Matt and Sean talk about changing the entire premise of a show. The Enterprise season 2 finale pushed the giant reset button. Is that a good thing?
Matt and Sean talk about changing the entire premise of a show. The Enterprise season 2 finale pushed the giant reset button. Is that a good thing?
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Hey everybody in this episode of trek in time, we'll be talking about how to hit a big red reset button in a very subtle way. What it looks like when current events suck the air out of the loom. That's right. We're talking about enterprise episode 26 of season two. The expanse this episode dropped on May 21st, 2003.
So not only are we going to talk about the episode, we're going to talk about current events at that time. And who are we? Well, you know, me, I'm Sean Ferrell. I'm a writer. I write some Spotify or write some stuff for kids with me as my brother, Matt, who is the guru behind undecided with Matt Ferrell, which takes a look at emerging tech and its impact on our lives.
And between the two of us, we've got the tech, we've got the storytelling. So we've got star Trek, Matt, how you doing? I'm doing pretty well, how about you? I'm holding on. It's been a busy week and both personally and professionally. And so I'm just trying to hold onto that bear with both hands. And I'm trusting that that barrel will get tired and laid down and take a nap.
And I can tiptoe away as usual. We like to talk about. Your responses to our previous episodes, as you should all know, by now, you can find the contact information in the podcast description, or you can on YouTube, just scroll beneath the episode, video and leave a comment there. But we'd like to revisit some of the comments from our previous episodes.
Matt, do you have some that you'd like to share with us?
Yeah, sure. There's, there's one that jumped out at me from Emmanuel. It was on the episode. Co-gender the more trip, completely destroys things and doesn't get in any trouble. This episode is a perfect example of my problem with the show enterprise is told from the point of a teenager, like how it treats the Vulcans.
Basically, mom and dad never let me do anything. Why, why would trip be in trouble for, from his point of view and that, and the theme song and the lackluster writing, just hampers, what could be a great series. I wanted to highlight this one because it kinda like summarizes where I feel like you and I are, have been in the second half of season two.
It's like, yes, the second half of season two has just been a slog getting through all these roads. And I thought that was a good summary of it does feel a little whiny teenagery, just,
they don't let me do that. It does kind of hit a nail on the head for me, is it sort of does make me recognize, I feel a little bit like watching these episodes, how I feel when I'm checking in with my son on whether he's done his homework or not.
So that kind of explains that a parallel for me in a way that I hadn't considered. And by now, I mean, you can probably just get me over that noise. That, of course, that means that its time for you to read the Wikipedia description of this episode and. Both amused and pleased with this one amused by one particular line and pleased with brevity.
So take it away. Matt, the expanse
is the 52nd episode of star Trek enterprise. The 26th episode of the second season and the season two finale. The episode launched a change of direction for the series, starting with a cataclysmic attack of the star Trek. On the star Trek version of earth and introducing a new alien foe is indeed this episode set the foundation for the season, spanning Zindy's story arc encompassing all of season three, and the first three episodes of season four, the storyline continues in the season three opening episode.
Vizindy all right. So fairly brief, as far as Wikipedia descriptions are concerned. Probably the previous ones. Yes. Yes. And can you, can you tell me what I thought was the most amusing part of this entire description?
I there's a couple of sentences here that jumped out at me, but which one were you looking at?
The star Trek version of.
Yes, that was, that was the first one that jumped out at me. It was like, yeah, it's all the star Trek version of Earth the star Trek version of Vulcan, the star Trek. Right.
Thanks. I thought it was interesting. Cause they're trying to very clearly point out, like, don't worry. The Zindy didn't actually attack our earth.
You know, it's, it's trying to set up like, this is fictional. Thank you. Thank you. Wikipedia you magnificent bastard. You did it again. So this episode was directed by Alan croaker. Alan Kroger of course has directed previous episodes, including the season one finale. So apparently when it time to wrap things up, you get Alan on the phone, bring him in.
He'll take care of that. Alan, we need a finale, Alan we just realized what time it is. Oh, nobody checked the calendar until just recently. Oh, holy cow. As I mentioned before, the original air date of this episode was May 21st, 2003. And guest appearances include John Fleck, Bon Armstrong, Gary Graham, Daniel Riordan, James Horan, Bruce Wright, Dan Desmond, Josh Cruz, Dan Figley, Ali L Sydney and Gary Bullock.
And many of these are Klingons and others are Starfleet or Vulcan. And when you look at that list, This is a much longer guest list than we've seen in awhile. And it makes you really recognize that previous episodes at the end of the season, while they were largely bottle episodes with maybe one or two guest stars.
So holding your coffers close to the, you know, keeping them closed until you get to the big finale to like put a lot of. Extras on the sets. And also right from the beginning of the episode, you can tell that they put a little extra own into the special effects budget. Yeah. This episode in fact, was nominated for a special visual effects award and has been recognized in different star Trek forums as being as far as the impact of the effect and the impact on what it's saying about the Trek unit.
This is an opening scene that is quite gripping. So we'll get into that more later. So on this date that this air, it May 21st, 2003. What was the world like? Well, Matt, you were finally done with R Kelly. You'd moved onto rock and your body with Justin Timberlake. Okay. And I'm sure our listeners are wondering, where was Matt rockin?
His body? Well, he was in line to see the matrix reloaded this movie. Yes. This movie opened with a poultry $91 million. It's opening weekend, a little penny of it deserved every penny of it deserved. And in television on May 21st, 2003, were people super excited to be tuning into star Trek, enterprise wealth, 3.9 million people were.
And how did that stack up against the competition? Well, my wife and kid. Had a two-parter which got 9 million viewers. And I'm sure Matt you'll remember that episode with like the, yeah. It's
ingrained in my brain. It's
like, it's like you live the story yourself. The academy of country music awards earned 12 million viewers, American idol was scraping by with 30 million views.
And in fact, American idol on Tuesday had the highest viewership for the week with 38 million viewers law and order had 9 million. And what was the WB doing now? That Dawson's Creek was over well, Matt, they knew what you were doing last summer. That's right. They were showing, I know what you did last summer and that earned them 2 million viewers.
So 1990 sevens. I know what you did last summer, a repeat airing of the movie on the WB. More than half, as many viewers as this first of what is arguably a two-parter and a full reset for star Trek enterprise effectively. And then the New York times, this felt to me like it was apropos of this episode.
It is a opinion piece from Thomas Friedman in the New York times titled postcard from Iraq. And it includes this passage, the best thing about this poverty, the poverty you see in Iraq after the U S. Iraqies are so beaten down that a vast majority clearly seem ready to give the Americans a chance to make this a better place and more important.
It would take so little investment and so little basic security to improve the economy here and have an immediate impact on people's lives. The piece is still very winnable, as long as we get things moving forward, which is why the Pentagon's ineptitude and post-war planning is so from. We don't want to see a situation where by the Americans not delivering on the simple things people will long for Saddam's day said who shower.
Zabari the Kurdish democratic parties, foreign minister. In hindsight. Now here in 2022, we can look back on these words as slightly prophetic, slightly idealistic, slightly optimistic and slightly right on target. Considering what we saw over a two decade period in the attempts to rebuild Iraq and. The subsequent, uh, struggles there that the attempts at installing a American style democracy have not worked.
And the ultimate poor planning by the Pentagon of how you win the peace after defeating a foe. At the beginning of this piece, Thomas Friedman points out that the U S invasion of Iraq was effectively the equivalent of the us invading the Flintstone. The Iraquis resistance, the army effectively collapsed immediately.
And that what you had was a pushback by what would in the long run, we would start calling them insurrectionists of fit. Very loosely organized, ragtag pushback against the U S was the only resistance the U S actually saw. So the question became what was the Pentagon planning on doing afterward immediately after the U S invasion?
When the war was effectively with the fighting was over. Looting began in incredible numbers. And it spoke to the lack of planning or the lack of understanding your role, the us going in invading a country to remove the government effectively, making an award, not against the people, but against Saddam Hussein and his, his government, but not taking the next step of being willing to embrace.
Well, then we're going to have to also become the police immediately. That poor planning, I think in hindsight is easy for us to recognize, but I couldn't help. But feeling like that mindset that led to that was effectively on full display in this episode.
Yeah. Th the other side of the Iraq war was when nine 11 happened and we were attacked that horrible terrorist attack on New York.
We went into Afghanistan and had world support around us to go in there and route that out and try to basically strike back. And then we very quickly took it a step too far and started to expand the war on terrorism. And suddenly it was using that as a, as an excuse to go into Iraq and do the same thing there and just kind of keep steamrolling and turn from. The victim where people were trying to help us to turning into the big bad and the big villain of the world, the way we handled that and things rolled out. And I agreed that that's kind of on display in this one episode. Yeah. All of that. All of, all of that potpourri of madness is in there. So if we want to jump into the discussion on the episode, yeah.
It opens up, it opens up with the, the attack on. We're a ship that we've never seen before, just basically puts a death Ray that just puts this massive gouge through Florida. And it's one of the things I thought was so infected by special effects, the scale and the scope of it. It's like, we all know the space images of what Florida looks like coming down.
And there's just this massive gash being just across the entire state. Yeah. And then later in the episode, when they talk about like the death count is up to 3 million. Yeah. And at that same size. You don't know, there's really no way to know who actually is dead. And like it's, it's, it's, it's horrific. So here's this nine 11 moment.
And over the course of the episode, we watched the reaction of their support from the interstellar community, got the Vulcans getting behind us. You have, um, the end, Dorian's kind of sending messages of support and all this kind of stuff. You see the rally around earth and the way the show ends to jump forward to the end.
There's a scene between trip and the captain where hints of what we just talked about about Iraq are in that conversation of them in this ready room where it's like, oh, we're willing to do whatever it takes. Yeah. Screw the first or the prime directive. That whole idea. We're just going to do whatever it takes.
And it's like, okay, we're going to put our morals and our ethics aside to just do whatever the hell we want to basically for revenge. And so it's like, there's this whole aspect of this entire episode. I thought was incredibly impactful emotionally, but also there was, um, it kind of worked against it. I don't know if you felt this way too, because there was so much nine 11 in the entire episode that it was distracting at points.
And I don't know if that's because you and I lived through it. You actually lived in New York when this happened, but it's like, it's still very present for me. And so that just dredged up all these memories. I don't know if somebody who didn't live through that, like, let's say a kid that was born after 2001 watching this episode.
I don't know if it's going to hit them in that same way and feel too referential to nine 11 or not. W what, what do you think about that?
I think that you, I think you may be hitting on something. I think it may be comparable to in the original series when they would talk about the world war II. The Holocaust of world war three, the atomic war that took place, those episodes would have been written by people who had been alive when Hiroshima and Nagasaki were bombed by the U S.
And so they would have been writing from the perspective of. Looking at historic events as a lived thing and the horror and impression of what does it mean that we have a weapon that can do this as opposed to what you and I experienced and watching those episodes, which is, oh, they're, they're taking history and they're making it even worse for the future.
So it's that kind of disconnect from personal experience that in the abstract, that becomes sort of. A shadow on the horizon as opposed to dredging up turmoil. And I do agree. I think that this may be the equivalent for us to see this fictionalization of a nine 11 style attack. Maybe doing something similar as what the viewer who lived through world war II may have experienced in watching the original series.
They may have had similar parallels. And I agree with you. There's a little bit of a disconnect. I feel like it's born of a couple of a couple of things that were unavoidable given how this was put together. Season two would have started production prior to the invasion of Iraq, even prior to nine 11.
They had story ideas. They had, you know, script ideas already in the, in the hopper, by the time they would have been getting to production. Um, it would have been too late to change the entirety of season two. This felt to me like clearly post nine 11, clearly post the drum beat leading to war. This episode probably was already in production.
By the time the U S invaded Iraq. Yeah. So this may have been born of the producers and writers involved in the show, looking at the whole nine 11 to our rock bridge and trying to tap into that emotional element of the world that we found ourselves in, but they had to do it on fast. It felt this episode to me, I think what you spoke of, of the, sort of it working against its own ends was born partially of the speed with which this episode has to take place.
The enterprise is in deep space. They're recalled after the attack, they get back to earth. We're not really given a timeline, but based on everything we know about how far they've been going, we get assume it's probably. Have gone by before they can get back to earth, they then make this bold statement of let's go find the zingy and they know it's going to be months to get to where there's India.
So this one episode is taking place over arguably a four month period. It starts with a date of April 24th, 2153. We can assume it ends at some point in August. That is a lot of time to cover, especially for an episode that is doing after the initial attack. It is a lot of people talking, which I don't mind.
I didn't mind that they were doing that, but I felt like if this had been approached slightly differently, instead of it being a cliffhanger, it felt very much like they were like, we need to change the direction of the. The show no longer kind of fits the mold of what we were trying to do, given that the world has shifted so incredibly, and it feels like they were hitting a reset button without fully as producers and writers digesting their own mixed and ambiguous feelings about what was going on in the world.
So they hit this reset button instead of viewing this as episode one of season three. And building out a longer process, showing the people on the ship, dealing with overwhelming amounts of grief, fear, uncertainty, and then showing them over a months long journey to get to the developing and processing all of those emotions in different ways.
You could have had a story arc that would have been a full. Yeah, five or six episodes to get them to the zingy and think of all the storytelling opportunities of a personal nature on the, on the parts of all these characters as they make that journey to the Zinni. But instead it was fast forwarded, so it felt a little bit like trip in the.
Trip is arguing with Reed at one point, my, my sister's dead can't you just let it go?
Yeah, that seemed confused me because it was like, where the hell is that coming from? We haven't seen anything around that to explain why he would snap and I'm like that.
And the entire episode felt like to me like that.
Okay. Earth's been attacked. We have a new storyline in mind. Let's just get past all of the let's yada yada, yada, the initial post attack response. And let's just get the enterprise into a place where they, we can start this new action. And it also at the same time, and I was very confused as to the writers and producers thinking around this, the cling on storyline, and this feels extremely tacked on.
Unnecessary feels like they are trying to tie up what they think are loose threads that the audience will care about. And I found myself watching this and thinking, why do they think that anybody remembers any of this? This is totally extraneous.
Two reasons why I think they were in there. One was, I think they've had their loose ends.
They had to tie up because it wasn't a typical finale. And I think they felt like they had to tie some things up. We're using that as an ex. But the second reason I think that did it was, is that Doris turned into a, um, shortcut to accelerate them, getting into the expanse and a way for them to get to Paul on the ship, going into the expanse and not going back to Vulcan.
So it's like, I think they use that as an excuse to do that. I don't think it was necessary. They could have found other ways to do that. But to me, it felt like they were like, well, we can't just like end it. Cause there's all these questions about the Klingons and Archer. Well, we have to answer those well, we can also use him to get them to go into the expanse faster than they were planning to.
okay. Yeah. I disagree. I actually disagree with your assessment that the Klingons were an excuse to get to Paul, to stay on the ship because ultimately the way that they are used is so outside of that decision, It is literally lip service that Archer gives at that point. So I think that they, if you'd remove the Klingons entirely and just had them on their way to Vulcan and to Paul makes her impassioned speech of you need me, Archer could have walked out of his ready room and just said, I've changed my mind.
We're not going to Vulcan. We're going straight to the, we're going to the extreme. That's all it would have taken. There's there's really nothing about the vault. The, the cling on chase that does play a role in that.
But, but no, what I'm saying is that they use to as archers, excuse to Starfleet and to the Vulcans of he's basically giving Starfleet, um, helping them cover their ass of flake.
You can basically tell them we're getting the hell out of Dodge because the Klingons forced us to jump. We couldn't make it to UC. It's were using it as cover. And so it's like, I think that was part of the, the diplomacy of what they were trying to cover. And that's what the Klingons meant. They were going to go to the expanse, but to Paul, no matter what it was clear from the episode that that was going to happen, it was just an excuse for them to, to use an explaining what the Vulcans, why they did this.
It was not necessary. The other thing that the clans were there for is their upgraded photon torpedoes. The enterprise is for. All along. We've seen how the Klingons are just, you know,
smacking our fleet
around, smacking them around. And it was a chance for us to see the enterprise suddenly have the leg up of like, oh no, the enterprise now has a real fighting shot here.
They're going to be more prepared for what's out the expanse. It's, it's a chance to show that we've kind of upgraded and going out. So it's like, I understand. But there were probably boxes that the writer for trying to tick of, we have to show that we've kind of stepped up her game. Okay. We can use the clients for that.
Oh, we have to give them cover for Starfleet and the Vulcan. Okay. We can, do you use the clowns for that? I can. I see it as, it's just a series of check boxes that they were using this to quickly run down. Yeah. As, as, as shorthand. So they can get through that stuff fast. But like you said, it's like, you technically didn't need that.
You kind of just, yeah.
It's a yada yada yada, and it felt, and it felt very checkboxy it felt very perfunctory of getting these things ticked off. And unfortunately, for within the episode, it even creates a dynamic where sometimes the logic of what the characters are doing is completely lacking. Like they are attacked by Dora.
Within. I mean, they're literally looking at their own son. They're looking at our son and Doris attacks them. They're like, what did Darius think was going to happen? Other earth ships arrive within 30 seconds and fight them off. And Darius flees, we then have. A weeks long retrofit to the enterprise. They give them the new photon torpedoes.
They give them improve plating. They do all this stuff to make the enterprise a more upgraded version. So it's ready to go on this long mission. And as soon as they leave Darius attacks them again immediately right there. Like he's just been sitting on Saturn. I'm not watching man. And I'm just like, I'm like, What is the, like, what are they saying about how any of these characters think they have Doris, first of all, it's hacking an earth ship within Stone's throw of earth.
And then there's, there's an oval war. There's a, there's an act of war they've literally been attacked by the Cyndi and are now planning out like, holy cow, we got to go out and find these people and really kick some ass. Meanwhile, the Klingons have just fired on their flag. And apparently there's zero follow-up.
And when they go back out into space, the Klingons are literally like the bully on the block, standing just outside the family's fence and going like, all right, punk, I'm ready for you. And they attack again. And then the next step was where I was just like, now the logic doesn't mean. For Archer, Archer successfully fends them off with his new weapons.
He's got this new plating, he's got these new weapons and his entire approach is, well, we just want to stop the attack. Like at this point, wouldn't the heightened emotions of everybody involved, including Archer wouldn't Archer of just hold re. Give me a couple of torpedoes, full yield, put them right in their face and we'll just blow the ship up.
We are completely within our rights to defend ourselves in that way. What is going to blow this cling on Berta? pre-AP the sky. It made zero sense that it was this, like we'll knock out their engines and then we'll try to get away, try to get away. They've literally just attacked you on your own doorstep.
And you think that you are going to get. It like the storytelling around the cling on interactions in this episode were completely unnecessary as far as I was concerned. And they were distracted though, from other stuff. Yes. But thankfully
they were also the, uh, the smallest part of the show, because one of the things I do want to say as a whole, I actually really liked this episode and I hope it's not me looking back at this episode with rose colored glasses, because I do like a lot of what they do in season.
And so like, I like the way they set this up, but I forgot how powerful some of the scenes were, uh, where trip. And was it read we're on visiting Florida? Yeah. And there was this, it was clearly old CG of like two CG guys pointing around the can. That's where my sister used to do this. This is where I used to do that.
That scene was super powerful of just like that's where they talked about. There's 3 million people. Are you sure your sister was here? Well, if she wasn't, we would have heard. Yeah. You know, we would have heard from her. So it's kind of like, it just kind of drove home of how many people are going through that of like, not knowing that there are families not knowing if they survived or not, and who's dead and who's not.
And the scope of it is just incredible. And the visual effects are good enough to deliver even today, even though they look antiquated, they still are good enough to get the feeling across and deliver it well. So it's like. The conversation between flocks and to Paul, where they're talking about how the humans are preparing to go and flock says, we're the only two aliens on board, this ship.
And it's interesting how our allegiances are at play here. Like, are we allegiance? Who are species? Are we leading to the humans? Because we've served with them for so long? Like where do our things belong? And to, Paul's basically saying, why are you going with them? And he's like, yeah, how come he's missing?
How could I. It's like, they're my friends. They need our help. I have to go and there to Paul wrestling with what she wants to do, there was all these nice. It's what I love about star Trek, these nice ethical, moral struggles that characters are dealing with and just looking at things from all the different angles.
And there were so many of those conversations through this episode. I really appreciated it. And yeah, it kinda, it kinda hit home for some of the scenes.
I completely agree with you. And I do overall, I like this episode, I feel like it's a, a, a main story, which I would give a solid, a minus to the overall story for the, for the B storyline.
I'd give it a C minus. So it's like, yeah. And I do agree that the clay on stuff is not. 50% of the story. This is not like a majority of the episode is not centered around the Klingons. It just became a distraction. It's a little bit like if it would, it would've felt no different to me. If this episode had a comedic beat.
Like it wouldn't fit. It was a
comedic B plot. Yeah. He was just such a bumbling idiot. And it was kind of like, you had to laugh at him. It's just like, what are you, what are you doing, dude? You're about to get your ass kicked and Hey, well you got your ass kicked, right? You feel like, you know, Simpsons pointing they're flying away.
I agree though. The, the writing around the, uh, emotional moments between the characters on the whole. Was well, both well-written and well earned. They put things in place to earn later moments, especially with DePaul to Paul's development. In this episode, she does more of a, of a pivot in this episode than she probably did in the entirety of the rest of the season.
The rest of the season has revolved around her having sort of a drip, drip, drip growth. Understanding of her relationship and role with Archer. It's this one that she's all of that is put to the test. And all of that comes to a point where she is like, I had never considered this role and this relationship outside of status quo, being allowed to continue.
The moment the status quo is thrown in the. She then has that moment. My favorite moment for her in this episode is where he is giving her all the reasons as to why she should probably be happy to leave. You'll finally get some Vulcan food. That's actually authentically Volkan. Well, chef has done a pretty good job of figuring out how to cook stuff.
That's palatable to me. Well, you'll finally get away from our smell. You never really did like that. Well, I've gotten used to it. Well, our, all of our emotions, well, I've gotten used to those two. I thought that her delivery. 'cause she's Vulcan and it's all relied on. Like she is just giving matter of fact answers, but the subtext there and Blaylock does a wonderful job.
I think with providing through her eyes and emotional subtext to everything that's being said, she is desperate in that moment to say to him, I don't want to go. Yes. I don't want to go. I don't want to leave you. I feel conflicted about leaving you. I have this allegiance that I need to conduct. If I'm going to remain.
With the Vulcan hierarchy. And it finally reaches the point where she says flat out, I am going to resign my commission and that entire scene, I thought like that was beautiful. The one place where I think they made the missteps was with Tripp, who he needs to be angry. I get. But the scene between him and Reed felt a little too abrupt, a little too, turning it to 11.
I think it would have been perhaps the same kind of scene, but dial him back to maybe a seven. If he had turned on Reed and said, look, I know you're trying to help me, but I'm doing everything I need right now by getting the ship ready to go and kick some. That would have felt, I think more of a through-line with what, where he's gonna end up at the end of the episode, then what he did, which came across as such disconnected anger.
I, I, I agree with that scene. That scene is I actually like what they did with trip over the entire episode. It's just that one scene they screwed up. And also the fact that he attacked. Why are you so obsessed with blah, blah, blah, blah, blah. He like blamed him. It would have been so much easier for him to say, listen, I'm sick of people asking me how I'm doing.
I'm sick of people tiptoeing around me. I want to fix this ship and gathers, kick some ass. It's like, like what you're saying, they could have just reframed it just a little bit. And it would have felt more cohesive for him for the episode. If you take that scene out, I still think they did a good job with them because in the beginning, it's clear, he's distraught after the opening.
When they get back to earth and they're looking at the devastation that you see Florida, and you see this faint gas going up, Florida, everybody in the camera slowly passes pans across the bridge crew. Everybody is looking at Hort the screen, and he's looking down, he's looking the only person not looking at the screen.
So it's like, it goes from him like the stages of grief, where it's like, he's kind of like in shock and awe and like going through tile. And then later in the episode, he's becoming, you can tell he's shutting down. And he's not dealing with it appropriately. And then by the end, it's just full on anger and revenge and he's going out for blood.
And so it's like that last conversation between him and the captain where he basically says, promise me, we're going to do whatever it takes. It was incredible. I thought it was a great scene. I
agree. I agree. The ending in particular is the drum beat to war that it, and th that takes us back to like, this is for me.
The first time we've talked in previous episodes, did this episode feel like star Trek or not? I don't know whether this episode felt like star Trek, but it certainly felt like 2003. This, if you were to say, can you show me something that demonstrates the mindset of the United States at this point in time?
Why were you going into Iraq? What was the mindset? What was going on this episode? Does a remarkable job of bottling that anger and that destroy that distress and the strain of the grief. There was so much grief and there wasn't enough place to put it. And it ended up turning in festering into this kind of mentality.
Well, if people think they can hurt us, they don't know what hurt is. And I think it's on full display in this episode. It's a mixed, it's a mixed bag as far as like the, the impact of the writing. But I think overall for everything that we are trying to do with this podcast, I think this is the first time that I'm like, wow, enterprise.
It is really speaking about it's time. It's very in the moment. Yeah. Very in the moment. And I think some of it is by design. I think there was a certain amount of this that was clearly the writers and producers saying, we need to talk about what our world is like. And then there's a certain amount of it.
There's also unintentional. I think about
star Trek, star Trek is the utopian ideal of what humanity can become. It's this idealistic view of the future. And at the time the show starts to air. We have nine 11 happen and it's like, okay, nothing is safe. The world's upside down, everybody's afraid. And it's the polar opposite of what star Trek's trying to portray.
So it's like, there's a complete disconnect. We're not in the same wavelength between star Trek and what's happening in the world. So this is them trying to get back into alignment with where everybody's mind is. Part of the reason why I think it for me, when I remember watching the show, when I was first aired, it was like, this was the season where I felt like the show found its footing.
Yeah, probably because that's where my mindset was in the moment. And it felt more in line with where I was, where you were, where all my friends were. So it's like, it felt a little more in tune with the audience. Yeah.
And I think that, like I said, some of it is clearly intentional. Some of it's unintentional and whether intentional or not, I think it is quite a dramatic statement to have the giant reset button hit in the way that this episode hits it for this show.
And where are they going? They're literally flying through a cloud that they can't see. They cannot see what's ahead. They are emerging on the far side of an unknown. And whether somebody was thinking in those terms of Lego, it's a brilliant metaphor for where we are as a country and what's going on in the world or whether it was just an accidental design of like, well, they need to go someplace where they can't really understand what's going on.
So how do we do that? Either way that closing shot of this episode speaks volumes as the enterprise. Slowly re-emerges into stars as they're in a place they're on their own. And they're going into a extremely bold new place for this series. And the, the reset button has been hit. It didn't feel like an accident
felt deliberate. So listeners let us know. Do you think that all of the things that we've talked about in this episode, the. Very clear reset button and the intentional and unintentional. Do you agree with what we've seen as far as the intent and the accident, or do you think that there were some places that we've missed the point?
Let us know. You can go to the comments just below this video, or you can find the contact information in the podcast description and you can send us a message that way. Next time, as has been forecast by the synopsis and our discussion, we're going to be talking to. Here we are I'm at, can you believe it?
Season three? It's finally here. We made, we made it. You made it. We made it talk about going through a cloud. We're going to be talking about season three, episode one, which is the Zandi and Matt, I would normally ask you if you can forecast what we're going to be talking about, but I think we know we're going to be talking about this and it's right before we go, Matt, is there anything you'd like to remind our listeners about that you have coming up on your other.
Uh, just to stay tuned. I have some interesting videos coming up on, uh, a new battery that might change a lot of things. Um, it's a really cool piece of technology. So stay
tuned for that episode. Is it edible?
I wish. If you like eating sulfur, maybe,
but good news for me as for me, please check out my website, Sean farrell.com.
You can also just go to Amazon Barnes and noble or your local bookstore and ask for my books there. They are available everywhere that books are sold. And if you'd like to support the show, please do consider reviewing us. You can review us on apple podcast, Google podcast, Spotify podcast, podcast, podcast, podcast.
And if you'd like to directly support us, you can go to Trek and time.show and click on the, become a supporter button. And don't forget if you do become a direct supporter through trek in time.show, you will be automatically subscribed to our second series, which is out of time in which we are talking about.
Well, whatever we want to, we'll talk about some of the new star Trek series. We'll talk about movies, TV shows, comics, whatever happens to cross our field of view. And it won't be tied in directly with this series, which is taking a look at things in the context of original broadcast. But for people who are interested in getting a taste of what out of time is like, we will have an episode coming up in this feed.
For free for everybody. So you can get idea of what it is that we're doing over there. And in that episode, we're going to be talking about the new star Trek series, strange new world. So I hope you all enjoy checking that out when it drops. Thank you so much for listening. thank you so much for commenting, reviewing, sharing with your friends.
Thank you so much. If you're a direct supporter, all of that really does help support the show. Thank you so much. And we'll talk to you next time.
Directly support us. You can go to Trek and time.show. There's a become a support of the button. Let me say that again. If you'd like to support us directly, you can go to Trek and time.show and click on the, become a supporter button. Yeah, really? I really rolled that one 10, a weird avenue. I've
got thrown in the wrong place and it completely railed how my brain works.
Oh boy. And don't forget if you do become a suborder through. I'm trying to get to the out of time pitch. I know. Okay. .