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Matt and Sean talk about flailing around with the best of intentions, in Star Trek TOS Season 3, Episode 3, "Paradise Syndrome”
Matt and Sean talk about flailing around with the best of intentions, in Star Trek TOS Season 3, Episode 3, "Paradise Syndrome”
- (00:00) - - Intro
- (04:27) - - Today's episode
- (06:50) - - This time in history
- (13:03) - - Episode discussion
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Creators and Guests
What is Trek In Time?
Join Sean and Matt as they rewatch all of Star Trek in order and in historical context.
Sean Ferrell: In this episode of Trek in Time, we're talking about the best in bad taste elementary school play you've ever seen. That's right. We're talking about Paradise Syndrome from the original series. The 58th episode produced, the 58th aired overall, the third of the third season. Wow, that's a lot of parallels. Welcome everybody, to Trek in Time, where we're taking a look at all of Star Trek in chronological stardate order. We're also taking a look at the world at the time of original broadcast. So we're talking about about 1968. We're talking about the third season. We've worked our way all the way from, oh, Matt, what was it? Enterprise. And then moved our way forward through Discovery, Strange new worlds. And here we are, the original series, now in the third season, which means we are a scant, maybe 22 episodes away from hitting the movies. Can you believe it? And I'm really looking forward to that.
Matt Ferrell: Me too. Yeah.
Sean Ferrell: Before we get into it, I would like to say that on the screen. I'm telling this to Matt like he knew I was going to say this on the screen. Right now we're going to show you a New Yorker cartoon that I found on Instagram from Asher Perlman. Matt, have you looked at this in the show notes?
Matt Ferrell: I have looked at it. I haven't got it in the thing yet, but yes, I have looked at it.
Sean Ferrell: Yeah, I found it pretty amusing. It's clearly the bridge of a Star Trek style show in which a subordinate is saying to the person in the captain's chair. Captain, an interesting philosophical question with a satisfying conclusion in 44 minutes is hailing us. I loved it.
Matt Ferrell: It's accurate.
Sean Ferrell: It's accurate. So before we get into the heart of our conversation about the Paradise Syndrome, we always like to take a look at what's going on in the comments. Or do we? That's right. Second episode in a row. Second episode in a row. We are not going to discuss the comments. And there's a very simple reason why. Well, it's not that simple because I don't understand it. It's time you want Matt and I changed our recording schedule.
That's easy enough to understand. We also had a holiday here in the US. That's easy enough to understand. Yep. We recorded an episode before the holiday. We're recording now after the holiday. Somehow, I don't know how. No episode has dropped since we changed the recording schedule.
Matt Ferrell: Nope.
Sean Ferrell: As a result, we have no comments from our last episodes because the episodes are not out there yet. Eventually we will we will catch back up. It feels strangely a little bit like what happened when we started recording this episode. The video conferencing call that Matt and I are in to do this recording wasn't syncing up properly. So I could see Matt's lips moving but I couldn't hear him say anything. And then it suddenly zoomed forward and I heard him speaking very, very fast as the audio caught up to his image. And it wasn't like it was a high pitched voice, it wasn't like he was all squeaky, it was just normal tone. Matt speaking at triple time in order to get to where video Matt was. And that's how the comments are right now for us. So why am I saying so many words about this? Because your comments and the community we have built around these conversations is very important to us and we genuinely enjoy the responses. We get to the videos and we do not want anybody out there to think, oh, they've shrugged us off, they don't interact with us anymore. We absolutely care and we will be interacting with you again as soon as time travel is over.
Sean Ferrell: Timey wimey, timey wimey. Thank you everybody for the comments on now. That noise in the background. That's right, those flashing lights. That's not Matt getting mad at me for rambling. That is the read alert. It's time for Matt to tackle the Wikipedia description once again. Matt season three, you're going to have to buckle up. These are not wordy. They are quick.
Matt Ferrell: I'm a fan. I'm a fan, Sean. I'm loving these.
Sean Ferrell: Yes.
Matt Ferrell: A mysterious alien device. A mysterious alien device on a planet with a predominantly American Indian culture erases Captain Kirk's memory and he begins a life with them as a member of their tribe. You could not be more succinct.
Sean Ferrell: That's right. Episode number three of season number three, directed by Jud Taylor, written by Margaret Armen, with guest appearances by Sabrina Scharf, Rudy Solari, Richard Hale, Naomi Pollack, John Lindesmith, Peter Virgo, Lamont Laird, William Blackburn and Roger Holloway. And of the original cast, we get a little bit of everybody in this one. So we have William Shatner, Leonard Nimoy, DeForest Kelly, James Doohan, Nichelle Nichols, George Takei, Walter Koenig and Majel Barrett in a very brief appearance at the end, but it was nice to see her. A couple notes about some of these guest actors. Sabrina Scharf as Miramanee. Well, if you think I've seen that woman naked, that means you've seen a 1962 Playboy? Yes, she was a Playmate in 1962. She also appeared in the movie Easy Rider. She was in this episode. These are the two credits that are the most famous. She was also in a number of other TV series at the time, but she retired from acting in the late 60s and eventually would run for California Senate. She would not win, but she did run, so she moved into politics. There was also. Richard Hale is Goro in this episode. He was the chief of the tribe and he was a character actor. You could tell from this episode he was an older gentleman. This was toward the end of his career. He had a long career in which he very often portrayed indigenous Americans. So there was just something about his look that people were like, yeah, put him in that role. So this was kind of a return to form for him. This episode originally broadcast on October 4, 1968. And what was the world like at the time of original broadcast? Well, I warned you several weeks ago, Matt. Get ready and get used to hey Jude. Take it away, Matt. Great.
Sean Ferrell: Here we are with hey Jude by the Beatles. It remains at number one for a good couple of two and a half months, I believe, at the end of 1968. So we're gonna see it again. And at the movies, a movie called Rachel, Rachel, which as I read that, I was like, is this the parody movie from Seinfeld? Rochelle. Rochelle. No. Rachel. Rachel. The 1968 American drama produced and directed by Paul Newman and starring his wife, Joanne Woodward, in the title role. It is based on a novel, A Jest of God, by Canadian author Margaret Lawrence, and it concerned a schoolteacher in a small town and her sexual awakening in her mid-30s. The film was nominated for four Academy Awards best Picture, Best Adapted Screenplay, Best Actress and Best Supporting Actress, and won two Golden Globes, Best Director and Best Actress in a Drama. And on television, we've moved on from taking a look at the top programs of the era because the top programs of the era weren't really changing. Instead, we've been looking at the programs that aired on the same night as Star Trek as a kind of comparison of what was going on on Friday nights while Star Trek was being broadcast. And we've talked about Operation Entertainment, we've talked about Felony Squad, we've talked about the Don Rickles Show. This week we're going to be talking about the Guns of Will Sonnet. Matt, quickly, what was your favorite episode of the Guns of Will Sonnet?
Matt Ferrell: God. Some of these shows, Sean, I did not know existed. It's like we fell into an alternate universe.
Sean Ferrell: Starring Walter Brennan and Dak Rambo. That's a name, apparently a real name. The Guns of Will Sonnet was an American Western. It was set in the 1870s. It aired on ABC from September 8th of 1967 to September 16th of 69. Two seasons, 50 episodes. It was created by a gentleman named Aaron Spelling.
Matt Ferrell: Oh, man.
Sean Ferrell: Yeah, good lord. Yeah, good lord, indeed. This I was like, okay, Aaron Spelling, powerhouse of television and entertainment for decades. And it marked the first collaboration with Aaron Spelling and Richard Carr, with executive producer Danny Thomas. Danny Thomas, of course, also was an actor and a singer who at this point was moving into television production. The show starred Will, Walter Brennan as Will Sonnett, a retired cavalry scout and skilled gunfighter, and Dak Rambo as his grandson, Jeff Sonnett. And the premise was the two of them were traveling across the American west searching for Will's son James, who had disappeared at age 17 after being disillusioned by his father's absence due to army duties. So a kind of altered take on the formula of the Fugitive, or, you know, the Incredible Hulk, the A Team. All those shows where it was like, oh yeah, we're wandering around Route 66, like, where were we last week? We're not going to reference that at all. Where are we going next week? It's not connected to this week at all. And it's an adventure of the week. Every week a different scenario. So that was the formula here. And as Matt hinted in his response to the name of this program, this is another one that I was just like the who of the what now? And in the news. October 4, 1968.
Last episode we talked about the episode of Star Trek that was broadcast in the last week of October. So we were just a week away from, from the 1968 presidential election that would result in Richard Nixon's election to President. Here we have a little bit of a window into that political election again as on October 4, there was news that General LeMay had joined George Wallace's ticket as running mate. George Wallace was running in the Independent Party. George Wallace, if you know history, was an American politician and lawyer. He was the 45th and long serving governor of Alabama, serving from 1963, off and on. 63 to 67, 71 to 79, 83 to 87. And the longest serving governor from the Democratic Party in Alabama. Wallace is remembered for being a staunch segregationist with populist views. And through the 70s he moderated his views on race. But he is most famously remembered for, in the 1960s, saying segregation now, segregation tomorrow, segregation forever. His running as a part of a third party candidate helped get Nixon elected because he carried five states in the 1968 election.
Sean Ferrell: That is a fact that I think a lot of people forget, that as recently as the 1960s, a party running on a segregationist platform won five states.
Sean Ferrell: So when we talk about race, we talk about segregation, we talk about equality, and we talk about how come we can't get past all these things. It's 2025. It was only 45 to 50 years ago that somebody running on a platform of segregation now and forever won five states. So that is not ancient history. And as if queued up to connect to race, equality and fair treatment, we move now to our conversation about this episode, the Paradise Syndrome. It's gonna be a hard one to talk about, Matt.
Sean Ferrell: I am of three minds on this one. Which of the minds would you like to hear from first? The one that kind of appreciates the effort? The one that appreciates the B plot, or the one that is gonna just say, ugh.
Matt Ferrell: Let's start with the ugg.
Sean Ferrell: Let's start with the Ugg.
Sean Ferrell: Not a great representation of indigenous culture in the U.S. what?
Matt Ferrell: Having. Having white people play Native Americans. That works. That works. There's nothing wrong with that, Sean. Nothing wrong with that at all.
Sean Ferrell: As we just said, it was the 60s. It was the 60s. It WAS the 60s. There was a guy running for president who was running on a segregationist platform. It is obvious in this episode that they thought they were doing. They thought they were doing a thing. They thought they were doing a good thing. And all right, this is also, like, Matt and I are of the generation, and I'm sure a good number of our viewers and listeners are of the generation with us, where when you think about pollution, you think about a crying Native American who was played by a Mexican man looking out over a landfill while a single tear goes down his cheek. Yes, we. We remember those ads. Not fondly, not even nostalgically. We just remember them. They played all the time on television.
This was an era where indigenous culture was kind of rediscovered in a weird way. It was in. I mean, we just talked about the Guns of Will Sonnet. It was a TV show set in the 1870s. It was about a grandson and a grandfather roaming around in the western frontier. If you don't think there were a lot of people who were white playing indigenous people in that show, you're not paying attention.
So for me, the Ugg of this all is like. It's dated. It's dated. Dated, dated. And I'm. I'm just appreciative of the little things. They didn't speak in a terrible pidgin English. They didn't speak with halting speech. They. They played it with the kind of subtle othering that was also on display in things like the first miniseries of Shogun with Richard Chamberlain, where you depicted other cultures by picking up on the most obvious of iconography, the most obvious of differences, and pushed that all to the forefront and then said, this is who they are. And you get this kind of, again, I think, well meaning exploration of difference that doesn't realize it's just boiling things down to a cartoonish one dimensional take. So I watched this episode and now I'm gonna try and segue into one of my other takes, which is, I remember watching this episode as a kid. I remember being conflicted about it because I wanted more from it as a kid. Not really picking up on like, oh, what's this Native American depiction? Like, what is all of that all about? But like, wanting more out of it because.
The story, this is the one that strangely connects to what is arguably Matt's referenced this many times in our conversations. One of the best Next Generation episodes in which Picard has an entire lived experience thanks to a satellite that comes and says, these people are gone, but somebody needs to remember them.
You get this. And he lives this life. And this episode is trying to walk the same terrain and almost does it. It almost gets away with it. The things about this episode that to me stand out as the things that don't make sense from a logical storytelling perspective are the things like the Enterprise was the only ship that could try to move that asteroid for two months. For two months, nobody was just like, Enterprise, where are you? For two months. There were ways they could have explained these things away, but where the episode gets clunky is because it wants so badly to tell this tender love story. And like I said, I feel like it almost gets away with it. There are moments of this where his confusion around what is going on with him and his lack of memory around who he was and who he's supposed to be opens the door for a story for Kirk that otherwise can't happen. So I find parts of it, like, I get where they're. I get what they're reaching for. They're really trying to do something different with the character in this one. And I feel like they almost. They almost grasp it, but it just misses because of clunkiness here and there. That just makes it feel like it's not getting it. And then, strangely, as I watched it, I found myself thinking, oh, my God, it's already over. This felt like a fast episode to me. It didn't feel weighed down by the things about it that I would be like, oh, this is gonna be a difficult watch. I found other episodes where they go to the mobster planet. That episode felt almost in terminal compared to this. So is something working for me? I'm like, I'm watching this, and I'm like, okay. It went by so quickly. Did it work for me? Is this. I think I find myself landing in a place where I'm not quite sure where I'm landing on it, because. Okay, yeah. I found moments at the end where he's saying goodbye to her, she's dying. Like, it's kind of a tender moment. It's sad. And I found myself connecting to it, but at the same time, I'm like, do I want to.
Do I want to connect to this? It's. I find myself in strange terrain, and I haven't even talked about, like, what's going on on the ship. Like, yeah, we can talk about that later. But, like, where does this all hit for you? What's your take on as you watch this one?
Matt Ferrell: I think I'm actually more forgiving on this than you, which is a role reversal for me, because usually on these original series, I'm kind of like, woof. God, what is going on? I remember watching this one as a kid, Sean, and it has a soft spot in my heart. And when I started hitting play and saw them walking up that obelisk, I was like, oh, yeah, this one. So I was kind of like, yeah, yeah, I am right there with you. I'm two minds of this episode, and the one mind you hit the nail on the head. I have so many notes written down of, like, really casting a bunch of white people as American Indians. Come on. Really? Okay. Commonplace at the time. Still doesn't taste good, but okay. Another part of that, Sean, that bothers me horribly about the Indian stuff. Okay. I like the way they explain it away of, like, this planet is so Earth, like, but they explain it away of the Preservers. The Preservers created this. They rescued this group that was going extinct, and they've put them here and they've done this with other species and other groups around the galaxy. So it's like, oh, okay, that's kind of fun. They're kind of explaining.
Sean Ferrell: It's kind of. Yeah, it's kind of a soft version of an actual episode of Next Generation, which is terrible.
Matt Ferrell: Yeah, it's horrible. But I like that. I like it. I can, I can accept it. Like, okay, that's cool. It's cool. Okay, so they rescued these, these American Indians from Earth, which would be what, 1400s, 1500s, 1700s, whatever it is. Okay, yeah. Hundreds of years have gone by and yet they haven't evolved at all. And I was kind of like, wait, what?
Sean Ferrell: Okay, I get they live. They live a more primitive but paradise experience, which is.
Matt Ferrell: Right. Yeah. So. So the, the more evolved American Indian is. They don't speak in broken English.
Sean Ferrell: Come on. It's like they would have evolved.
Matt Ferrell: They would have evolved. They would have figured, who knows what they would have been. And for me, that would have been exciting. It could have been fun exploration of like, what would Native Americans evolved into if western culture hadn't invaded? It's like, what would it have turned into? Because it wouldn't be that forever. It would turn into something else. And they could have made it that something else. Where this is an evolution of the American Indians. It's fascinating and they want to learn more about it. It's like, why they didn't do that and they make them caught. Like an Amber as a culture is just stupid beyond all get out. And it comes across like you were saying. The writers and the creators of the show felt like they thought they were doing something good. And yet at every turn, casting white people as these characters and then making their culture locked in Amber as if it was that time period, even though they've been there for hundreds of years. Yeah. Is banana stupid? It's just, I can't wrap my head around how bad that is. The flip side is I actually enjoy this one, Sean. I had fun with it. It's no inner light, that Next Generation episode. Yeah, it's not even close. Doesn't even come close to it. But looking at it, for me, the quality of just the original series at this time, I think this one stands above a lot of other episodes. It has got a more clear vision as to what it's supposed to be. The story it's telling and it is about Kirk falling in love, gonna have a baby, the tragic ending, it's like, I thought that was great. It was like it was ham fisted at times and there were choices made that made me go, you could have done better there, guys. There's like an obvious choice. You could have done something like that would have been so easy to do and it would have made it even more heartfelt.
I'm not going to go into Details as to what, but, like, it's just. There's so much that you could rewrite and make this better, but for the time, for what it was, I thought this was actually, I would say, like an average good Star Trek episode because the concept was interesting. Yes, there are plot holes you could drive a truck through, but it had me engaged. And just like you, you were like, it felt fast. I don't know if it felt fast, but I was never bored. I like, sat here and I was engaged. I enjoyed it. And then by the end, the credits are rolling and he's holding this dying woman in his arms. I was kind of like, this is really. This is really tragic. It's a nice, like, poignant moment for Captain Kirk. Yeah. If you want to talk about the B plot stuff.
Matt Ferrell: The thing about the.
Sean Ferrell: Bleep, the B plot is it they do a whole. I mean, part of me was just like, really? And then part of me was just like the chutzpah. I had to give it credit. I was just like, Spock, you're making the worst mistake ever. Congratulations. You blew everything up, broke the engines, and now we're stuck out here and we can't get to Captain Kirk and it's all your fault. And the next time you see McCoy talk to Spock, he's just like, yeah, we all blamed you, but we were all wrong. That was two months ago. And I was like, they don't give us anything in between. And I'm like, that's not great, but why do I think it works? Why am I. Why am I okay with the scene being Spock? You're burning yourself out. You've been up nonstop for weeks. You're burning yourself out. You cannot do this. And it's him in that moment of, I'm here as your doctor, but I'm also here as your friend. And I like that scene. I like that. I like that moment.
Matt Ferrell: This ties into kind of what I was getting about the A plot. This story is, in a way, it's trying to do too much in a 45 minute time frame. And so it's taking shortcuts. Like, there's a shortcut that makes no sense in the A plot. Why this woman falls in love with Kirk. Why does she fall in love with him? Suddenly they're just absolutely in love with each other. And like, he's. She's stopped by the man she was supposed to be marrying and says, if you had a choice, who would you choose? And this long pause, and she never really answers it and walks away. It's like, oh, man, she chose Kirk. Dude, that sucks to be you. It's like. But they never earned it. It was just like that. They just took a fast forward button. It was kind of like reading the first paragraph of the first of a chapter and then skipping to the next chapter and reading the first paragraph and then skipping to the next chapter and reading the first paragraph. Yeah, they did that a bunch in the A plot, and they did it in the B plot. Like, what you're talking about. We didn't get to see the evolution of why Bones came around. We didn't see. They kind of gave us the impression, Spock is burning the midnight oil trying to figure this out. But we didn't see Bones recognizing how much angst he's putting into this and then kind of reevaluating. I think I judged this all wrong. You never saw that. So then when he comes out and does that second pep talk, it's like, whoa, record scratch, dude. What the heck is going on here? You literally just chewed him out. And now you're like, can't blame yourself, buddy. Hey, you just blamed him. You just blame him. Yeah.
Sean Ferrell: Before the commercial break, you were angry at him, and now you're fine. I think that that touches on something about inner light. That the reason inner light works so well, I think, is in part because they show the B plot is everybody's standing on the bridge and going, is he dying? And then it goes back into Picard's experience, and it's like, oh, what's actually happening has been 15 minutes. And what he's experiencing over decades of a lifetime is not real. And you're like, okay, you can tell me both stories. You can tell me the story of we're trying to save the captain. We're afraid he might die. And then also tell me the story of what is being experienced and this struggles, because it is literally saying, yeah, it's been two weeks. It's been two months. They've been flying through space backwards in front of an asteroid for two months. And, you know, Scotty was pissed that his engines got burned out. And the Doctor is like, you left my best friend behind, and all of that. And then when you fast forward, it's like, oh, you can't fast forward everybody. But they do. And I, again, I keep landing on it, but it. I was okay with it, because what else are they going to do? What. How else are you going to get through this?
Matt Ferrell: You could. You could have. You don't have to fast forward time. They could have come up with a better reason why they spent two months floating in front of the asteroid. Like they did that by choice. And the fact that there was no other starships that could come and help is in that time frame is kind of not addressed. They could have either addressed that like, we're so far out the next ship can't get here for three months.
Sean Ferrell: That's what I was thinking too.
Matt Ferrell: So you could have done that.
Sean Ferrell: A simple, simple statement. Yeah.
Matt Ferrell: Right. The other thing they could have done was maybe there was something about this asteroid storm that's happening at the planet that's creating a radiation field that's passing around the planet that the shields of the Enterprise can't protect itself from. So they, they miss a window. So, like, they can get the captain now or they have to wait two months. And so they might as well spend that two months fighting this asteroid and doing other things.
Sean Ferrell: Right.
Matt Ferrell: And then the window opens back up at the end for them to come down. So they, they could have done a couple of different things to explain it away, but the fact they didn't even do that, or it seems like they didn't try. It's like it seemed like they were trying to do too much in the episode, so they were trying to be as economical as possible.
Sean Ferrell: There were also a couple things, I think, about this episode that stood out as, like, clearly intended to be just very hand wavy. We're just telling a story here. We got to move things along. We can't focus too much on these details. There were a couple of things that were very hand wavy that I thought in my head canon create really kind of incredible moments, the first of which is.
Oh, yeah, we've lived here and you have to make the blue fire come out of the temple, because the ones that brought us here brought us here from a long distance away. And I love the kind of like, like spooling out an old tale of the people that they like. Oh yeah, the ones who brought us here from a long far way away and then taught the medicine chief how to control the temple when the skies would darken. And I'm like, oh, that's really. I mean, that's just kind of the mythology around that. The way it's dropped in is just like, oh, yeah, we got to explain why these people live there and that they do know about the temple and that they understand what it's for. But we don't get into great details around all that. I thought that that was really, really well handled. But the thing that stood out to me was, and Our current medicine chief doesn't know because his father didn't want to teach him too soon how to do it and then ended up dying. And I'm like, what's that story? What's that. What was the previous. What was that guy's father like? That he's like, I'm not going to teach my son how to use this thing. That's quite a compelling moment for this, for this group of people.
Matt Ferrell: But why do the Preservers need to teach anybody about how to use this thing? Couldn't just the sensors detect this stuff and just automatically shoot out the fire?
Sean Ferrell: It's all hand wavy. It's all hand wavy.
Matt Ferrell: Yes. Yes. Which other brings me back? But that brings me back, Sean, to. Even with all these flaws, I still enjoy this one. I still think it's better than a lot of the other episodes we've reviewed recently. It's just. Cause I think it's. Even though it's shortcutting, it's still enjoyable.
Sean Ferrell: Yeah. And I think that for me, what ties that moment, for me to this second moment that stands out, another hand wavy moment. The end is very hand wavy.
Matt Ferrell: Oh, yeah.
Sean Ferrell: But think about what this does. I mean, the whole prime directive has just been flushed down the toilet. Because what's the end result for these people. Now in their mythology and their understanding is, yes, the ones who brought us from far away, brought us here, and then taught the medicine chief how to make the blue fire come out of the temple. And it was foretold that a God would come to us to save us when we needed him. And there was a moment where our medicine chief no longer knew how to make the blue fire. And that God did arrive. And then we had the audacity to doubt him, attacked him, killed one of our own, who was his wife, and the baby she carried inside her. And other gods arrived, lit the blue fire. And then left. I mean, the mythology of these people is now permanently changed. Kirok is a God. And I can only imagine in my head, Canon Kirk holds her in his arms, leaves, and then very bitterly and angrily teaches somebody, probably the pouting medicine chief, how to use the temple, but also teaches other people and says, this is not for the medicine Chief. This is for all of you. You all need to know how to do this. Yeah, I can only imagine that's how it ends. That Kirk goes, and just like, all right, you sons of bitches, follow me to the temple and I'll show you how to use it. And then I'm out of here and I'm Never coming back. And it's just like, holy cow, their mythology. These people, for the end, for the rest of their culture, are going to be like, yeah, we had this thing given to us, and then in a moment of doubt, we killed one of our own and the gods had to leave forever.
Matt Ferrell: But, Sean, you can excuse all that away, because they're not natural inhabitants of that planet.
Sean Ferrell: They are not natural. And the other argument is it's not a growing culture. So as you pointed out, they are in amber. So for me, one of the signs of enjoyment of a TV show or movie or whatever is when I'm like, oh, the time is already up. It's already over. And so when this one was over and I felt like, wow, that was quick. I guess I like this one. In my memory, this was always the most Shatnery of Shatner moments. I am Kirak standing with his hands up in front of the wind, slow motion, punched to the temple.
It's just so much when he goes. When he falls into the temple and he pulls himself up accidentally on the control panel and gets shocked and does the whole frozen while. The lights go off and then he's somehow. Slow motion collapses. But it's not slow motion. It's just Shatner doing it in a way. And I remember that, to me, stood out about this one. Oh, this is the most Shatnery of Shatnerisms, and it does have those moments. But I'm like, I think I enjoyed this, so. Yeah, exactly. I'm like, that's why I was sitting here. Like, I got three different trains of thought and one of them is, ugh. But the other two, the other two aren't so bad.
Matt Ferrell: It's like those beat. It's like a B movie that you really love to watch. It's like, to me, that's what this is. It's a B movie, but it's still enjoyable. And I would have no problem watching it if I caught it on tv. It's like, yeah, it's fun.
Sean Ferrell: So, viewers, listeners, what did you think about this one? We really look forward to hearing what you have to say about it. It's. I won't say it's challenging. It's just. It's just a mixed bag. So, yeah, yeah, you know, how mixed a bag was it for you? Let us know. And next time we're going to be talking about the Enterprise incident, so we hope you'll share some wrong answers. Only what that one is about in the comments. Don't forget, liking and subscribing are easy ways for you to support us sharing with your friends. We appreciate the spreading the word of the Trek in Time podcast and we appreciate your comments. And if you'd like to support us more directly, you can go to trekintime.Show. Click the subscribe button there. Not only do we appreciate your throwing coins at our heads in that way, but we also will sign you up for Out of Time, which is our spin off program in which we talk about things that don't fit within this program. We hope you'll be interested in checking that out. Thank you so much everybody for taking the time to watch or listen, and we'll talk to you next time.