00:27:11.837 --> 00:27:15.957 And this is a beautiful moment where the crew and us as an audience 00:27:16.287 --> 00:27:18.980 look at this beautiful ship. 00:27:18.980 --> 00:27:23.330 You look at it from below, above panning around all that beautiful stuff. 00:27:23.330 --> 00:27:24.140 Yes, it's there. 00:27:24.140 --> 00:27:28.640 It's the exact same design, but it's an all new ship and a beautiful line 00:27:28.640 --> 00:27:32.770 from the man himself, William Shatner going, My friends, we've come home. 00:27:33.365 --> 00:27:36.185 Kevin: I never thought of it this way before, but Star Trek III is the 00:27:36.185 --> 00:27:38.705 movie where Spock comes back to life. 00:27:38.765 --> 00:27:42.235 Star Trek IV is the movie where the Enterprise comes back to life. 00:27:42.610 --> 00:27:44.560 Rob: And that's what the real Voyage Home is. 00:27:44.565 --> 00:27:46.630 It's not the voyage home back to earth. 00:27:46.690 --> 00:27:49.270 It's the voyage home back to the Enterprise because we've 00:27:49.270 --> 00:27:52.868 been flying around in a Klingon ship for the entire movie. 00:27:54.554 --> 00:27:59.039 Kevin: I'm gonna move us beyond these big budget, cinematic spectacles, 00:27:59.039 --> 00:28:02.099 because of course when you've got a movie budget, you can make a ship look 00:28:02.099 --> 00:28:05.249 amazing, but do it on a TV budget. 00:28:05.339 --> 00:28:06.869 I challenge you, Rob Lloyd. 00:28:06.869 --> 00:28:08.309 You can't, you can't do it. 00:28:08.885 --> 00:28:09.425 Rob: Oh really? 00:28:09.425 --> 00:28:10.145 Can't you? 00:28:10.439 --> 00:28:13.402 Kevin: Well, Star Trek The Next Generation did it. 00:28:14.269 --> 00:28:17.419 And it is my favorite ship, the Enterprise D. 00:28:17.843 --> 00:28:22.643 Rob: Now D is the one from The Next Generation TV series and the one 00:28:22.648 --> 00:28:25.343 that was destroyed in Generations. 00:28:25.508 --> 00:28:26.133 Kevin: Yes. 00:28:26.683 --> 00:28:32.288 It looked beautiful in the TV series, but it was always limited by the fact 00:28:32.288 --> 00:28:37.598 that it was a physical model being shot on motion capture rigs on a TV budget. 00:28:37.598 --> 00:28:41.828 So they were limited to a set of stock shots that they filmed 00:28:41.828 --> 00:28:42.788 at the start of the series. 00:28:42.908 --> 00:28:46.178 They could maybe top it up with a couple more each season, but 00:28:46.178 --> 00:28:47.948 they had to be pretty generic 00:28:48.578 --> 00:28:49.118 Rob: Let's shoot it from… 00:28:49.168 --> 00:28:50.348 Kevin: …reused a lot, yeah. 00:28:50.628 --> 00:28:51.508 Rob: Let's shoot it from below. 00:28:51.548 --> 00:28:52.468 Let's shoot it from the front. 00:28:52.748 --> 00:28:57.458 Kevin: The one that stands out to me, from Star Trek The Next Generation season 00:28:57.458 --> 00:29:04.298 six, episode 16, Birthright Part I, is one of the memorable times where there 00:29:04.298 --> 00:29:09.038 is a bespoke shot of the Enterprise D. 00:29:09.088 --> 00:29:14.068 It appears only in this episode, as far as I can tell, and was designed specifically 00:29:14.248 --> 00:29:16.048 for the story of this episode. 00:29:16.738 --> 00:29:20.218 And this is the episode, we talked about it last week, in 00:29:20.218 --> 00:29:22.098 which Data learns to dream. 00:29:23.178 --> 00:29:24.888 He's hit by an electric shock. 00:29:25.068 --> 00:29:25.458 Dr. 00:29:25.458 --> 00:29:29.418 Bashir is on board and trying to help figure out why he had a vision 00:29:29.418 --> 00:29:35.313 while he was unconscious, and he ends up unlocking his dream subroutines. 00:29:35.313 --> 00:29:40.206 And when he finally at the end of the episode, is able to have a full 00:29:40.206 --> 00:29:46.176 length dream, one of the things that he dreams is this amazing swooping shot. 00:29:46.656 --> 00:29:50.041 It starts from the same sun that we see in the opening credits 00:29:50.041 --> 00:29:51.271 at the start of every episode. 00:29:51.271 --> 00:29:53.971 And we see the lens flare as the camera pans away from the 00:29:53.971 --> 00:29:55.351 sun towards the Enterprise. 00:29:55.591 --> 00:29:57.031 We see something very similar. 00:29:57.031 --> 00:30:00.455 But what we pan to is not the Enterprise coming at us, but 00:30:00.460 --> 00:30:05.628 looking down on the Enterprise from above, which is a rare angle. 00:30:06.440 --> 00:30:12.020 You see the whole thing top down, and we swoop down over the saucer, 00:30:12.230 --> 00:30:16.750 turn around, dipping over it past the nacelle into a nebula. 00:30:17.110 --> 00:30:21.655 And it's over in, I'm gonna say less than 10 seconds. 00:30:22.135 --> 00:30:28.945 But for me was the first time the ship felt real, in that it was something that 00:30:28.945 --> 00:30:32.875 you could maneuver around and see from any angle rather than something that was 00:30:32.875 --> 00:30:35.135 sitting there posed for you to look at. 00:30:36.341 --> 00:30:40.061 Having revisited it before watching this, it is underwhelming now, by 00:30:40.061 --> 00:30:45.941 today's standards, but at the time it seemed magical and it stuck with me. 00:30:46.711 --> 00:30:47.251 Rob: Wonderful. 00:30:47.267 --> 00:30:50.337 Well, I'm gonna push the boundaries of what we're defining. 00:30:50.337 --> 00:30:54.527 It's not so much a one track sweeping shot of the ship, but 00:30:54.527 --> 00:30:56.747 it is in many ways a showcase. 00:30:57.167 --> 00:31:00.677 A showcase of what this ship can do. 00:31:01.227 --> 00:31:05.869 It is displayed in many different angles, but this is a statement. 00:31:05.989 --> 00:31:10.479 The ship is the name of the show, and there's a lot riding on it. 00:31:10.479 --> 00:31:14.769 So much so that they brought back the maestro, who we haven't talked about 00:31:14.769 --> 00:31:20.589 yet, but his work on the Motion Picture with sound and music is incredible. 00:31:20.829 --> 00:31:25.929 The often overlooked Jerry Goldsmith is one of the greatest, film composers 00:31:25.959 --> 00:31:30.159 of all time and his iconic work in the Motion Picture was brought 00:31:30.159 --> 00:31:32.659 back for The Next Generation theme. 00:31:32.719 --> 00:31:38.219 And he was brought back specially to do the music for Voyager. 00:31:39.064 --> 00:31:45.784 And those opening credits for me are a great showcase of showing off this ship. 00:31:45.814 --> 00:31:47.704 This ship is called Voyager. 00:31:47.854 --> 00:31:50.164 This is a different class to the Enterprise. 00:31:50.494 --> 00:31:56.114 You're gonna see how it flies, how it angles, you look at every part of it. 00:31:56.134 --> 00:32:02.074 You get to see all aspects of the ship in any type of terrain within space. 00:32:02.194 --> 00:32:03.394 And it's beautiful. 00:32:03.394 --> 00:32:07.574 It glides, it soars, it powers through. 00:32:07.844 --> 00:32:11.864 It's a great showcase of a rather streamlined design of a ship. 00:32:11.864 --> 00:32:15.164 It's not technically a shot, but it's definitely a showcase 00:32:15.584 --> 00:32:17.765 of every aspect of that ship. 00:32:18.037 --> 00:32:22.224 Kevin: It is a banner day here on Subspace Radio, because for the first 00:32:22.224 --> 00:32:24.474 time we have matched, Rob Lloyd. 00:32:24.984 --> 00:32:29.124 This was on my list as well, the opening credit sequence for Star Trek Voyager. 00:32:29.249 --> 00:32:32.639 Rob: If we were on an FM radio show, we'd have a horn going. 00:32:36.276 --> 00:32:36.726 Kevin: Yeah. 00:32:36.756 --> 00:32:40.406 I was talking about the Enterprise D feeling real for the first time. 00:32:40.726 --> 00:32:44.406 The opening credits to Star Trek Voyager, it won an Emmy for outstanding 00:32:44.406 --> 00:32:46.746 individual achievement in graphic design. 00:32:46.826 --> 00:32:48.326 Rob: The graphics are incredible. 00:32:48.726 --> 00:32:53.946 Kevin: It is the first time that they combined a CG ship with a 00:32:53.951 --> 00:32:56.166 physical model in Star Trek history. 00:32:56.945 --> 00:33:00.965 Every shot of this sequence is designed to show us something we have never 00:33:00.965 --> 00:33:03.335 seen a starship do on screen before. 00:33:03.638 --> 00:33:09.703 We have Voyager reflected in the rings of a planet with icy rings around it. 00:33:09.703 --> 00:33:14.123 And in that shot, the Voyager above the rings is the physical model, 00:33:14.123 --> 00:33:16.403 but the Voyager reflected is the CG. 00:33:16.474 --> 00:33:17.324 Rob: Incredible. 00:33:17.843 --> 00:33:20.903 Kevin: We have Voyager flying through a clouded nebula and 00:33:20.903 --> 00:33:22.883 it pushing aside the clouds. 00:33:23.024 --> 00:33:27.364 Rob: The ripples it creates is glorious, beautiful. 00:33:27.533 --> 00:33:30.893 Kevin: The effects artists who worked on it said they were told when they 00:33:30.893 --> 00:33:32.843 wanted to do that, it was not gonna work. 00:33:32.873 --> 00:33:34.948 And they set out to prove it could work. 00:33:35.298 --> 00:33:37.283 And sure enough, it works. 00:33:37.424 --> 00:33:40.830 Rob: Look, if Jurassic Park has shown us anything, don't tell computer 00:33:40.830 --> 00:33:45.350 programmers it's impossible or you can't do it cuz they will go, Oh, we'll… 00:33:45.484 --> 00:33:46.184 Kevin: We'll show you. 00:33:47.025 --> 00:33:52.148 Voyager comes towards us with an eclipse passing in the background. 00:33:52.148 --> 00:33:57.098 So the sun is coming out from behind a moon and it casts rays 00:33:57.118 --> 00:34:02.505 of light so that you can see the shadow cast by the ship, in space. 00:34:03.015 --> 00:34:04.995 That is something we'd never seen before. 00:34:05.139 --> 00:34:09.139 Rob: This beautiful shot of like planet view, and you've 00:34:09.139 --> 00:34:11.439 got the shot of Voyager coming… 00:34:11.569 --> 00:34:13.579 Kevin: The frozen moon, that is the opening shot. 00:34:13.584 --> 00:34:14.569 Yeah, I skipped one. 00:34:15.139 --> 00:34:19.729 Uh, obviously, uh, referenced in lower decks when the Cerritos crashes 00:34:19.729 --> 00:34:22.999 into the ice at the every episode. 00:34:23.556 --> 00:34:27.876 I don't wanna miss the final shot of this opening credit sequence where 00:34:27.876 --> 00:34:34.656 Voyager comes to a pause and then its engines tilt up and it warps out. 00:34:35.166 --> 00:34:36.616 The articulated engines. 00:34:36.616 --> 00:34:43.117 It is such a gimmick, but my umpteen year old self seeing this for the 00:34:43.122 --> 00:34:47.736 first time in the premiere of Voyager, I am sure I screamed in delight. 00:34:47.982 --> 00:34:51.167 Rob: Look, it is white boy nerd version of Pimp My Ride. 00:34:51.457 --> 00:34:53.417 It's there going, Oh, you want a new ship? 00:34:53.507 --> 00:34:54.047 Oh yeah? 00:34:54.197 --> 00:34:54.857 You know what? 00:34:54.857 --> 00:34:55.907 Before we go to warp? 00:34:56.387 --> 00:34:57.947 Our parts move, baby. 00:34:58.372 --> 00:35:01.016 Kevin: Flip up the spoiler, we're going for a ride. 00:35:37.324 --> 00:35:38.374 Rob: What a happy accident. 00:35:38.478 --> 00:35:41.208 I thought I was pushing the boundaries by using that, but not 00:35:41.208 --> 00:35:43.358 only was I not, we agreed on that. 00:35:43.358 --> 00:35:44.038 That's amazing. 00:35:44.305 --> 00:35:45.262 Kevin: Totally with you. 00:35:45.508 --> 00:35:46.198 Rob: Well, look at us. 00:35:46.198 --> 00:35:49.798 We're uh, how many episodes into this thing are we? 00:35:49.832 --> 00:35:51.192 Kevin: We're finally in sync. 00:35:51.598 --> 00:35:52.918 Rob: Finally in sync.