WEBVTT
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Space the Final Frontier. Join us for a bold conversation
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our prime directive to recap our favorite Star Trek shows,
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both new and old, to engage and debate about all
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things Trek. Prepare to energize with Phasers Set to Stunt.
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Hello everyone, and welcome back to to base cycle. Oh
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excuse me to stun where we continue to show our
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love for everything Star Trek in this ongoing series from
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a film by podcast which focuses on every quadrant of
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the explaining universe of Trek, a covering television, animation, movies, directors, merchandise,
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and so much more. Plotting the course, as always is
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your Core Trek crew. I'm David Burns, and I'm Scott
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Hoffman and.
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I'm Wayne Whiten.
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Let's continue our journey through the original series. Since we
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hear at Phasers Set the Stunt are joining in on
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the celebration of the sixtieth anniversary of Star Trek. In
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today's episode, we are going to discuss three more episodes
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from season one. So without further ado, let us get
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into the transporter and beam our way into the mission
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that lays ahead of us. Scott, I have to comment
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here about something in regards to your comment about every
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episode feels like the Twilight Zone. That has changed my
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outlook on this series. Now every time I see it,
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that runs through my mind. It is every freaking episode
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feels like a Twilight episode now, Twilight Zone episode. Yeah,
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and I can't get it out of my head now,
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which is fine. It gives me a new way to
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look at Star Trek. But I just wanted to thank
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you for that because I never ever looked at it
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that way. So you said that, Yeah, no problem.
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I mean, it is interesting.
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They kind of compare like the way that Deep Spaceline
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had a very specific through arc. Next Generation had a
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lot of that too, and this series does. But it's
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just kind of like, especially early on, it was very
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kind of e disotic, mind bending kind of stuff.
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It would make sense because this first episode we're talking
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about was written by one of the most prolific writers
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of The Twilight Zone, one of the most famous ones.
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So yeah, of course it's kind of feel like it.
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Yeah, absolutely, And of course we're talking about episode five,
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The Enemy Within. This is aired on October sixth, nineteen
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sixty six, directed by Leo Penn, written by Richard Matheson.
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A transporter malfunction tears Captain Kirk into two separate beings,
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one gentle and compassionate, the other violent and dangerously primal,
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while the other well. The crew struggles to understand and
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contain both halves. A landing party remains stranded on the
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planet below, where the temperature is plummeting fast, with no
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way to beam them back until the transporter is fixed,
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because apparently at this time they do not have shuttles.
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Their survival depends on reuniting Kirk's divide itself before the
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colde claims them. So, gentlemen, as we have this episode,
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it's funny that, you know, in the two of these
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episodes that we're gonna be talking about tonight, we see
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two William Shatner, two Kirks. So he kind of gets
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to explore that part of himself, which is kind of
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unique in itself. But this one, which I always remember
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as the eyeliner Kirk, I do every time I think
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about this episode, that's my mind immediately goes to the
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eyeliner Kirk evil, you know, because it is really because
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they did that on purpose. They gave him that that
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that look, so that he had that that that evil
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look to himself. I thought William Shatner was awesome in
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this episode. I mean, he I love him in every episode,
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but this one. The fact that he got to explore
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two different parts of himself. I mean some of it
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obviously was a little over exaggerated in his performance of
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the evil Kirk, but I still really enjoyed it. I thought,
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I thought it was unique in itself, but overall, I
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really enjoyed this others.
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So what about you, guys, So Wayne, you should probably
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go ahead and go first.
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All right, Well, I actually liked this episode.
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I think The Enemy Within is one of those early
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Star Trek episodes that really works well because it's more
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about the characters than the normal science fiching gimmick. You know,
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we don't have any outside threats. All the threats are
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coming from within, and William Shatner is having it looks
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like having a great time playing the two versions of Kirk. Really,
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it ends up showing a lot about how Kirk, you know,
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works as a captain in the first place. You know. Now,
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some parts of the episode do feel a little unsettling,
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especially with when it comes to Kirk and Janis Rand,
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but you know, it kind of helps set that the
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darker version of Kirk is really unsettling see what they
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were going for. But the episode does a good job
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showing that, you know, people aren't just made up of
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their quality, good qualities or bad qualities. It's just to me,
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it's one of the more memorable Season one episodes, one
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of the ones that I really stand out from when
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I watched.
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It all the way back in the eighties.
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Just bacausal because it mixes, you know, your typical fun
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sci fi you know premise. We see this all the time,
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you know, where you get split into good and bad
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in sci fi.
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But there's a lot of great ideas in this episode,
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is what I'm saying, and I enjoy it.
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I think, Scott, before you you go on about how
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you feel about the episode, there is there is some
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some parts of Wayne mentioned that you're kind of like, uh,
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that's a struggle. But what I like is about the
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comment that I think it was Spock who made it,
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who says, you know, he needs Kirk, needs that side
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of him to make him who he is, you know,
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and it's true. I mean, I don't think we would
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have the the strong Kirk that we got if he
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didn't have that.
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In him.
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Now, I'm not saying he has the potential of you know,
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going that far as he does the evil side of Kirk,
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but you know, he's got that balance in him that
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gives him that drive, gives him those decisions that he
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makes to become the leader, the captain that we know
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of the Enterprise. So I thought that was a very
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unique comment that Spot had made, and then Kirk obviously
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talks about that a little bit later in the episode.
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So I thought that was great.
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I always felt that, you know, when you split the two,
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it kind of enhances, like the good side is enhancement
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and the bad side is enhanced because you don't have
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the other side counterbalancing it.
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So, you know, while Kirk.
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May not do that in normal life, you know, but
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he probably does have a little bit of you know,
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lust in him, but without the good side to counterbalance that,
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to to to put it in check, it's left loose.
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And this is what we see.
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Yeah, exactly, So Scott, what about you?
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Yeah, I mean I think it is an interesting episode.
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It's a it's an interesting concept. I agree that it's you.
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Know, well written.
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I'll get to the problematic parts in a minute, and
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that William Stners does a great job of showing a
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lot of range here. I think one of the things
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that stood out to me or impressed me most about
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it was the aspect of kind of the downside of
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his good half. Reminded me of where they are trying
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to go with Pike in that episode where he I
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forget the name of it, from Strange New Worlds, where
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he's in charge when they kind of the rivulence for
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the first time and because of his tendency to be
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more diplomatic. Now that's more of an extreme. It's not
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saying that, you know, here he's so indecisive and gentle
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and also the kind of stuff. So I don't think
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that's necessarily Pike and I don't think they went quite
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meek with it. But it's interesting to not make it
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that it's, you know, the good side is inherently good,
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and that we should you know, completely lean into that
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because there are problems with it.
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I don't like to watch this episode. I've seen it once.
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Before and it really made my skin crawl the first time,
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and this time I was watching it, there were a
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couple of different parts that obviously.
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My my skin crawl.
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There's the you know, the sexual assault on Yemen Rand
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and then Spock's reaction to it at the end, Yeah,
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where he makes that off comment, it's just wow. So
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I mean that, you know, if somebody hasn't seen it before,
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just warning that there's this kind of content and those
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reactions will you know probably you know, in sense a
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couple of viewers to say like this is this is
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not okay and we need to talk about it. We
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want to talk about it here. But it's it's definitely
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something that that's problematic and just makes it difficult to watch.
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What I found interesting though this time in watching it
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was just my I was kind of thrown off by
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their delay in just saying, for the good of the ship,
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anybody who looks like James Kirk, let's put them in
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a brig, let's put them off to the side.
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It's not challenging his you know, captaincy.
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Or anything else like that to do so, but like
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it almost seemed like the scene where Evil Kirk asks
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the guy for a phaser, it seems like they just
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made the announcement, like, by the way, there's a duplicate. Okay,
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first guy you see like looks like James Kirk, give
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me a phaser, huh, and he's like, oh sure, that's like,
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wait a second, just lock them both up until we
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can figure out this transporter thing and then everything you'll
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be fine. But anyway, it's a it's a good concept.
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It's just I don't know, it's hard to get past
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some of those things.
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In a perfect world.
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Sc Well, Scott, I'm gonna throw here this. This is
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what really bought. This is what bothers me with this,
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because I think it's a big problem. Now the whole
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point of this episode. You know, Sulu and his landing
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party are trapped on the planet. They can't get back
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up that that's right, that's that's the big dilemma. Well,
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let me ask this. Why didn't they just go down
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and pick him up in a shuttlecraft?
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That's what I said in the summer at the where's
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the shuttle? Yeah?
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I mean it, you know, so they're there. Yeah, I
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guess you can't look too deep in this story, No
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you can't.
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Apparently these shutle didn't exist on the Enterprise at this time.
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I don't know.
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Well, yeah, I think I think Sulu was uh speaking
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for Wayne in this episode when he's like, is there
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any chance you guys have just.
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Like a very big rope.
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They could just lower down, like you're a ship full
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of scientists. Find sway to just like I don't know,
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put a get hollow out a photon torpedo, yeah, and
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launch it at the surface with just you know, supplies
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that could work and whatever is left of that crash.
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We'll just use it.
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Yeah, And it doesn't make any sense now. I believe
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this is the first episode that McCoy says he's dead, Jim,
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isn't it? Yeah, Oh it's the poor doggie, the poor doggie.
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That dog.
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Yeah, that dog in that costume? Are you getting me? Okay?
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You could tell that's nineteen sixty six. Yeah, oh yeah,
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that that had MST three thousand written all over that one.
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Yeah.
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When I saw that cost oh yeah.
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I mean, like, let's shave it's back, give it a horn,
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a couple of antennas, and a possle tail, like, sure,
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hasn't this dog been through it off?
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I know?
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Poor thing?
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And then where was the horror? She decided not to
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be a part of the crew on this one. She
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just disappeared. It's kind of awkward, how like these first
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few episodes, like some of the crew disappears and we
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don't know where they're at.
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Some of the ones that could be really really useful.
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Yeah yeah, yeah.
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I also just this is one of those episodes, and
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they probably didn't have it at the time, But is
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there not the capability of basically funding somebody on the
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ship and just transporting them onto the transporter pad.
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I don't think they did that yet, Okay.
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I think it was just before Generation Yeah yeah, okay,
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I mean, otherwise we'd have ten minute episodes.
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So sure, at least he saw mister Scott come to
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the rescue again. So hey, I mean, yeah, he's already
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found his place. He's found his groove, right.