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Matt and Sean talk about end of year celebration turning dark in Starfleet Academy Season 1, Episode 9, “300th Night.”
Matt and Sean talk about end of year celebration turning dark in Starfleet Academy Season 1, Episode 9, “300th Night.”
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- (07:53) - - 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 delayed celebrations. That's right. We're talking about Starfleet Academy, Season 1, Episode 9. Originally aired on March 5, 2026. Welcome, everybody, to Trek in Time. This is the podcast that takes a look at all of Star Trek in chronological stardate order. A lie I have been saying every week for the past nine weeks. Why is it a lie, you ask? Well, we've been taking a look at Starfleet Academy that's not chronologically in order because we're supposed to be talking about the original series. But we put a pause on that as we jumped into this new program because, well, we wanted to talk about the new things while they were new because the alternate path would have been for us to talk about these episodes in 10 years. And Matt and I. And who's Matt and who am I? Well, I'm Sean Ferrell. I'm a writer. I write some sci fi, I write some horror. And with me, as always, is my brother Matt. He is that Matt behind Undecided with Matt Ferrell, which takes a look at emerging tech and its impact on our lives. Matt, how are you doing today?
Matt Ferrell: I'm doing really well. How about you?
Sean Ferrell: I'm doing okay. I'm looking forward to the conversation about this one because we're so very close to the end of this season. I'm looking forward to the conclusion of a season that I went into with not. I don't know that I had any kind of expectations. Really.
Matt Ferrell: Yeah, you need to die. Yeah.
Sean Ferrell: But I didn't anticipate enjoying it as much as I did. And I'm really looking forward to the conclusion of what I think has been a very engaging story arc. I'm also looking forward to getting back into the original series because I think we're going to have. I think we're going to have some fun talking about the original series when we get back into it in a couple of weeks. So that's. But that's for the future, for right now. Before we get into our conversation about this episode, we always like to take a look at what you've had to say about our previous episodes. So what did you find in the mailbag this week, Matt?
Matt Ferrell: There's a few that jumped out at me. This is from the episode Ko’Zeine, which is the last for us. Again, timey wimey stuff. I get confused. Our last published episode was Ko’Zeine. We had one from ChecksomeCharlie that wrote. As a practicing gay woman, I didn't take Darem and Jay’Den's plot as them being set up together. I had mentioned how it seemed obvious to me that they were getting set up. It felt much more about Darem being kicked onto the journey of personal responsibility and not hiding behind layers of deflection. To actually succeed in Starfleet, he has to be true to himself and not lie to those he's around. I'm hoping for more and more of him learning to drop the asshole act and become a true leader. Also, Jay’Den's wedding outfit was amazing in all caps. More of the softest of Klingons, please. I want to see him pressing flowers.
Sean Ferrell: That's a good one. Thank you for that.
Matt Ferrell: Then we had PaleGhost69 chiming in saying this was a good episode and felt more like Trek and less superhero movie. I don't think there was even a fight scene or shootout except the freeze phaser. Caleb being the responsible one was a nice change. Jay’Den's speech was great. I died at Lura freaking out about Reno's injury. My biggest takeaway from this episode is Darem’s whole shtick is a front. Hopefully I agree basically the sentiments so far and the comments were very positive again on this episode. So it seems to be that we're not the only ones that are really kind of starting to click with the show.
Sean Ferrell: Yeah.
Matt Ferrell: And then finally, Mark Loveless. Wrong answers only. Sean. I haven't read this, so this is the first time for both of us.
Sean Ferrell: I'm holding on.
Matt Ferrell: Just copied and pasted it immediately. Plot of the Life of the Stars. Nahla, along with help from Lura and Jet, call in all types of favors to get a whole series of media celebrities and famous Starfleet alumni to come and give the cadets wonderfully inspiring words as they are trying to reach the cadets and inspire them on a different level. However, the cadets have never heard of any of the guests, so the entire thing blows up in their face. The cadets don't know anything about the media outlets referred to only hearing things like, oh, I think my parents and grandparents used that to be entertained. And you guys know a lot of old people that feel like that. Sean.
Sean Ferrell: Yes. And what a. What a nice meta moment for what this show is, which is, you know, we're. We're heading to the celebration of 60 years. Star Trek. That's awesome. First of all, that's not so bananas. But second of all, yeah, are you dealing with the same audience? And that's what we're watching in action on this new series. So that noise you hear, those lights you see flashing? Yes. It's the read alert. Time for Matt, to tackle the. Well, there's been a trend recently where I've been able to clip the first sentence of the Wikipedia summary and throw it up there. And it's done a fine job standing in for a summary. And then we had a couple that were a little clunky, got a little weird. And this week, well, believe it or not, this is the second sentence of the summary because it does such a good job of summarizing the entire episode. The first sentence of the summary from Wikipedia was for some reason pointing out the plot point of the first five minutes of the episode. Only I'm not sure. It was a very strange choice on the part of the Wikipedia editors, but here we are. Take it away Matt.
Matt Ferrell: Finally accessing a message from his mother, Anisha. Caleb with Darem, Sam and Genesis go after her on a planet in the Venari Ral space. Followed by Ake, Reno and the Doctor and stowaways, Jay’Den and Tarima. Succinct, to the point.
Sean Ferrell: Succinct and to the point. Thank you so much for that, Matt. And on we go to 300th night. This is directed by a Jonathan Frakis. Jonathan Frakkes. Jonathan Freakes. Maybe it's Jonathan Frakes. Maybe you've heard of him. Teleplay by Kirsten Beyer, Story by Kirsten Beyer and Kenneth Lin. Originally broadcast on March 5. The World at the time of original broadcast. Well, Matt, I know you will be excited to bring your Spanish back into the forefront as once again, DTMF by Bad Bunny is the number one song on Spotify. Take it away, Matt. That was absolutely en fuego. And on television, the number one streaming program this week was HBO's new program, DTF St. Louis. And at the movie theaters, people were lining up to see yes, believe it or not, the seventh Scream film. First one's a classic. Second one, third, fourth, fifth. Okay, yeah, six isn't bad. And so seven. Like, okay, that's fine. And in the news from this day in early March, as attacks spread, war with Iran reaches far beyond Mideast. NATO downed a missile fired by Iran at Turkey, and a US sub sank an Iranian navy ship off Sri Lanka, thousands of miles from the war zone. This from March 5, 2026. On now to our discussion about this episode 300th Night, where the episode starts with what is effectively the conclusion of the first year of the Academy's operations. It's. For me, it was an interesting. I'm accustomed to limited series like this where you only have 10 or 12 episodes feeling serialized in a concise period of time. So a show like the Pit, leaning into. You're watching this in real time. You're watching this, you're going to start episode one, and when you finish episode 12, 12 hours have passed here. This is not that. This is leaning the opposite direction. So we're on episode nine and we're being told 300 days have passed since we've. Since we've entered this.
And I want to ask you, before we get deeply into the episode, Matt, do you find that we've talked before about shows like Discovery, which also have a limited number of episodes, and we've talked moments where it feels like, hold on. We're being told that these two people are best friends and we haven't seen anything that gives us that. Do you think that this series is managing that kind of time? Jumping better in the sense of. We're watching it and we do feel like these people have come together as friends. We do feel a sense of where they are and how they've changed over this time. Or do you still feel like there's a bit of a. Like, oh, we're being told things, but we haven't been shown things. And it's because of the limited nature of the series. Where do you land on that?
Matt Ferrell: I think they're threading that needle very well. They're doing a good job of doing the time jumps, because what they're showing us in the moments they're showing us, they're showing us those peak moments where friendships are kind of forged and changed. So the fact that we're not seeing more of the. I don't wanna call it mundane, but the more, you know, just, like, serialized bits that would also enhance friendships. It's so slow, and over time, it's like, you don't need it because of the way that they're handling it with these kind of, like, peak moments. And then the writing and the acting is so dialed in on the show that when they do those time jumps, you're. I. I don't know about you, but I'm noticing very interesting shifts in the acting and the relationships between the actors on the show. So the way Jay’Den behaves in episode seven is actually very different from the way he behaves in episode eight because more time has gone by, he's getting closer to certain people. So he's acting like it and he's being written like it. And so because of that, those time jumps are not a problem for me at all. The only disappointment is I wish I could see more it's not that I feel like they're discovery felt like it was cheating me, like it was making jumps that were not earned because they didn't show us those friendships getting formed with the crew members that we really didn't even know their names. And suddenly we're supposed to be sad that they're dying where here. It's like we do know these characters, we do get to know them and they're helping to like forge those relationships in a way that we actually do care. So I don't feel cheated. I wish I could see more. So I kind of am sad that the season is only like 10 episodes or whatever it's going to be.
I wish it was like 15 episodes or 16 episodes because I would like to see more of these characters get fleshed out over the course of a year in school instead of just 10.
Sean Ferrell: I completely agree. This episode does an interesting job of balancing a intensely personal storyline in that it's pulled the same. It's pulled the thread that started in the very first episode of Caleb's search for his mother. It's now pulled that thread into the forefront where we have. We are aware that Ake has given him special permission to continue to search using technology that normally wouldn't be allowed to a student in the same position. So he's been doing this quietly in the background. And it's brought to the forefront in an interesting way a scene between him and Sam in which we see immediately the repercussions of Sam's storyline, which Matt and I talked about previously, saying, I hope that we get to see what this dynamic looks like. If she is now has had two lives, she has the experiences as the naive like, I'm super excited to be here. And she's had the experiences of a 17 year old who's grown up over those 17 years with a father figure in the form of the Doctor. And would we see the changes in her and him as a result of this? And then just like Matt said last week, he and I have had a lucky trend of thinking, oh, I hope we get to see this. And then they show it to us. That felt like that was on display in this. This episode as well. So we end up with the very beginning of the episode, a different Sam shows up and confident, challenges him in a way that is an interesting kind of emo way of nobody quite understands me, but I know I'm brilliant, I'm smarter, you're fast, I'm faster. And why haven't you thought about personal connection as the key to unlock what you're looking for. What did you think about the scene between the two of them? And the result being that Caleb discovers exactly what he's been searching for through. I love that it's over analysis. He's over complicated how to encrypt messages.
He's forgotten the simplicity of what his mother told him when he was five. That moon's name will always be our secret word. Once he punches that in, he finds the messages. What'd you feel like that did for you as far as like storytelling device?
Matt Ferrell: It's great. Jay’Den's been set up from the beginning as being a genius. Like he really is exceptionally smart. People have set it up. We've seen him, Caleb, we've seen him do things that are like genius level stuff. People talk about him in that way and it was really great to see him get challenged of like, dude, you're overthinking this. It's like, yeah, go rewind yourself to being a kid. And your mom would probably do something for a kid, not for you as an adult. You're overthinking this. And I just love how he immediately is like, pushes back and is like, no, no, no, no, no, no, wait,
Sean Ferrell: you don't know me.
Matt Ferrell: No. And then he's. And then there's that pause of him trying it again. This is for me, Character Development 101. It's like the fact that he was willing to look past his own pushback and be like, well maybe there is something there and give it a shot. It shows his growth as a character that he's willing to take that and take the barbs of Sam saying, you're smart, I'm smarter. Coming right out and saying that to him. It's something that we wouldn't have seen out of her either. So it's been fascinating to see how these all kind of are coming together. I can't, I don't wanna sound like I'm gushing about this show but like this show has become one of my favorites of. It's like probably one like there's Strange New worlds. I think this is very like right up there with Strange New Worlds for me. I love these two shows.
Sean Ferrell: It's done something with her which in another show from 30 years ago would have been a season long arc of showing her change from the initial setup into somebody else. We saw in hints of this with Data, but Next Gen didn't lean into the serialized storytelling quite the way that I always wish it could have. We saw more of this with Odo. I think in Deep Space Nine where there is this constant reinvention of what does he know about who he is and his people and what it means to be who he is and how that he has to wrestle with everything he finds out. Every layer that gets pulled back. He has to wrestle with yet more growth. And I just wish that he had this moment of like, I wish I could stop learning more. But he keeps growing as he moves forward. And I feel like they've managed to do something similar here in a very brief number of episodes. To take her from the gushy, childlike, naive figure into this more confident and. And also kind of there's a little bit of an emotional impact of all this. She's saddened by things she says of her previous self. I'm embarrassed by what I was.
Matt Ferrell: Yeah.
Sean Ferrell: And that's an interesting moment to have because I felt like the way it was directed. And this goes back to Mr. Frakes, fracas, freakies, whatever his name is, whoever. It goes back, I think I have a feeling to some direction which may have been deliver this line, but with a sense of sadness that you are no longer that innocent. Because it is a double edged delivery. I heard the delivery is like, oh, she's saying she's embarrassed. But there's also the I can't go home again of it. And it's that setting the tone for me. That moment happens so early in the episode. It's setting the message for the entire episode. Because from that moment on, his return to standing beside his mother is a story of is he aware of what he's going to get and is it actually what he wants? Because now we've got a storyline that revolves around and him going and finding a woman who has zero trust in anything that the Federation stands for. And the dilemma he's in of trying to hide where he's been for the past year. So the next scene I want to talk to you about is the one in which he, in a kind of his version of immaturity, him rolling back in a very artificial way and everybody in the room sees through it. Him insulting all of his friends so that he can sever those bonds. And everybody in the room is just like, we know exactly what you're doing and it's not going to work. How did that scene land for you with him going around the room insulting everybody and everybody basically taking it as, this isn't about us, this is about you. This is about you, buddy. And we're not gonna take the bait again.
Matt Ferrell: This is why I love the show. Everybody's taking. Looking at him like, Caleb's gonna.
Sean Ferrell: Caleb. Yeah.
Matt Ferrell: You know what I mean? Like, they're. Let's let him get this out of his system. He's. Yeah, he's trying to push. We all know what he's doing because this is his shtick.
Sean Ferrell: He's trying really hard. He's trying really hard.
Matt Ferrell: He's doing really hard.
Sean Ferrell: Really nice. You can tell it hurts.
Matt Ferrell: Like, what he's saying hurts, but it's
Sean Ferrell: like he is hurting himself, putting himself in that moment. Yeah, he's hurting himself and them. But you can tell it's hur. Hurting him worse because he's like, I don't want to say this because I don't believe any of this stuff. And it's this very interesting moment. We get the return of his mother. How did you feel about the depiction portrayed? This is an experienced actress. She's very good. How did you feel about the depiction of a woman who, at this point, now, instead of being what we saw originally, which was a seemingly loving mother, in a moment of teaching her son and trying to reassure him about things that we weren't quite sure what it meant. And then in the first episode, it's revealed, oh, she's in her way to a court. She's about to be judged for something. We're not even sure who she is. But this is. It moves from it's a loving mother moment to this. And now we're seeing her post escape from prison, on the run. And how did you feel about her arrival on screen as far as. Did it land for you or did you feel like there was a gap there in the performance?
Matt Ferrell: It landed for me, but it raised some questions. And I don't know if this is me. I don't know what is it projecting? It's probably me projecting. Like, I know you talk about this. I see it, too. You've got your background writing. I got my background in kind of filmmaking. It's like sometimes I feel like I see the seams and I can see what they might be trying to do, what ground they're trying to lay. And from the first time we saw the mother to when we saw her now, it fit, like, contextually, the way it was portrayed. It fit. Here she is years later, she's more hardened, she's more harsh. She's going to have a bigger chip on her shoulder. She's going to be more angry. All of that kind of stuff was there. So I thought they did a good job of connecting it. But there's been this mystery box around her from the first portrayal, from the first time we saw her. And this one where it feels to me like, is she good? It's still not clear if she's a good person because there's this, like, there's this element to her portrayal and the way she's being, the way she's been shown to us feels like they're holding something back deliberately from storytelling where, yeah, it was bad that she got put into prison and Caleb was torn away from her. That was wrong. But did she actually do something that deserved for her to be in that position? Like, was she not a complete victim? Was she doing things that were. And then over these hardened years, she's probably been doing even worse stuff potentially. So the question to me is, is she in cahoots with the bad guys? Is she knowingly doing things that's going to end up causing Caleb to have to make a decision either at the end of the finale or in the coming season where he's gonna have to choose between Starfleet and his mom because his mom is not the person he thought she was.
I feel like that's the shoe that's gonna drop because I feel the. I see the seams, I see the storytelling, like, oh, I feel like you've been leaving something out, a little something for us to discover, a little shoe to drop. That's kind of the way it feels to me. But I don't know if it's me projecting or if it's actually there.
Sean Ferrell: I agree with you. I'm seeing the same things. I'm feeling like we're given these moments and this is a moment where it ties nicely into something I wanted to bring up. The episode does this. When you have the kind of storytelling that Star Trek tends to lean into, there's always the balancing act. When you're dealing with cosmic level storytelling, there's gotta be a personal element. And when you're dealing with the personal element, there has to be the larger cosmic element. And this one, it's right from the beginning, it's portrayed as, oh, we're doing this big celebration around where we are as a Federation, Betazed is now back. So we're going to the opening of the new headquarters there. It's going to be this big, important celebration. Then there's an attack and the Federation is put on alert and ships are pulled back into Federation space. And then there's the recognition of what actually happened in the previous episode where the big bad guy of the season has managed to steal what they call an Omega device. Couldn't help but wonder, like, you know, we've, we like they throw out it's an Omega device and it's like Omega device means nothing. Like, it's like, okay, it's an Omega device, fine. There was a part of me that was just like, wouldn't it have been interesting if they, if they'd said it was a Genesis device, like make it part of Star Trek lore and say like they stole this technology and now they're going to use it potentially in bad ways. Because we know what a Genesis device does. We don't have to be hinted at through a Omega device. It tears up subspace and blah, blah, blah, and it makes warp speed impossible. Like, okay, I get why they're saying that it would effectively be a way of shutting down connection between Federation world and the other parts of the Federation.
But then it turns out that the goal isn't necessarily to do anything within Federation space, it's to cut everybody off from Federation space. So this is a yeah, we're putting you in a box sort of moment and I think that, that that's the tie in directly to her. A. I'm not trying to be spoilery in any way around any of this.
Matt Ferrell: I think the same thing.
Sean Ferrell: But I find myself like, she's got a hand in this. This is a woman who we're shown where Caleb gets his brilliance when she is able to use the programmable matter that he always plays with to build literally out of one starship component she's able to build specifically for a Federation ship, a different type of component that's related to it. I, I can't help but think like there's going to be the element of, is part of her. I, I was put in a prison cell for all these years, now I'm putting the Federation in a prison cell. Is that what. Yes. No, that's part of what's happening here. So I think that the episode, it's. That part of it for me landed a little on the nose and a lot of the storytelling around what takes place in the getting to the planet where she is. I liked all the visuals of the bizarre. I liked all the like the element of like the dark underbelly of this future which Star Trek tended always to lean into a, at a certain point, hunger is no longer a problem. Well, that can't be universally true. Like that can be true within the confines of an area like the Federation where they have said this is what we're going to make happen. But not everything is Federation. So given that reality, newer Star Trek shows are really leaning into depicting the gaps between the haves and the have nots. So I liked all of that. I liked the run in with the mother at the knife of like, why are you following me? The threats to the friends, get out of here. Leave me alone. None of them listening to it. Her challenging their relationship. Who are these people? How do you trust them? Why do you know them? All of that right up to the kind of a little bit of the superhero action movie of the combat when they're all kind of caught. And there's the, well, how are we going to get these people out of here? She does try to do the right thing.
So there's the like, here's part of the dilemma of they're setting up a good character for that kind of conflict. She's not pulling at a mustache. She's not bloodthirsty. She seems to have motivation and she believes in the rightness of what she's doing. And that's what makes for a really good antagonist. So if there is a turn that she has involvement in the bad things that are happening, I think they've earned it.
Matt Ferrell: Yeah, they have.
Sean Ferrell: And the fact that in this episode it felt a little on the nose as far as, like, how it's all depicted and the actiony sequences, but I still liked the results. It was like, okay, I can see what they're doing here. They're pulling all these threads to do these things, but I like where it's headed. And right up until she's on the ship and the Doctor's like, you're gonna be okay. And she's not hearing the words, you're gonna be okay. She's like, he is wearing a Starfleet comm badge and having that moment of like, she is now on this ship and realizing where she is and, and who her son has been with. And at the same time the realization on the other side for Ake and everybody on the bridge to recognize, oh, we're seeing that the Federation's been put inside a bubble and we're on the outside of it. So it falls into the. We're the only ones who are going to be able to, to fight this fight. Classic Star Trek setup. But all of it feels like the quiet moments in this episode. The small moments in this episode are the ones that rang the most immersive to me. The bigger ones still enjoyable because it felt a little bit like a perfect marriage between an intimate story and a popcorn film. And I left this episode like, I can't wait for the next one. I can't wait to see how this all concludes.
Matt Ferrell: Me too. The other thing about the small moments, there was another small moment that, like, for me, just, like, showed the wonderful character development. The chancellor of the War College and Ake their relationship like they used to be. He wanted nothing to do with her. They were kind of at loggerheads. And this. He comes to her and is like, okay, let's figure this out. And they start brainstorming and start to figure out what the heck the bad guys are up to.
Sean Ferrell: I thought, I love the use of holographic communication that they. That they rely on now, where it's people in a room together. And then they just remind you occasionally with one person kind of glitching for a second, like, oh, yeah, they're not all together, but they are. It totally does an end run on the whole. How do you get all the pieces together? By saying the technology has reached a point where this is effectively like, they're on a CSI show. They're in a place where it's just like, I just need to call my boss and tell him we found a bomb. And he's going to be like, well, go do whatever you got to do, but just don't tell me the details, because I can't know the details, but I'm giving you tacit approval to go do whatever you got to do. And it's got that kind of like, yeah, this is kind of to. In an interesting way. And you can let me know if you think I'm off base here. They've reinvented what Picard told Spock. There was no longer room for Wild west diplomacy. Cowboy diplomacy doesn't have a place in the Alpha Quadrant anymore.
Matt Ferrell: It's back, baby.
Sean Ferrell: It's back. It feels like it's back in an interesting way where it's like, yeah, they've redesigned what the galaxy looks like so they can tell stories that feel like they were original series or even earlier stories. This series feels like it's got the DNA of Enterprise in it because they're walking around. It does. And they're saying to people, we're from Earth. And the people are like, we don't care. This is not like nobody's impressed. Nobody's impressed by this. And I think it's a really neat circumstance.
Matt Ferrell: The last thing I want to bring up is the hidden gem of this entire series. Sean. Stephen Colbert. Anytime I chime in with a chime, yeah, it's like I have to lean in. The announcement of don't use the storage bins. For anything other than storage, like storing yourself. Keep it in your pants. It was just. That whole thing was hysterical. It's like his little moments are just the, like, little bright spot of levity that you need at just the right point. And he's the perfect person to deliver those messages. I just.
Sean Ferrell: Yeah, those. Every time he's in this conversation. Yeah, those messages in this one were coming. While Caleb is literally glowering his way through the hallways.
Matt Ferrell: Yes.
Sean Ferrell: Because he's so conflicted about the fact that he's finally figured out where his mother might be. And then he goes to the Chancellor's office and just overhears there's been a lockdown. Nobody's allowed to go to these places. And he realizes 15 minutes earlier, I could have gone to her, and she probably would have said, let me get you a shuttle and somebody to chaperone you there, and we'll get to your mother. And now he's heard that, and he knows, I got to do this on my own. And it becomes the comedic overtones of keep it in your pants. Balances out him glowering his way through the hallways and running into Tarima, where we're given again, time has passed in big ways. The two of them. This episode is the first to feature them flirting, but it's not a flirtation that either of them is fully comfortable with. They're both looking at each other and thinking, is this door open? And neither of them is quite ready to try and go through it. She is the one who I think is reading the situation most honestly because of her Betazed ability, where she says at one point, I wish I couldn't read you so well. And he says, me, too. Okay. That's kind of speaking the moment in a really good way. So even on that level, this episode gives you just enough of that. I felt that it was like, okay, there's the development there as well. I don't think there's gonna be necessarily a recontammation of a relationship within the next episode, but I have a feeling a season two is definitely going to involve the will they, won't they tension back, but with a more mature. This isn't going to be a relationship that's built around the fact that she can play basketball. This is going to be a relationship that's built around him saying to her, I found myself thinking all he needs to say to her is, the fact that you killed people with your brain doesn't scare me at all.
That's what she's looking for in that scene. She says, like, I did this thing, and you don't know how to handle it. And I feel like he's in the position where he doesn't yet realize all he has to say is, oh, I can handle that. I just can't handle how I feel. And it's. I'm waiting for that moment. So this show, like you said, it's suddenly. It's like right up there when I find myself watching and thinking, this is like Deep Space Nine. This is like Voyager. This is like, I'm like, oh, this show is doing what it's supposed to be doing. So. And of course, when you've got Jonathan Frakes coming in to direct the penultimate episode, I'm not sure if he directs the final episode as well, but I find myself thinking, like, they'd be smart to give him the reins on both those things, considering it felt very much like we were watching the first half of a movie and it just re reaffirmed something we've talked about previously, which is the second episode should have been part of the first.
It's all it.
Matt Ferrell: We can stop beating that dead horse Sean.
Sean Ferrell: If they had just pushed them together all these episodes. I'm just. I'm not saying that to beat that episode up yet again. I'm saying that because I marvel at the fact that I don't feel like there's a stinker in the bunch if you don't include. So it's like, that's quite an accomplishment for every single episode of this series. One of the things that Strange New Worlds benefited from was they're like, it's a new show, but you know a
Matt Ferrell: lot of these characters.
Sean Ferrell: So it immediately is just like, oh, it's Pike. We're familiar with Pike. We're familiar. Of course, we know Spock and Uhura. Oh, we get some fan servicey stuff about references to people. Here comes Scotty. This show doesn't have any of that.
Matt Ferrell: It was safe. Yeah.
Sean Ferrell: And it was. It's managed to land in a place that I'm just like, I didn't expect them to land this in this way in the first season. So hats off to them. Very, very, very, very impressed. So everybody jump into the comments. Let us know what you thought about this episode. Did you like it? Did you hate it? Do you think that I'm off my nut? Do you think that Matt should legally separate from me and we should never be called brothers again? Jump into the comments. Let us know. Look forward to hearing what you have to say. Next week, we'll be talking about the final episode of season one of Starfleet Academy, and then after that we will return. And I hope for people who might be joining us as new viewers and listeners for the Starfleet Academy discussions will be interested in rejoining us in our path as we jump back into season three of the original series. I'm looking forward to getting back to those episodes as well. Thank you so much everybody for taking the time to watch or. Oh, let me actually say something else. Your comments are important to us and they're a great way to support the program, as are liking, subscribing and sharing with your friends. Those are all very easy ways for you to support us. If you'd like to support us more directly, you can go to trekintime Show. Click the join button. Not only does that allow you to throw some coins at our heads, it makes you an Ensign, which means you'll be signed up for out of Time, our spin off show in which we talk about things that don't fit within the confines of 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.