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Matt and Sean talk about Spock’s “first” command, sacrifices, and feelings in Star Trek: The Original Series. Is this episode good or is it nostalgia speaking?
YouTube version of the podcast: https://www.youtube.com/trekintime
Matt and Sean talk about Spock’s “first” command, sacrifices, and feelings in Star Trek: The Original Series. Is this episode good or is it nostalgia speaking?
YouTube version of the podcast: https://www.youtube.com/trekintime
Follow us on X: @byseanferrell @mattferrell or @undecidedmf
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Creators & Guests
What is Trek In Time?
Join Sean and Matt as they rewatch all of Star Trek in order and in historical context.
In this episode of Trek in Time, we're talking about when it's logically time to panic. That's right, everybody. We're talking about season one of Star Trek, the original series, Galileo Seven. This is episode number 13 in shooting order, but 16th in broadcast order. Welcome everybody to Trek in Time, where we're watching every episode of Star Trek in chronological stardate order.
And we're also taking a look at the world at the time of our original broadcast. So we are talking about the original series. We are roughly halfway through the first season and we are just about to talk for the very first time about 1967. Who are we? Well, I'm Sean Ferrell. I'm a published writer.
I've written some sci fi. I wrote some stuff for kids. And with me as always is my brother, Matt. He is that Matt of Undecided with Matt Ferrell, which takes a look at emerging tech and its impact on our lives. Matt, how are you today? I'm good. I'm doing good. A
little secret for people listening. We're actually recording this in the future.
Or past. The past. How should we describe this?
The deeper
past. We recorded two of these back to back.
Back to back recording. So Matt and I don't actually know how words work anymore.
That's right.
Yes. The heat. She is not helping.
Yes.
Before we get into our conversation about this episode, the Galileo seven, we always like to take a look at what you've said about our previous episodes.
So Matt, what have you found in the mailbag for us this week?
Well, some comments from the episode Miri. We have one from Annoying Critic who wrote, Real problematic episode for all the reasons given that we talked about. Nonetheless, the premise of the episode about, about a bunch of bratty, immature children not wanting to take their vaccines.
is so prescient. Yes.
Yeah. Oh, boy. Thematic on the nose. Holy cow. Didn't see that coming.
Yeah. Mark Loveless wrote, maybe the shot of duplicate earth was a mistake of sorts in that they stuck in a picture of earth accidentally and just said, oops, oh well. Doesn't explain the architecture though. Maybe the truck with the alien moss blankets to put over Mayberry got towed on shooting day.
You don't know. Also this is certainly not my favorite episode. Kirk bringing out his inner Jerry Lewis.
Jerry Lewis, yeah.
It was unwatchable. Granted at least she wasn't Kirk's cousin, but wow, all that was missing was Kirk's rusty white van. Ew.
Mark those are, that's, that's I mean, chef's kiss comment. That's one of the best we've had. Yes.
And then we had one from stile8686. A possible source of the original scripts is to read the novelizations of the episodes by British author James Blish. He was commissioned and wrote these based on the scripts he was sent long before Star Trek was broadcast in his country and before he ever had the chance to see the show for himself.
And there are interesting differences between them while also being a good read into themselves. For example, I quite enjoyed his version of Spock's brain, which I read long before seeing the episode. And it works because Spock never leaves the Enterprise. They were originally printed in 12 paperbacks and have been collected in Star Trek The Classic Episodes.
That sounds interesting to me of kind of seeing kind of like a game of telephone of like, An interpretation of a script that wasn't technically filmed and he didn't see it. So it's, that's interesting. Yeah. I'm curious to see like what the differences are and the just slightly different takes are on the same exact subject matter.
I have read some of the James Blish uh, novelizations of the episodes. I do think that they are excellent. James Blish was a great writer. Uh, and this format was pretty typical, especially in motion picture novelizations, because in order to get the novelization into the bookstores, anywhere close to the movie being in theaters, which is when you're going to sell those books.
You had to get a writer to do it beforehand. Alan Dean Foster was a huge writer for film novelizations. He would crank these things out and very often he would have, just like our commenter here shares, he would have better explanations as to the interior lives of the characters, because he was having to speculate about it and explain what he thought was strange
elements of the script. Alan Dean Foster also famously wrote what is an excellent, excellent, excellent Star Wars novel, Splinter of the Mind's Eye, which has to largely be discounted from being canon, or at least kind of like, you kind of have to look at it with a One Eye Closed, because in it Luke and Leia hook up and it was because it was written at a time before Return of the Jedi was even being considered.
It was between episode four and episode five. Episode five hadn't come out yet. So when you looked at these stories at that stage, yeah, Luke and Leia looked like they were probably going to come together as a couple, of course, didn't work out that way for reasons that are rather big. That noise in the background, that of course is the read alert, which means it's time for Matt to tackle the Wikipedia description.
Good luck, Matt. I hope you enjoy the cliffhanger ending to this one.
Oh boy. Spock and a scientific party are sent to study the Murasaki 312 Quasar aboard the shuttle Galileo. During the survey, the Galileo is forced to make an emergency landing on the planet Taurus II, where the crew fights the planet's dangerous inhabitants.
As the crew begins to make repairs, Scotty determines the shuttle does not have enough fuel to reach orbit carrying all seven passengers, and Spock must contemplate leaving some of his fellow crew behind. Dun, dun, dun. Dun, dun,
dun. I wonder how it will end. This episode, directed by Robert Guest, story by Oliver Crawford, teleplay by Oliver Crawford and Shimon Wincelberg.
Who once again is credited as S. Bar-David. It is the same writer who in Dagger of the Mind ended up leaving the show because he got sick and tired of Roddenberry meddling with his scripts. And he didn't want to be credited under his own name. In this episode, we have William Shatner, of course, as Captain James T.
Kirk, and then we have Leonard Nimoy, DeForest Kelly, James Doohan, all aboard the Galileo 7. We also have guest stars, Don Marshall as Lieutenant Boma, John Crawford as Commissioner Ferris, Peter Marko, Phyllis Douglas, Rees Vaughn, Grant Woods, Buck Maffei, David Ross, and Eddie Paskey, also starring this episode.
This episode originally broadcast on January 5th, 1967, and the world at that time, well, this song is for the first in a while one that Like, I don't need Matt to sing it for me. He sings all the other, all the other songs that we talk about, usually because I can't recall how they go, but this time around it's The Monkeys.
I'm a believer. We all know how that one goes. And in the movies, here's one. Stop me when you've heard this one before, Matt. We are of course, talking about Walt Disney's Follow Me Boys. Matt, real quick. Why don't you give us a summary of this one's plot? I've never heard of this movie. That's right, Matt.
Wow. It's the Fred McMurray movie from Walt Disney in which Fred plays Lem Siddons. He's part of a traveling band who has a dream of becoming a lawyer. He decides to settle down. He finds a job as a stack, a stock boy in a small town and trying to fit in, he volunteers to become a scout master of a newly formed troop, and he becomes more and more involved in the scouts lives until he realizes he's His dream of being a lawyer?
Well, he doesn't need to do that as long as he can continue to be a part of the lives of these boys. It is a movie that if you told me I had slipped into an alternate reality to find out that this film existed, I would believe you more than I believe that this film existed before I read this. One of the boys in the film was played by Kurt Russell, who, oh man, I mean, yes, that's, it's, this is a movie I can't even begin to, to, Matt and I grew up at a time when watching Disney films, That would just be rebroadcast and rebroadcast and rebroadcast.
They'd be on TV like a Saturday night or a Saturday afternoon. They were on all the time. They were older movies. We'd see Herbie the Love Bug. We'd see Chitty Chitty Bang Bang. We'd see movies like that all the time. I cannot tell you a thing about this movie. And it was the number one film of the week.
It earned 5 million in North America. And In the New York Times, this was the review. It was panned by Bosley Crowther, who wrote that it is, quote, such a clutter of sentimental blubberings about the brotherhood of the Boy Scouts and indiscriminate ladling of cornball folksy comedy that it taxes the loyalty and patience of even a one time ardent member of the Beaver Patrol.
What is the most painful and embarrassing is the picture this gives of the American small town as a haven for television type comedians having themselves a fine time with a routine of rancid cliches. I don't think he liked it.
I think that's probably why we haven't seen it, Sean.
Yes. The movie apparently, and I kid you not, revolves partly around the plot of the Boy Scouts out camping in the woods while a nearby, a local army base is running
practice maneuvers and mistakes the troop leader played by McMurray as a spy, because he's out there with camping gear and binoculars and the boys have to rescue him from the army.
Oh my God.
I, yeah, so that happened. On television, we've been taking a look at shows that would have competed for viewers against Star Trek.
We've taken a look at TV shows that were on the same night as it, like Dragnet, That Girl, and Bewitched. And we also know that Star Trek It was earning roughly a 12 on average and was up against shows like Bonanza that were getting nearly a 30 in the Nielsen's. So, Star Trek was not one of the very tip top shows on television at the time.
But as we've worked our way through the various programs that would have competed with it, Well, last week we talked about the Lawrence Welk show, which is a real window into another era. And this week we've got another one, just like it. The Ed Sullivan show. The Ed Sullivan show is of course, the American television variety show that ran on CBS from June 20th, 1948 to March 28th, 1971, and was hosted by New York entertainment columnist, Ed Sullivan.
This is the program that introduced the world to among others, The Supremes, Elvis Presley, and The Beatles. And Last week, when we talked about Lawrence Welk, we talked about it having, I think it was 1, 063 episodes. Well, the Ed Sullivan show has 1, 068 episodes. And just like I announced last week with the Lawrence Welk program, I'm happy to announce this week that Matt and I are starting a podcast in which we are going to watch every episode of the Ed Sullivan show and talk about the context at the time of original broadcast.
And in the news, we have. Among other things, we have a President Johnson preparing to speak to Congress. We have a grueling picture of U. S. Marines in Vietnam preparing to try and search for their enemy, which given the context of Vietnam and guerrilla warfare, simply finding who you were trying to shoot.
I mean, that's the motif for that entire war. But one of the stories that stood out to me the most about this, on this day in history, at this point, Mayor Lindsey suggesting his plan to hold the line on a 20 cent fare in 1967. This would be a 20 cent fare on the New York City subway, a ride which now costs I don't even know how much I'm paying when I get on that train, but I think it's close to three bucks at this point.
On now to our discussion about this episode. I found myself as watching this, uh, questioning myself a bit because this was an episode that for me is one of my favorites. Really? And yet. As yes, and yet it stood out in my childhood as like, this is one of the good ones. Like whenever this one was on, because I loved Spock and this was Spock in command.
This was Spock center stage. This was Spock being tested. This was, and I really, I gobbled it up as a kid. And I thought that the, the monsters on the planet were cartoonish, but as a kid, I loved it. And as I'm watching it now as an adult, and I haven't seen this episode in a good long while, I found myself thinking, Ooh, this isn't really hitting it the way I recalled.
It's putting a lot of characters into a kind of bad light. And it also has a dilemma of tension built around a character who is so villainous in his, you need to do what I tell you, that it's cartoonishly bad. So I found myself really kind of like looking at this and saying like, this isn't, this isn't living up to my nostalgia.
How dare it? How'd you feel about this one?
I get where you're coming from. I like this episode a lot better than the last episode, The Conscience of the King that we just talked about. I like this one better. This one's definitely better. Um, but yes, there are elements of this episode where it's kind of like Spock is kind of not handled well in this one.
Um, I mean, they're, it's one of those, you kind of have to forgive the show for some kind of like not great writing. But the themes that they're doing and what they're doing in it are, it's really fun. There's, so there's, if you can kind of gloss over those rough edges, it's not a bad episode. It's actually kind of fun, especially where you're watching it as a 2024 viewer watching The horrible costumes of these giant creatures and then the giant spears that keep getting thrown, which are clearly getting being thrown by really short people trying to heave it up and over, where it's like, yeah, you guys couldn't get up on a ladder and throw it to make it look like it's coming from a higher angle.
It's like, there's so much. I loved a lot
of that.
Yes. So that, me too. There's like, there's like a nostalgia and kind of fondness for the cheesiness, the Dr. Who ness of the production quality. And then the affinity for the kind of the themes they're trying to tackle, even though they're not doing it super well, I thought was interesting.
It's also interesting watching how they handled Spock, because again, for a first time viewer seeing this, this is like the first time we're seeing them really hammer home Spock's, uh, All logic, no emotion. Here's how he handles this kind of stuff. Um, so you understand why they were doing this episode, but as a 2024 viewer, we have seen them tackle this with Spock and other Vulcans for decades now.
And so there was a little bit of a, Oh, this has been handled so much better in other episodes and movies and things like that. This has been handled with such so much more grace and good writing. This is really kind of hacky, but I appreciate for what you were trying. Good. Good effort, Star Trek, good effort. So it's like, for me, that's kind of where I landed on this.
Yeah, I think that they had, just like you said, there's, there are elements of this that they would revisit again. I found myself thinking, like, to tell this story now in his character arc is one of the things that now stands out as being the most problematic, and that's born between the
logic within the episode itself and logic from the perspective of what Strange New Worlds has done to these characters. This episode both revels in and struggles with the very thing we've talked about in previous episodes. The original series is now, in rewatch, changed permanently by the existence and storytelling of Strange New Worlds.
Most often, when we have brought that up, it has been around Lt. Uhura, who is such a key figure in the Strange New Worlds, that now the depiction of her in this, I'm happily engaged. Every time she appears on screen, they didn't make her feel like less in the original series. They made her feel like more.
So we end up in episodes like this. Spock is off the bridge and she, without them even really pointing it out, she's effectively operating as the science officer. She is going over and doing research and bringing it back to Kirk. And it's just like, I just found out this information. This is what appears to be going on.
I don't know if we're going to be able to find them unless we do these things. And Kirk is taking in all of that. He's not even looking at it. He's got the classic, like he's got his back to her. And then he just gives orders to say, take us to Taurus II. It's No hesitation to take the advice of this woman who in 1967 would have been a hard sell to have on that cast and in that position on that crew.
And in 2024, after Strange New Worlds has presented her, you're like, she's a savant, this is her role on the ship. And she can seamlessly walk over from communications to the science deck and then go back to Kirk and say, like, I've got some recommendations for you, captain. And it makes perfect sense. I love that.
But this episode also suffers from Strange New Worlds. For the exact opposite reason is that this episode hammers in several moments the McCoy is saying, This is your shot, Spock. This is your shot to be in command. And we have seen episodes of Strange New Worlds in which we know Spock has been challenged by command situations in the past.
There is one particular episode that we talked about around Strange New Worlds, which focused entirely on the fact that Spock is in command of the Enterprise. It is the episode where They find out that Laan Noonien-Singh is in Klingon territory and she's in trouble, and Spock And some of the other bridge crew end up stealing the Enterprise to go rescue her, and Spock is in command.
It is, this episode, the only way you can kind of marry those two is when Spock, when McCoy says to Spock, Well, thus ends your first command, and Spock quietly says, Yes, my first command. You have to kind of retcon it as he internally is thinking about the fact that this isn't his first. Because now I want to weigh in on one of the problems I have with this episode within the context of itself, not including Strange New Worlds.
It makes zero sense for this to be the first command mission for the first officer of a ship. It doesn't make sense within the context of, of what the chain of command would mean. So all of these hand wringing moments of, this is your shot, you always thought the logic was the best way. All of that is done as if Vulcans aren't out there in space.
Correct. Logic driven command structure, logic driven Decision making, logic driven culture exists within Star Trek. So all of these arguments are effectively like xenophobic and it starts to really like feel gross the more it's said. And when you have just within the logic of a chain of command, you would not have a first officer who'd never led an away team, never been in a command situation, never had to make life and death decisions.
And. One last nail in it for me, as far as like, it really kind of like severing the nostalgic glow that this episode used to have for me. All of the responses from everybody else, except for Scotty and the Yeoman. People are putting themselves in danger in this episode in ways that just do not make sense for well trained Starfleet officers.
They are doing things again and again. Like I can see the way you're shaking your head. You know what I'm talking about. Why don't you tell us one of the ones that stood out for you is like, what are you talking about?
Well, even beyond that, Sean, it's why were there so many people on this mission? Yeah.
Why were there seven people on this stupid ship? Yeah. Why is Bones there? They're going to look at a quasar. Why is the chief medical officer on the stupid ship? There's no reason for the characters they've got there. That's the first issue. I remember when like they all pile on. And the chief engineer.
Yeah. Yeah, and they're taking off. I'm like, why is Scotty there? Why is Bones there? Why is that woman there? Why, why are all these people? It's like, it made no sense. You literally could have a shuttle with two people on it. You have a science, because you're going there with your sensors. That's all you need to do.
There's nothing to see, nothing to like do. It's just, you're just sending somebody out there to take some sensor readings and come back. Dumb. So dumb. And then on the planet, you got those two bozos climbing all over the rocks, going through the thing. They're hearing stuff. They're like, what are you guys, what are you doing?
Where, what are you, what are you doing? Like why are you out here? Why? What does this even mean? It's like, oh, now one of them got stabbed brutally and like blurred out in the ground 'cause we can't show this thing coming out of his chest.
One of them, one of, they were told they were ordered by Spock. He said, go do a perimeter check and stay within line of sight of the shuttle craft.
And then the next, they're so out of line of sight. They are in a fog filled valley, Canyons, you can't, they even look around and show every, they don't know where the noises are coming from. So they keep showing different angles of what they can see. They can't see squat and they also look lost. And so we got to get out of here.
And I'm like, who
let Shaggy and Scooby on the Enterprise? What, when did they join the crew? And then with Spock, they come out there and they find the dead guy and they're there with him. What does Spock do? Hey, you, you, you stay here by yourself. Okay, we're going to go back. Wait, you had two guys out here and one got killed.
Remember how you barely survived.
Why don't you stay here by yourself?
Yeah. Let's leave one guy out here by himself. But also
to invert it, like the responses to Spock. Like when he shows up and it's just like, he's looking logically at the scenario, trying to figure out what might've done this. And the response from Boma is to be like, you're cold blooded.
You're like, you're not, there's a dead man. And all you're doing is like picking up his phaser or like, you're just commenting about spears. What do you want him to do? Like, within the context of the show, it's as if every human is like, we really want our commander to panic, to lose control of the situation, and to make emotionally driven
decisions and responses, like he would have felt better if Spock walked around the corner, dropped to his knees and started crying and saying things like, Oh my God, we're all going to die, No, Nameless Ensign, like, within the context of the show itself, the things that are happening are clearly created just for dramatic tension between characters and it stands out as not great.
Having said all of that, there is still a child inside of me that still holds onto this one in a very happy place and says, like, I love this. I like this episode, even with Kirk having to duke it out with the commissioner on the bridge, who, I mean, you want to talk about, like, logic driven decision making without putting too fine a point on it.
It's as if the writers were putting Spock in a bad light saying like his logic, it's failing him and he is questioning himself left and right. And meanwhile, on the enterprise, Kirk is also effectively fighting somebody who was driven by logic. The commissioner's actions are not wrong. The commissioner is presented as clearly a mustache twirling, like this pencil pusher doesn't care about people, but he is effectively saying we are trying to get something to save thousands of lives.
We have a ticking clock to do that. Unfortunately, for your seven people that Kirk says, you understand I'm under open orders to investigate every quasar, like, like what? Like the quasar is like, we better investigate this quasar in case it's not here when we come back. Like what? Like you're on a life saving mission to deliver drugs to a colony.
Kirk's actions, and it's all depicted as heroic and like waiting to the last possible moment. And again, I like the end of this episode. So I also like the remastered special effects. Yes. I thought they were very effective. That shuttlecraft with the green glowing, uh, ignition of the fuel and the depiction on the screen.
I liked Sulu's attempt to keep an eye on the planet and his recognition of what he's seeing. I liked the ability of the, they're showing like the ship collectively doing everything they can to rescue these seven people. The, the, the team that gets the transporters working again, and they show the testing.
And he's like, in my opinion, this is ready to go. They're able to get them off the ship. Like all of those things in the, the child viewer in me is still like, this is great,
but
I
mean, there are two things I want to bring up that you just hit on. I love that too. This is the first episode we've seen where we see the ship, the crew, Acting as this top notch crew.
Like, cause we see people doing their specialties and they're nailing it. We figured out how to beam things through the ions. Like, it's like, Oh, that's awesome. And on the shuttle that there's the, um, I can't remember the actor's name. Uh, one of the randos that was there tried to give an explanation as to like what happened and why they got pulled in.
And he gives a scientific explanation. That's like, Oh, it was cool to see him, yeah, Boma do that, and it wasn't Spock saying it, it wasn't one of the main characters, we're seeing more characters of like, this is Starfleet, we're seeing the best of the best do their stuff. I love that. I'm a commissioner, Sean.
So I haven't seen, I've watched all, I've seen all these episodes, but it's been a long time. And I remember this one at a high level, you know, the goofy big guys throwing spears. I remember that. But the commissioner, there were some shots, I don't know if you picked up on this, in the beginning, where it was almost shot in a way like the commissioner was behind this.
Yeah. Like the commissioner. It was almost like Nefarious. In my head, I was like, is, am I, am I forgetting that he's like maybe some kind of omnipotent alien that's testing the crew and all this stuff is happening back on the surface and at the end he's going to go, you've passed my test and all the people that were killed are now alive and they're back on the ship.
Yeah. I was like, is that what's happening here because there's like some weird ass closeups of this guy and him kind of doing like a little side eye like, Oh, they're falling into my trap.
He's like, you're going to have to take me to the new Paris colony. What you gonna do?
It was really, it was really funny to me because I was expecting that he was going to be like a Q kind of a character and he was going to do some kind of big reveal at the end.
But no, no, that would have made, that actually would have made the episode better, in my mind, if that had actually happened. That would have been weird. I don't know if it would have made it better. This episode also has a trope. That happens way too much on Star Trek. So this is the first time we've seen this in Star Trek.
But this is one of those things of like, you know, you're in a writer's room where they come up with an idea. It's like, okay, we now we need a ticking clock for this episode. What could it be? And they pull out their index cards and throw down what it is. Oh, we have to get medicine to a planet where everybody's dying.
It's like, we see this like dozens of times across all of the series and movies. This is a trope that is used again and again. And when it happened in this, I was like, this is where it started. This is the first one that did this stupid, stupid thing that we see way too often. But it's, it's understandable why.
You've got this wonderful little ticking clock in the background that creates the tension and the need for doing something. And it's funny to see how in other episodes it's like, we're going to leave a shuttle behind so the main episode, the main ship can keep going to the colony or they come up with different things.
And my thought was, again, this episode did not handle it well with writing. Like, Why did, why couldn't they have just left another shuttle to keep looking for them? Why, why did they have to like keep the whole ship here? Or could they have sent a shuttle forward to the planet? It's like, yeah, right. It's like, you got another shuttle, like what's happening here?
It's like, there's all these different things you could possibly do to help alleviate this, uh, situation.
Yeah, absolutely. And it's, it breaks the heart of the child who lives inside of me, but at the same time, it still holds a nice place and I know I'll still be able to watch it and enjoy it. And you mentioned Bowman who, Boma, who is played by Don Marshall.
Don Marshall would go on to be one of the leaders in a series called Land of the Giants, which was another sci fi program. And I found his character. I actually really liked his character in this. It's one of those secondary characters who just makes a single appearance. But like you said, he's given an opportunity to show his expertise.
He doesn't make outwardly bad decisions. It's just so much of what he's there for is to artificially, it feels like, create tension in the episode between the humans and the Vulcan so that the Vulcan can learn what it means to have an emotional response. And this episode also has the distinction, um, for one of the most awkward endings possible as let's just call it what it is, the entire bridge crew bullies
Mr. Spock. They just collectively stand around and laugh and laugh and laugh. And it's even awkwardly directed in that once everybody starts laughing, the camera pulls back to exclude Mr. Spock from the shot. So that all we are left with is a group of humans all just laughing giddily at the stupid Vulcan.
Ooh. Not great. So next time we're going to be watching the episode Court Martial. Please jump into the comments and let us know, wrong answers only, what that episode is about. And don't forget to drop in your comments about this discussion. Do you agree with us that this episode doesn't age quite as well as maybe we'd hoped?
How did you feel about the depiction of humanity's questioning of whether a logical Vulcan can even possibly be in command. Matt, before we sign off, is there anything about your main channel that you wanted to share with the viewers? What do you have coming up for us after the summer ends?
Yeah, I've fallen down a ,,battery rabbit hole.
I got to get out of it because too many battery videos. But we have one coming out about a new. It's bad marketing, but like a forever battery, a lifetime battery. It's a battery that has no degradation after five years of use. So it's going to last a very long time. It's a really interesting battery coming out of China that we kind of dive into as to what it is, how it works, and why.
Um, and there's actually more battery stuff beyond that. So like I said, I felled in a battery rabbit hole over the past few months, so I'm digging my way out of it.
Sounds like an assault by batteries. As for me, if you want to find out more about my books, you can check out my website, seanferrell. com. You can also just go wherever it is that you buy your books.
That includes the public library. My books are available everywhere, and I hope you'll be interested in checking them out. If you'd like to support the show, as always, you can leave a review, you can subscribe, and you can share it with your friends. Three very easy ways for you to support the podcast. And if you'd like to support us directly, you can go to trekintime.
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