Phasers Set To Stun: The Sounds of Starfleet (TNG TV Edition)

0:01 Space the Final Frontier. Join us for a bold conversation our prime directive to recap our favorite Star Trek shows, both new and old, to engage and debate about all things Trek. Prepare to energize with Phasers Set to Stunt. Hello, listeners, and welcome to an all new episode of Phasers Set to Stun, where we continue to show our love for Everything's Star Trek in this on point series from a film by podcast focusing on every note of the expanding Star Trek universe by covering television, movies, animation, directors, merchandise, and much much more. Plotting your course on this voyage is your Core Trek crew. I'm Wayne Whiten, I'm David Byrne, and in this episode, we're going to take a more detailed and closer look at the musical side of Star Trek the Next Generation, specifically the musical scores for the episodes and the composers that created them. Now, David, you and I have been lovers of film and television music for a long long time.

1:24 Oh yeah, yeah, that's for sure. Yeah, we both We follow the works of John Williams, Jerry Goldsmith, James Horner, and many of more but we've really never sat down and discussed our likes and dislikes when it comes to TV music and films and scores for TV episodes. No, yeah, I know, we both we both love TV work, you know. I've always been a big fan of TV composers like Stu Phillips from Battlestar Galactica and Mack Rodgers, and of course Jerry Goldsmith's works. On The Waltons and The Man from Uncle, and. Of course John Williams, you know when he produced scores for Irwin Allen like Gloss in Space and Land of the Giants. But let's hear from you. What are some of your favorite TV composers and scores.

2:07 So there's so many out there when you and I could probably talk all day about different composers of television and stuff like that. One of the ones that you turned me on back in the nineties, I believe it was, was, of course John Debney his class As sixty one, which was a beautiful score. It is Joel Goldsmith Stargate SG one, some fantastic pieces throughout that. I'm with you on the Waltons. I think Goldsmith's score for that is absolutely brilliant and beautiful Raman Robbi Jamadi's stunning music to Game of Thrones, Max Richter's scored to the Leftovers. If you've never seen that, it is just a beautiful piece of music. Again, there's just so many We could sit here all day and talk about piece.

2:49 Yeah. Well, we're here to talk about Star Trek though, And I know we're both big fans of the works done by the various Star Trek composers or the television series. So let's talk Star Trek the next generation. And I think we'll start by discussing the main theme we as we know, it's not an original piece of work. It was assembled together by a series composer, Dennis McCarthy, using Alexander Courage's fanfare from the opening of the original series and finishing with Jerry Goldsmith's main title March from nineteen seventy nine Star Trek promotion picture. Now it was heard for all one hundred and seventy eight episodes of the series in pretty much the same form, with a slight alteration at the beginning of the second season. But what do you think about this reuse of the themes for the series?

4:01 So this was back in the time when we didn't have a TV series called Star Trek because it had been a while since the original was on. You had the movies that were going on in the theaters, you know, sporadically, so you know, people really didn't know a lot about they lost Star Trek altogether, you know, so they needed to keep with the established theme. I feel with because it was vital that people who would recognize that theme would tune in. And even people who didn't recognize that theme, come on, everybody has heard it. You would at least know what it's related to, right, But yeah, I feel like, you know, you're dealing with a series that people were kind of like not sure about. You know, today you get all these different Star Trek shows, but it was different back then, you know, so you had to draw in that people who loved the original Star Trek, you know, seeing a new crew that was kind of facrilege right to them, almost, Yeah, because you're creating a new Star Trek, a new enterprise with a new crew. So I feel like they needed to keep that theme going with the Star Trek just to make sure that everybody knew it was related to the original Star Trek.

5:16 So I love it. I'm glad they went with it. Yep, you you hit it right on the nail. That's exactly the reason why they went with this, because Jennis McCarthy had written a new theme for the series, but they decided not to use It's exactly for the reasons why you said. Now, I like the alternate theme, but I just I can't imagine anything other than the courage Goldsmith theme being used for this series anymore. It wasn't a bad piece of music, and he used the theme integrated when in his episode scores. They renamed it to the Cards theme and you can really hear it in Account at Far Points.

6:34 But it is a good theme. But I mean, Goldsmith's theme is star Trek yep, and just you know, you hear that and you know what you're expected. But if anyone's interested in hearing what almost became the main theme of the Next Generation, it is at the end of the CD soundtrack for Encounter Far Points that was released by Chrishinda Records back in nineteen eighty eight, so if you can get a hold of a copy, it's a neat thing to listen to. Also, David, did you know that each episode's main and end titles are different recordings. No, I didn't realize that. Yeah, this is rather funny, but because of the union agreements and licens that were in place back in the eighties and the nineties, it was just cheaper and easier to just rerecord it every.

7:20 Time, for each and every episode. Each Yeah, each composer would just reperform the themes at the beginning before they performed their episode scores. And you know, you can hear it, you know, just like every composer. You know, it's like a fingerprints the way they conduct and if you listen very closely, you can hear those very subtle differences between the episodes depending on which composer. I can really tell the difference between Ron Jones and Dennis McCarthy, especially the early seasons. Jones is a little more louder and there's a lot more strings and just a little more flourished than than McCarthy, who kind of sticks to the way the original had been composed by Goldsmith in rough thing.

8:03 I don't have to pay attention to that now because I didn't know that. That's crazy. Yeah, you know, it's odd how things are working. It's not like that now with the unions, but it's the reason why a lot of soundtracks back then were released as new recordings. You know, nowadays we get these re releases of soundtracks and you'll see that they include the original score and the album. It's because they're different, and that's the reason why cool good to know, all right, So now let's talk the composers. Considering that the series ran for seven seasons and one hundred and seventy eight episodes, the Next Generation only had three main musical composers working on the series that would rotate. That's really rare for a series that brings a brand new original score for every episode, each and every week, since at the time, it was common for a series to reuse scores for past episodes.

8:52 Tracked in to save costs. So let's start with the composer from the Pilots that we've already mentioned, Dennis McCarthy. When he started working on the series back in nineteen eighty seven, he was still relatively new to the television scene. He had gotten his start working on variety shows back in the early eighties, and was the principal composer for both the Dukes of Hazzard spin off Enos and the mini series V The Final Battle yeah, and the regular series. I loved his music from V I think its fantastic. It is. McCarthy was personally chosen by Gene Roddenberry and would bring his unique mix of orchestra and synthetics to his music for the series. And I quote him from an interview he did the main request was to keep it lush and romantic, and to try to sound like one hundred players rather than the thirty eight that we used. I scored it in a romantic vein instead of playing up the science fiction. I used synthesizers to make the orchestral sound larger than it was. And McCarthy would stay on for the series for all seven seasons, scoring eighty eight episodes in total.

9:55 Well it's a lot, well. You know. Hired alongside McCarthy was of course, composer Jones, who would begin his duties with the second episode of the series, The Naked Now. Jones got his start with Hanna Barbera, working on the musical scores for the cartoon series The Smurf, which is close to home for me and it's a spin off The Snorks. He would also work with TV composers Mike Post and Pete Carpenter and write scores for episodes of the eighteen and Magnum p I. Just before beginning work on the Next generation, Jones would hired to be the principal composer of the Disney animated series Duc Tales, which he would work on alongside his Star Trek duties.

10:35 Jones was again handpicked by roden Berry and stated that he wanted to give each episode score its own unique orchestral palette and themes. Jones would find it difficult to work on Star Trek and Wayne, you and I have talked about this countless times, and over time he and executive producer Rick Berman would feud over the scores he produced, stating that Berman found his music too noticeable, which I call bs, and that Berman preferred the music to disappear into the background and be less melodic and more pad like. Jones were continuing to work on the series for the first four season, scoring forty two episodes. Jones was fired from the next seration under controversial circumstances the end of the fourth season.

11:17 And we know who calls that so oh yeah, and it was a big mistake. In my opinion, absolutely it was. And that brings us to our third composer for the series, Jay Chadaway. He worked as a film composer for most of the eighties, working on many bat movie action features like Silver Bullet, Invasion USA, Missing An Action, and the splasher film Maniac. The Next Generation would be Chadaway's first regular television series work, and he began on the third season episode ten Man to replace Ron Jones, was originally assigned to the episode, but had to take a break to do his commitments on Duck Tails. Chadaway would come back for three episodes during the fourth season, again filling in for Ron Jones and ultimately replacing him when Jones was fired. Chadaway would score forty two episodes of the series and become the principal composer on Star Trek Voyager. Now, along with those three main composers, there were four others that were brought in as guest composers for the series, working on one episode each. Let's go over them to complete the set, of course.

12:21 So first we have the only composer from the sixty series to return, of course, that's Fred Steiner. He had composed music for ten of the original series episodes, including the Cobra Might maneuver, Mirror Mirror and Balance of Terror, and had been invited back by gene Rod Murray to give the new series a bit of that original series flare. He scored the third episode of the series, Code of Honor. Just before his work on the series, he had been nominated for an Academy Award for his uncredited work on the score to Steven Spielberg's The Color of Purple, along with Quincy Jones. Yeah, and there's a lot of talked about Code of Honor. You know, it's one of the least favorite and work well. Most people considered the worst episode of the series. But his score is actually pretty good. But it's two original series.

13:06 In my opinion, it is I agree with you on that. Also during the first season, we have guest composer George Romanez, who scored the episode Too Short a Season. Romans was an established television composer, working on many different series from the sixties into the eighties like Medical Center, The Mod Squad in Hawaii five zero. The Next Generation would be his last score he would compose before retiring. It wouldn't be until the sixth season before another composer would guest on the series, starting with Don Davis for the episode Face of the Enemy. Davis has worked as an orchestra and conductor for Michael Kaman, Alan Selvestri, James Horner, and Randy Newman, as well as composing for the series Heart to Heart and Beauty and the Beast. Davis is best known for the music from the Matrix trilogy of films, as well as his brilliant score to Jurassic Part three.

14:01 And finally, we have one of our personal favorite composers, John Debney. Debney had wanted to work on Star Trek the Next Generation since the series began, and had taken the high profile job on the Steven Spielberg series sequest DSB with the hopes that the producers of TG would notice him. It worked, and he scored the seventh season episode The Pegasus, along with two episodes during the first season of Deep Space nine. Debney, of course, would later write the scores of the films I know what you did last Summer, Passion of the Christ, Iron Man two, and many many. Others, many many others. I mean, you go onto IMDb and look at John Debney, It's like, holy crap, that guy has done a ton of stuff.

14:41 But I'm still out there composing too, I feel composed. Great work. Yeah, Horizon, his newest one from Kevin Costa, which is a really good score. Probably recommend listening to that one for sure. But I owe it to you for turning me onto John Debney. I know when you and I first met and we started talking about our love of scores and music and stuff like that. You're the one that, you know, turned me to John Debney and I haven't looked back since because all of his work is brilliant and he's very fan friendly, like if you reach out him on Facebook, he'll talk. He's awesome. Oh yeah, we both of us have talked to him a couple of times. Are that's fantastic? All right, there's the list of players for the series. Now let's talk about them. There's so much great music from this series that would take forever to go over each and every episode. So let's try and pick some of our highlights from the seven years of the show. David, what's some of the episode scores that stood out for you?

15:33 There's so many out there, it's hard to go through a Hughes And you know, when I was thinking about this, I came up with three, but one of them is my favorite all times, and we'll talk about that a little bit later. But it really was a hard decision for me to really narrow it down to the three, and even to the one, to be honest with you, it was a battle between two of them. One of them, of course, is Dennis McCarthy's Yesterday's Enterprise. This was the first time I really noticed McCarthy me personally, because this music really leapt off the screen. To me, it gave us that sense of mystery and suspense, you know, while also giving us some beautiful music towards the end. And of course what I'm talking about is that piece again it's called Klingon's Skin of Teeth, which is like over five minutes in length. It really stretches the extent of this action pack and emotional rollercoaster we have been on with the crew. The music is all over place, giving us a dramatic punch while giving us some great action complimenting what we are witnessing on screen. That episode is fantastic, but the music just goes along with it, which makes it even better.

16:57 I agree. Yeah, my other one, this is the one I was really torn. I wanted this to be my favorite, but when I thought about what I did give to be the favorite, there's a reason for it, and again we'll talk about that a little bit later. But my second one that I absolutely love, and of course, that's Jay Chada Waste. The Inner Light.

17:45 I feel it is one of his best compositions. And what I'm talking about is that simple flute melody. It is a haunting score, as it should be, since we learned as the Card awakens at the end of the bridge of the Enterprise, that he spent in a time our lifetime somewhere else. You know, This music felt from deep down inside and just brings out not only emotions that this episode, this episode was trying to convey, but it also makes one think how they would feel if they were in the card shoes and went through this very thing. It is a beautiful score to a beautifully written and performed episode. My understanding too, is that the original lyrics for this melody have also been written by several poets. Oh I didn't know that, Yeah, which it makes sense, I mean, because it's just man, it's just it's a beautiful piece of music. It really is.

18:35 It is, and the whole episode is a standout. Yeah, I mean it's the music just compliment it's a great episode. It's it's incredible, and you know he's taken some of the music from that and written concert pieces for it. It's it's that good. It's good enough to perform in a concert setting. It's it's amazing how you can take just one one instrument and just makes something so dang powerful like he did with that. Just absolutely brilliant. It really is. So what about you, Well, I was just like you. It was really hard to narrow these down, but I narrowed it down to a few. One of my earliest favorites was from the episode Haven, composed by Dennis McCarthy.

19:20 You know, I believe this was McCarthy's second score that he wrote right after Encounter at far points, since the early episodes were aired out of production order. I love his music for the pilot and it's because it had sets a whole tone for the series to come. And Haven is like the sequel to the score, with some very beautiful musical cues from when Troy and Riker are on the holiday talking about their about talking about her upcoming marriage to Wyatt and their feelings towards each other, plus that last act of the episode opens with this reprise of the cards theme that I mentioned earlier. It's exactly how Encounter at Farpoint opened, you know, it's the principal theme that identifies the earlier seasons of the series.

20:37 McCarthy has said that his music for this episode was strongly disliked by Rit Berman, so much so that Macarthy, I know, you know, McCarthy was certain he was going to be fired over it. Quiet he wasn't, but because it's it's a great example of just like the inner light, of how music enhances a fantastic episode. And then of. Course I have to choose choose the pegasust by John Debney. Of course, you know, because I mentioned him. I was a huge fan of Devniey's work. We both are, especially his work on Sequest DSB, and a lot of his music here is very similar to the style of the show, making sense since it was composed a pretty much the same time.

21:47 You know. Debney has gone on to say that he had a lot of fun working on this episode, but it wasn't easy. He was forced to write the score for this twice after his first take was rejected by producer Rick Berman from not being in the style of the series. Yeah, I just shake my head at some of the things that were said. I see a recurring theme throughout everything here. Rick Berman, Rick bermant, Rick Berman is nothing but trouble. Yeah. He was not a lover of music like us. You know. You know, Dennis McCarthy, who was good friends with Debney, told him told him to back off a bit that when the show was showing bridge scenes or scenes on the enterprise, just to keep the music quiet, and then when the scenes would go out into space, then you can bring up the volume. And for his second take at the score, that's exactly what he did.

22:38 Debney uses a lot of suspensible motifs for the score, especially in the bits for the enterprises standing against the Romulan Warbird. It's a wonderful in a different sound for the series. And then finally, I've got to mention the music for the second to the last episode of the series, Preemptive Strike by Jay Chadaway. I think I talked about a little of this in our ten Best Episodes of Star Trek Connection Neration Season seven podcasts that we did d my favorite piece for the entire episode, one of the most beautiful pieces that were written for Star Trek anyway, and it's the scene where on the planet where instant Row and Massius is talking about their plans and holds yep for one of the Kardassians are driven away and Road talks about her father and then just before the Kardasians surprise and with an attack and kills Masius.

24:01 It's just it's a beautiful. String and flute piece, similar to what he did with the Inner Light, that just stands out far, far above the dialogue and it's an incredible piece. I had forgot, actually forgotten about that piece of music. You're right, that was really well done there. I don't know if jeff wildgree he doesn't like infant Row for some undern reasons. So anything we mentioned infant Row, he's like shunning us for some reason. I know, I don't understand him. Sometimes I don't get it together, Jeffy. So now we're down to the final selection. But do we consider the best score of Star Trek the next generation?

24:46 Which piece of music or which composers do we think excelled themselves and brought the best of the visuals on screen? So David, why don't you give me your top pick? And why you love it so much. You know, again, I'm going to go back to saying it was really hard. I really wanted the interlight to be my favorite here, but the one I picked and then the reason why it stands out and I'll explain it here. So I went with Ron Jones the best of both worlds. This is the first score in the series that really hit me hard, not just for the storytelling that was very emotional, action packed, but it really brought into frame but this show just became very serious.

25:47 The score felt epic in size, just like the two part episode and made it seem so cinematic when you know, I love motion pictures and not a lot of television back then was able to have that vibe, but this did, and it hit hard with this score, especially when it was supposed to you know, that ending of the first episode, when it pulls in on Riker. The score and that entire scene just hit home for me and made the impact it was supposed to to be by making me feel like all hope was gone. You know, his score Throughout this two parter, his score provided that mystery, that desperation and the crew and all the starfleet of the enemy that they are facing and what is at stake?

26:30 You needed something very powerful to go along with this story, and mister Jones did it. I thought it was absolutely incredible. And when I went back and rewatched this episode when we were talking about the ten best episodes, it hit me again. When I was watching, he goes like, Man, this music is just phenomenal. To say that about a TV show back in the eighties, you know, that says a lot everything we're talking about here. All these scores are great, and to be talking about that from the eighties is saying something big, because I mean, there wasn't a lot of scores like this going on in TV. There really wasn't, and Star Trek was setting it. I don't care what Rick Berman says. You know, the music really was needed in Star Trek and Nick Generation, and I'm glad some of the scores that we've got out of it we did get because it's perfect and the best of both worlds. To me, I thought this was the best.

27:24 It's an incredible score, and I think this was one of the rare examples where Rick Berman actually believed that music would enhance it because he gave the budget to double the orchestra. For this and it shows, I mean, it does show. This is a lot of people's favorites. It's not any surprise to me that it's your favorites. It's one of my top favorites too. Yeah, it's just an. Incredible score with for two incredible episodes. Well, I'm curious about what yours is. Well. It also is a really hard choice for me because I love the best best of both worlds as much as you too too. But after I listened to most of my soundtracks, I finally came to an answer.

28:06 It's not probably not the one most people would guess, but I have to go with Ron Jones two, and specifically, I think his finest moment was in the episode one one zero zero one zero zero one during the first season.

28:49 Jones's score is an absolute gym. He uses great orchestra set pieces of memorable electronic style for the buyers, authentic jazz source cues in a rousing finale featuring one of the best uses of Jerry Goldsmith's seams in the scores. You know, first of all, I mean the episode opens with this incredible romantic melody for the enterprises and docks into Starbase seventy four, which is an incredible visual effect too. It's one of the best visual effects they have ever done for the series, and the music matches what we see on the screen. And we got a lot of those great jazz pieces for the scenes in the Holiday with Minuet and Riker, But the real centerpiece for the score is the cue stealing the enterprise, and that's when the buyers hijacked the enterprise and fly it out of the star bass of the visuals are incredible that the music is one of the best action cues written for the series, hands down in my opinion. It's very similar to what he would do for Best of Both Worlds later on a few years later. It's loud, it's cinematic, you know.

29:50 I'm sure it drove Bernan mad, but it works so good. I wish they would have allowed to keep this music momentum on for the rest of the series because Ron Jones was really one of the best out there scoring for television at the time. Is obviously we proved because we both loved his music, they both chose his music. Yeah, absolutely, I mean that speaks volume right there that we both chose the Ron Jones score as our favorite. So yeah, I agree with you. Well, there's our top choices for the music and in this episode. Now that we've peaked everyone's interest, let's talk about where you can go to listen to all this great music. Yes, of course, you can always just watch the episodes themselves, which hey, that's not a bad thing.

30:35 I mean, if not watching these episodes, rewatching them was always a great time. But this time just sit back and carefully listen beyond the dialogue and sound effects to the brilliant music written for the series. But fortunately a few of the record labels have made it a little easier to listen to the music of that ve generation. Over the years, there have been many different albums of TMG music released to the fans and collectors, and much of it is still available to purchase from your favorite music outlets or directly from the labels themselves. David, why don't you tell us of the earliest ones? So back in the nineties, GNP Crescendo Records released four volumes of Star Trek and Next Generation music during and right after the original run of the series. Volume one contains Dennis McCarthy's music for Encounter at Farpoint. Volume two is Ron Jones score for Best of both Worlds Absolutely Listen to that one. Volume three has a trio of McCarthy's scores Yesterday's Enterprise, Unification and Hollow Pursuits, and Volume four features selectly cubes from Jay Chataway's episodes, including ten Man Descent, Dark Page, A Fistful of Datas, among others.

31:41 Also released by Criscindo Records were the Best of Star Trek Volumes one and two, each containing one score for the four Star Trek series. Volume one contains the Next Generation score for the first season Clan unfeatured Heart of Glory, along with the orchestra version of Chattaway's theme from the Inner Light, which is brilliant. Volume two has select ques from the series final episode All Good Things. All volumes are fill in print and available to buy in both. Volume one and two have been released expanded and remastered to both containing the complete scores to the episode as well as the score to the episode of the Arsenal of Freedom as a bonus. And in twenty ten, Film Score Monthly released what I think is still one of the best Star Trek sets ever to be produced, The Star Trek The Next Generation.

32:27 The Ron Jones Collection, containing fourteen CDs featuring every queue that Ron Joe's wrote for the four years of the series he worked on. Wow, it's monumental in but it's a beautiful set that is incredible. It's packaged and and an engineering officer yellow box with a silver embossed communicator logo. Oh that's awesome, and even has a nice little one hundred and sixty page booklet with it talking about the interview with the interviews with Jones himself. It even contains the music for the two video games that Jones scored, Star Trek Starfleet Academy and Star Trek Starfley Command, as well as a whole disc completely filled with I'm used and alternate cues for this series. It's a massive collection, but worth the hefty price. Unfortunately, it's now long out of print and a little difficult to find. But if you do come across the copy, grab a hold of it.

33:21 It's worth every penny that it costs. I'm curious what was the retail price on that. One hundred and forty nine dollars and ninety five cents. I mean, that's not bad considering how many CDs you get and how much much music. Yeah, and for something let's say it came out fifteen years ago. I still listened to it practically once a month, at least a cue once a month. Yeah, well, I mean it is Ron Jones and we love him, obviously, it makes perfect sense. Well and more recently La La Land Records has taken up the mantle of producing Star Trek soundtracks and has released both a Volume one and Volume two of music from the Next Generation. Each volume is three discs and is full of unreleased music from both McCarthy and Chadaway. Volume one contains music from Haven the Host, then Alite Relics, along with the complete scores to Steiner's Code of Honor, Davis, Face of the Enemy, and Debney's The Pegasus. Volume two continues the wealth of great music with scores from the Last Outposts, Calls and Effect, Preemptive Strike, Hiding Q, and includes a complete score to Rominez two Short a Season to top it off. Continuing on with the release as two more offerings in two On twenty sixteen, they released Star Trek the fiftieth Anniversary Collection with music from all parts of Star Trek, including music from the Next Generation episodes, The Hunted, Coming of Age, Contagion, and much more. As well as treasure Trove of various source and background cues from the series.

34:48 And finally, to end their decade of Star Trek releases, La La Land brought out Star Trek The Final Frontier Collection in twenty twenty three, a four disc set which each disc featuring music from the Next Generation, Keep Space, Nine, Voyager and Enterprise. Disc one of the set contains music from Redemption, Times, Eero, Lowered X plus much much more. While the others have now went out of print, the Final Frontier is still available from La La land website and other CD suppliers. And that just about wraps it up for this episode of Phaser. Set to stun our look back at the music to Star Trek the Next Generation, we'd like to open a subspace channel to our listeners and here just what you thought about this podcast, your opinions on the music of Star Trek and of Star Trek in general.

35:35 Who knows, we might just mention you on a future show. Of course, you can email us at a Film by Podcast at gmail dot com, find us online at a film by podcast dot com, follow us on Facebook, Instagram, and x and if you're looking for more exclusive content or swag, you can join our Patreon and find out what exclusive gems are hidden within. Thank you, David as always for joining me and the listeners for this deep dive discussion into the musical world of Star Trek. Of course it was a blast. As always, I always love talking about music to you. Oh yeah, I agree, you know, it kind of reminds me. I remissed it thinking about the times you and I would go on long trips with those books of CDs and we would listen to just tons of music on those trips. That's great memories.

36:23 I know. I discovered so many Horner scores listening to yours. You you listen to so many. Of them mine. It was great times. Absolutely, If you haven't already done so, go back and check out our seven part season by season look at the best episodes of Star Trek the Next Generation, where we break down this series and give our opinions of what you need to watch and what you can skip over. And of course there's more to come for Phaser such a stunt, David, What do we got to look forward to later this year? Well, sometime this summer we're going to be getting the highly anticipated season three of Strange New Worlds and of course, we will be tackling each episode every week through the run of the entire season. Then, which I'm very excited about.

37:06 Then we get to dive into just like we did Star Trek the nexturation. We are going to go season by season of Star Trek Deep Space nine and give our listeners what we think are the ten best episodes of each of those seasons that should be watched. And I cannot wait to do that because I've not seen Deep Space nine in a very very long time, same as Voyager of Ours, So I cannot wait to dive into this series again and watch and remember what I've forgotten, to be honest with you, so I'm excited for this. I hope you are. Two listeners well, both of us along with our fellow crewmember Scott Hoffman, look forward to joining you again next time on Phasers Set to stun Hailing Frequencies closed. And now that we've talked about and that just about wraps up.

37:58 God damn, Okay, I've grooped up too few times too