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Speaker 1: Warning, today's episode contain spoilers for the original the historical

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Speaker 1: pilot of Star Trek the original series titled The Cage. Hello,

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Speaker 1: and name is Jason and I'm roseay Night, and welcome

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Speaker 1: back to Xtravision of the podcast where we dive deep.

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Speaker 1: It's your favorite shows, movies and pop culture coming in

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Speaker 1: from my heart, where we'll bring you three episodes a week,

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Speaker 1: plus news on Saturday.

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Speaker 2: In today's episode, beat me up, Scotty or not, because

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Speaker 2: Scotty is not in.

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Speaker 3: This episode and that's right.

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Speaker 2: Today we are revisiting the first episode of the Star

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Speaker 2: Trek the original series, called The Cage. Now there is

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Speaker 2: no Kirk here. This is Captain Pike. So come with

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Speaker 2: us as we kickstart our trek through Trek. You can

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Speaker 2: think of this as our own episode two because if

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Speaker 2: you enough of you listen and the feedback is good,

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Speaker 2: we will be back with more Trek in the new year.

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Speaker 1: And of course, Star Trek is a landmark sci fi

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Speaker 1: property in only three seasons, which is kind of like

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Speaker 1: mind boggling to think about, Like the original show only

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Speaker 1: ran three seasons, even the fact that it was made

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Speaker 1: after this up ordered pilot that we're going to talk

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Speaker 1: about right, then cut up and used for the actual

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Speaker 1: on air pilot. This pilot was received and kind of

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Speaker 1: disastrous fashion, although it is quite good and you could

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Speaker 1: see a lot of the strands that became the vibe

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Speaker 1: of Original Trek here. Just the fact that it got

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Speaker 1: made and made such an impact in its only three

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Speaker 1: season run means that it's simply one of the most

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Speaker 1: important sci fi properties ever, and we're delighted to be

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Speaker 1: talking about it. I mean, it's like a show that

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Speaker 1: I think I've talked about this a lot. When I

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Speaker 1: was like in middle school and started getting really into

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Speaker 1: staying up late, especially on summertime, and on the weekends,

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Speaker 1: they would play Star Trek on the local TV station

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Speaker 1: back to back with Get Smart, so it'd be like

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Speaker 1: two episodes of Get Smart, which is which was a

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Speaker 1: thirty and then an episode of Star Trek and then

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Speaker 1: two episodes of Star Trek or something like that. So

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Speaker 1: it'd be like from nine to ten it was like

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Speaker 1: Get Smart, and then ten to midnight it would be

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Speaker 1: Star Trek. And that's how I watched all of the

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Speaker 1: original Star Trek, just like in weird orders and just

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Speaker 1: like it, and it was so fun and I was

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Speaker 1: absolutely delighted by it and became like a big part

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Speaker 1: of my just like every night experience when I was

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Speaker 1: that age. How did you first get into try?

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Speaker 3: I actually loved that.

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Speaker 2: That was your experience because England had a very similar

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Speaker 2: version of it, which was basically you would have five

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Speaker 2: thirty PM Neighbors, six pm Simpsons obviously the best, then

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Speaker 2: six point thirty you'd hope it was Fresh Prince of

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Speaker 2: bel Air, but if it wasn't, then it was usually

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Speaker 2: Star Trek and that would run for like a solid

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Speaker 2: three hours. So I saw all different versions of Star Trek.

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Speaker 2: I saw the original series, I saw Voyager. I saw

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Speaker 2: a really terrifying episode of Deep Space night and about

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Speaker 2: nightmares that came to life that had me up for

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Speaker 2: like a week, And yeah, I just I think this

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Speaker 2: is such an interesting show. I'm so happy we're able

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Speaker 2: to finally start digging into it because this was always

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Speaker 2: our dream. Was like, if we're going to cover Star Trek,

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Speaker 2: we're just gonna do it from the beginning, like there's

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Speaker 2: no way that we're doing like choppy kind of bits

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Speaker 2: and bobs, and people have always wanted us.

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Speaker 3: To cover it.

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Speaker 2: So yeah, I'm really excited to cover it, and basically

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Speaker 2: this is the rundown of the episode. Solid recap because

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Speaker 2: this episode is crazy, really long. It's a wild breaks

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Speaker 2: basically every rule of pilot writing, which I love. Then

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Speaker 2: we're going to talk about the themes, which here are

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Speaker 2: very much like leadership, women in the workplace, surveillance, propaganda. Also,

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Speaker 2: those themes die into why the show didn't necessarily get

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Speaker 2: made in this form too, so we will talk a

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Speaker 2: little bit about the history and the production of the pilot,

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Speaker 2: as well as how this led to the original Real

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Speaker 2: Star Wars pilot. Depending on which version you watched when

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Speaker 2: you were a kid, that will either be The Man

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Speaker 2: Trap or Where No Man Has Gone Before, which were

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Speaker 2: the two episodes which aired out of order as pilots.

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Speaker 3: And Yeah, it's gonna be great. We're gonna dig in.

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Speaker 2: So this is track through Trek now a quick production

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Speaker 2: note which I'm very happy to say because I love

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Speaker 2: holiday season. So this holiday season we are going to

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Speaker 2: be sharing some shorter stocking.

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Speaker 3: Stuff for episodes with you.

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Speaker 2: With so many great shows and movies coming out this

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Speaker 2: next few months, the episodes will help us cover some

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Speaker 2: extra content, including books and comics that we wouldn't necessarily

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Speaker 2: be able to get onto our normal episodes, so stay

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Speaker 2: tuned for these stucking stuff is starting the week of Thanksgiving.

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Speaker 1: The first three cap all Right Star Trek the original

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Speaker 1: series series one the Cage. We open in Space the

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Speaker 1: Final Frontier, although, as we will discuss later in our

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Speaker 1: little factoid section, we don't get the iconic Space the

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Speaker 1: Final Frontier narration from our Captain Kirk because it is

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Speaker 1: not Captain Kirk as Captain Pike. We're on the bridge

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Speaker 1: of the starship Enterprise, though Captain Chris Pike and his crew,

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Speaker 1: including Science Officer Spock, receive a warning of an incoming signal.

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Speaker 1: It's a very old distress signal, like the old type,

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Speaker 1: and apparently there was a ship like eighteen years ago,

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Speaker 1: the SS Columbia, that was lost out here, and so

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Speaker 1: they're thinking, oh, this is it. Pike is like, well,

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Speaker 1: guess what. We're not going to check it out, though.

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Speaker 1: We have to go to Vega, and unless there are

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Speaker 1: survivors down there, or any evidence that there could be survivors,

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Speaker 1: we're not going to go because it was a long

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Speaker 1: time ago. Were gonna deal with a.

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Speaker 4: Crash right now.

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Speaker 1: Kind of a persnickety like no from Christopher Pike, who

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Speaker 1: then goes to his quarters and you discover why Captain

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Speaker 1: Chris Pike is in such a busy mood. It's because

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Speaker 1: they had just been through a battle on Rigel for

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Speaker 1: and lost people. And doctor Haskins comes in to Christopher

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Speaker 1: Pike's quarters, and it's very clear right away that doctor

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Speaker 1: Haskins is an older guy and Pike are like it's

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Speaker 1: like a mentor mentee or just like a shoulder to

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Speaker 1: like lean on kind of relationship with doctor Haskins. He

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Speaker 1: comes in with his little doctor case, opens it up

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Speaker 1: and starts making a martini for the cat, which is

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Speaker 1: which festival I shouldn't have but that's okay, shouldn't happen.

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Speaker 2: But also so Star Trek coded like so much of

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Speaker 2: what is interesting about this episode is though it is

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Speaker 2: very introverted and kind of way more serious.

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Speaker 3: It does establish a lot of the kind of.

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Speaker 2: Like groovy things that would go on to kind of

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Speaker 2: cement Star Trek storytelling, whether that's romance, whether it's unexpected drinking,

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Speaker 2: whether it is kind of the mundanity and brutality of

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Speaker 2: war combined with kind of the craziness of a sci

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Speaker 2: fi adventure.

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Speaker 3: A lot of it is here, and it is.

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Speaker 2: Yeah, it's very interesting that this is where Roddenberry chose

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Speaker 2: to start.

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Speaker 3: Let's be real, way ahead of its time.

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Speaker 2: This is like a fifth season kind of version of

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Speaker 2: Star Trek.

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Speaker 1: No, that's very, very true. So Pike is like, he's

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Speaker 1: feeling really bad about the fact that they lost people

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Speaker 1: on Rigel and the stress of command is wearing on him.

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Speaker 1: He's really beaten down by the whole thing, and he's like,

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Speaker 1: you know, I'm thinking about hanging it up. I'm thinking

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Speaker 1: about hanging up the cowboy hat, the spurs, the whole thing.

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Speaker 1: I'm feeling washed. I don't want to do this anymore.

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Speaker 1: And then Doc is like Doc, who is clearly kind

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Speaker 1: of like his therapist as well as medical doctors, like

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Speaker 1: why don't you just I don't know about that, Like

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Speaker 1: what drink your martini? And then like let's sit on that,

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Speaker 1: don't make any rash judgments. Then Spot calls with news

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Speaker 1: guess what, cap there are survivors. We just we got

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Speaker 1: another message from this distress signal and there are survivors.

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Speaker 1: So Pike is like, fine, we'll head to Tallows. Pike

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Speaker 1: is like a high strung guy. He's on the bridge

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Speaker 1: a Yeoman comes in with the orders that he himself

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Speaker 1: told her to bring at five am, and he's like,

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Speaker 1: why are you here, guy, I talk you interrupt me

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Speaker 1: on the fucking bridge and and she's like, I'm just

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Speaker 1: bringing you the reports that you told me to bring

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Speaker 1: it this very time. And he's like, all right, sorry

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Speaker 1: about that, Yeoman, but I'm just not used to a

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Speaker 1: woman on the bridge. I don't think there should be

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Speaker 1: women on the bridge. And then he looks over and

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Speaker 1: he's like, oh, yeah, my second in command number one

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Speaker 1: is a woman.

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Speaker 2: There's a Woman's like, but not you, number one of

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Speaker 2: you know.

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Speaker 3: You know what I mean, you're acceptable. Yeah.

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Speaker 2: Also this is Michelle Barrett Rodin Brie, who is Jean

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Speaker 2: Rodenbree's wife and who would go on to play many

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Speaker 2: different characters of in Star Trek where Rodin Breed kind

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Speaker 2: of write her in, but this was obviously meant to

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Speaker 2: be a huge role for her. And as you will,

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Speaker 2: we will get into Pike was not the only one

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Speaker 2: upset to see a woman on the bridge.

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Speaker 3: Let's put it that way.

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Speaker 1: Pike gets the science support and basically this planet is Earth, like,

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Speaker 1: they can land. They don't need any other you know,

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Speaker 1: breathing helmets or anything like that. So Pike is like, Okay,

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Speaker 1: it's gonna be me. Spock and four other Red Shirts

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Speaker 1: were going down there. Number One, you're in command, although

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Speaker 1: he the implication is kind of that he doesn't think

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Speaker 1: number one it would be safe for her to go

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Speaker 1: down there, and maybe she couldn't handle it, but he

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Speaker 1: also puts her in charge, you know, without a second thought.

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Speaker 1: So it's it's a quite complex kind of view of

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Speaker 1: Christopher Pike. They go down there. It's a rocky planet,

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Speaker 1: very desert like. Pike and Spok are like intrigue. They're

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Speaker 1: these little blue leaves that amid a sort of frequency

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Speaker 1: that we just never go back to that but it's

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Speaker 1: very mysteriously. Chrisms very interested in it. And after looking

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Speaker 1: around for a while, they find the survivors camp and

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Speaker 1: the survivor of the Columbia. They're all old as shit.

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Speaker 1: They're like, you know, they look like eighteen sixties prospectors,

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Speaker 1: you know, their hair all wild, giving.

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Speaker 2: More looks in the time machine like that, like cavemen.

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Speaker 1: So they're like, what's going on with Earth? And Pike

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Speaker 1: and Spok are like Earth is great, just like you

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Speaker 1: left it there are new technologies now where we can

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Speaker 1: like fly here faster than light. So there's a lot

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Speaker 1: of cool stuff, but you know, we'll get you out

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Speaker 1: of here. So they are preparing to remove the survivors

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Speaker 1: to the ship when they meet Vienna, who apparently was

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Speaker 1: a child when the Columbia crashed, and so now she's

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Speaker 1: like this beautiful blonde, nineteen or twenty year old woman,

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Speaker 1: and Pike is immediately like thrown that there's this hottie

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Speaker 1: like out here on tallows. Meanwhile, somewhere else, a group

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Speaker 1: of bald, veiny headed aliens or like watching this whole

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Speaker 1: scene unfold in their cave, and the leader makes some

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Speaker 1: sort of signal we can't hear them speak and we'll

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Speaker 1: figure out why soon to his two like lieutenants, and

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Speaker 1: they head off. Pike is packing helping pack stuff up

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Speaker 1: so they can all go back to the Enterprise, and

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Speaker 1: they're almost ready to go, and Vena's like, hey, I

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Speaker 1: can't help, but noticing you're a man of prime breeding stock,

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Speaker 1: He's like it's like what, and then she goes like,

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Speaker 1: I think it's time to show you our secret and

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Speaker 1: he's like okay, And meanwhile the doc is noticing that

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Speaker 1: the survivors, despite their bedraggled look are like very healthy,

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Speaker 1: almost too healthy. He's looking like good.

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Speaker 3: Yeah, looking great, Like what's gotten shilling down that for

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Speaker 3: a long time? Are you really survivors or are you

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Speaker 3: members of this strange society?

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Speaker 1: The leader of the of the bedraggled Columbia survivors then

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Speaker 1: is like, well, that's because of some kind of secret

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Speaker 1: that you're not ready for, which is what. It's like what?

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Speaker 1: And then that guy, the leader of the survivors, tells Viena, Hey, Vena,

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Speaker 1: go take Captain Pike somewhere private to show him the secret.

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Speaker 1: And so Pike is like, okay, let's go around the

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Speaker 1: corner and go to this rock out crupping and she's

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Speaker 1: like okay, ready, here it is and he's like what,

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Speaker 1: I don't see anything, And then she disappears and the

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Speaker 1: aliens come out of the cave and stun Captain Pike

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Speaker 1: and they take him prisoner. The rest of his crew

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Speaker 1: is like trying to blast through the door, but it's

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Speaker 1: no good. They can't they can't get him. The door

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Speaker 1: is apparently made of some super strong material. Spock radio

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Speaker 1: is the strip. He's like, hey, it's a trap. They've

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Speaker 1: got the captain. We're leaving. Pike wakes up in a

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Speaker 1: cell and he's in like this extensive underground cave base

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Speaker 1: in this clear walled cell, and he can see Pike

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Speaker 1: like this kind of bear pig creature with its ash

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Speaker 1: cheeks exposed, like walking around and other like weird creatures,

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Speaker 1: like a huge rooster.

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Speaker 5: Yeah.

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Speaker 1: The aliens come in and they stare at Pike, and

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Speaker 1: Pike is like, listen, I'm the captain of the USS Enterprise.

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Speaker 1: Our mission is totally peaceful. I'm a very experienced space captain,

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Speaker 1: and you should let us out. Let me out. And

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Speaker 1: the aliens are like, look, how simple this organism is

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Speaker 1: a very simple, like dumb creature. They still speak with

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Speaker 1: their mouths and stuff, and they were easily tricked by us,

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Speaker 1: and isn't that isn't that interesting? And then Pikes starts

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Speaker 1: to get like gangster with it. He's like, listen, I've

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Speaker 1: got fucking We've got phasers, we've got like laser cannons,

254
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Speaker 1: we've got the tor the space torpedoes, we've got all that,

255
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Speaker 1: like we could destroy this place, like, don't get into

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Speaker 1: it with us. And the aliens, meanwhile, are still talking

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Speaker 1: with themselves like, watch now he's gonna get mad and

258
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Speaker 1: threaten us. And watch now he's gonna now he's gonna

259
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Speaker 1: try and break the glass. Watch this, this is it's

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Speaker 1: a law clear.

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Speaker 4: Yeah.

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Speaker 2: I also want to say huge another huge change here,

263
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Speaker 2: or ironically a law change that really sets up one

264
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Speaker 2: of the most continuously talked about canonical, uh hypocritical kind

265
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Speaker 2: of things about Star Trek, which is the idereas you

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Speaker 2: go you don't leave anything behind, you don't change a planet,

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Speaker 2: you don't attack a planet.

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Speaker 3: It's a peaceful situation that Pike is not in. That sage.

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Speaker 3: Pike is like, I'm gonna blow your show. What are

270
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Speaker 3: you gonna do it?

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Speaker 5: Boy?

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Speaker 2: It Now Honestly, that actually happens a lot, even though

273
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Speaker 2: the Federation are not meant to do that. These motherfuckers

274
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Speaker 2: are always getting involved in other people's business. But very

275
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Speaker 2: funny to a Pike kid just immediately be like, I'm

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Speaker 2: gonna blow up your planet, let me go, And then

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Speaker 2: the aliens are like, oh, okay, we've had that one before.

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Speaker 1: Yeah, So the aliens are like, okay, this one is

279
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Speaker 1: quite spirited, and we'll begin with the experience quite soon.

280
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Speaker 1: Spock and the crew back on the enterprise or studying

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Speaker 1: the planet to try to figure out, like what can

282
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Speaker 1: we do, and they realize that the underground aliens like

283
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Speaker 1: trick them set them all up. The doctor points out

284
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Speaker 1: that the aliens must have some sort of telepathy and

285
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Speaker 1: ability to project illusions into their minds, and right now

286
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Speaker 1: they might be doing that, Like we can't trust anything

287
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Speaker 1: we're doing. They use this illusion of Vena the hottie.

288
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Speaker 1: Actually he doesn't mention this there, but like that was

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Speaker 1: a big part of it. So Number one wonders, like, oh,

290
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Speaker 1: I wonder what the aliens want, Like what could they

291
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Speaker 1: possibly want? Spots like I don't know, but he does

292
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Speaker 1: figure just based on his readings that the aliens must

293
00:16:07,160 --> 00:16:09,480
Speaker 1: have three times at least three times the brain power

294
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Speaker 1: of their own. Yeah, that's why they're so big. So

295
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Speaker 1: Number one is like, okay, well, here's my idea. Take

296
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Speaker 1: let's take some of the cannons out of the ship,

297
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Speaker 1: let's bring them down to the surface, and let's just

298
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Speaker 1: drill our way through the door.

299
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Speaker 3: Crazy.

300
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Speaker 1: Meanwhile, thousands of aliens, off camera but mentioned, are simultaneously

301
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Speaker 1: probing Pike's mind and looking at his memories and just

302
00:16:36,640 --> 00:16:38,640
Speaker 1: reading him like a book. As he searches for a

303
00:16:38,680 --> 00:16:42,200
Speaker 1: way out, and they find out about the recent events

304
00:16:42,200 --> 00:16:45,000
Speaker 1: on Rigel and his guilt about that, and they decide

305
00:16:45,040 --> 00:16:48,240
Speaker 1: to use that memory again and his own guilt against him.

306
00:16:48,320 --> 00:16:51,320
Speaker 1: Suddenly Pike is like on Rigel and Vina is there

307
00:16:51,360 --> 00:16:54,840
Speaker 1: begging like Pipe help me, Oh my god. Pike is like,

308
00:16:55,080 --> 00:16:58,760
Speaker 1: he knows immediately, like this is an illusion. You're from

309
00:16:58,840 --> 00:17:01,000
Speaker 1: the planet, Like we're back on the planet. This is

310
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Speaker 1: not happening. But he's also I'm in my cell and

311
00:17:05,640 --> 00:17:08,240
Speaker 1: this must be some sort of space zoo. But then

312
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Speaker 1: the space barbarian that apparently killed Pike's crew members shows

313
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Speaker 1: up and starts going fucking ham and Pike is like,

314
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Speaker 1: fine enough, like this I just instinctively like I have

315
00:17:19,320 --> 00:17:22,879
Speaker 1: to fight this barbarian. And a lot of it is

316
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Speaker 1: because of his own very period correct feelings of must

317
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Speaker 1: protect woman from yes barbarian.

318
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Speaker 2: To that really interestingly, even though he knows Vena isn't

319
00:17:35,040 --> 00:17:38,840
Speaker 2: really real, but yeah, he even he even speaks to.

320
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Speaker 3: The aliens about that.

321
00:17:40,040 --> 00:17:44,440
Speaker 2: So this is again establishing a much more complicated understanding

322
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Speaker 2: of gender and masculinity than most shows at this time,

323
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Speaker 2: which would obviously go into shape kind of the legacy

324
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Speaker 2: of Star Trek.

325
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Speaker 1: So Pike does manage to kill the barbarian and then

326
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Speaker 1: Poofy's back going to sell with Vena and Venus hugging him,

327
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Speaker 1: and the aliens are watching like absolute freaks outside the glass,

328
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Speaker 1: and Vina's like, listen, and here the innuendos are like

329
00:18:11,080 --> 00:18:15,320
Speaker 1: so strong, it's crazy to think, like in the sixties,

330
00:18:15,359 --> 00:18:18,159
Speaker 1: what this must have felt like. Of course this was

331
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Speaker 1: not this pilot was not aired, but you know, it's

332
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Speaker 1: a very similar kind of innuendos. In the later series,

333
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Speaker 1: Vina is like, listen, am I real? Am I not real?

334
00:18:26,280 --> 00:18:28,080
Speaker 1: I can be as real as you want, like anything.

335
00:18:28,119 --> 00:18:30,400
Speaker 3: Yeah, She's like, maybe a woman be real?

336
00:18:30,920 --> 00:18:34,399
Speaker 1: Yeah, what kind of woman have you fantasized about? Like

337
00:18:34,400 --> 00:18:36,560
Speaker 1: I can be that. I could be anything that you

338
00:18:36,680 --> 00:18:39,080
Speaker 1: want in the whole world, Like you know, just use

339
00:18:39,119 --> 00:18:44,480
Speaker 1: your imagination. We could do that. And Pike is like, interesting,

340
00:18:44,600 --> 00:18:47,040
Speaker 1: that's an interesting thought. And I'm not saying no, But

341
00:18:47,640 --> 00:18:49,320
Speaker 1: how do I keep the aliens out of my mind?

342
00:18:49,359 --> 00:18:49,959
Speaker 1: Do you know any way?

343
00:18:49,960 --> 00:18:52,760
Speaker 3: I want? Like they won they want to be in

344
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Speaker 3: my mind while I'm banging.

345
00:18:54,920 --> 00:18:57,679
Speaker 4: Yeah, I think I do.

346
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Speaker 1: And her reaction, even though she doesn't say there's a

347
00:19:01,359 --> 00:19:03,320
Speaker 1: way to keep them out. Her reaction tells him there

348
00:19:03,400 --> 00:19:06,520
Speaker 1: must be some. Meanwhile, outside of the cave number one

349
00:19:06,560 --> 00:19:09,520
Speaker 1: and the rest, they're drilling with those ships cannons and

350
00:19:09,560 --> 00:19:11,840
Speaker 1: they go full power and they don't see any change

351
00:19:11,840 --> 00:19:17,720
Speaker 1: in the door. Doc points out that again, they're like, hey, uh,

352
00:19:18,960 --> 00:19:21,280
Speaker 1: we don't know what to trust down here, Like they

353
00:19:21,280 --> 00:19:23,760
Speaker 1: could be fucking with our minds right now and we

354
00:19:23,840 --> 00:19:26,359
Speaker 1: would not know, So just be aware of that. Pike

355
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Speaker 1: is chatting with Vena about the mind control and Vina's like, fine, fine, fine,

356
00:19:30,880 --> 00:19:37,400
Speaker 1: if you promise to share whatever your most secret sexual

357
00:19:37,520 --> 00:19:41,760
Speaker 1: fantasy is so we can live it together, I will

358
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Speaker 1: tell you, like how to keep the aliens out of

359
00:19:44,600 --> 00:19:47,280
Speaker 1: your mind. So she then tells him, Okay, the aliens

360
00:19:47,280 --> 00:19:51,360
Speaker 1: went underground because of war, and that's underground over centuries,

361
00:19:51,359 --> 00:19:54,880
Speaker 1: they developed them mental powers. But then they got their

362
00:19:54,920 --> 00:19:57,560
Speaker 1: mental powers are so strong that they just got trapped

363
00:19:57,960 --> 00:20:01,040
Speaker 1: in a maze of their own fantasies and delusions that

364
00:20:01,080 --> 00:20:05,520
Speaker 1: they project apparently into each other's minds and everything and

365
00:20:05,320 --> 00:20:07,960
Speaker 1: and so they're just kind of like a lost species.

366
00:20:08,640 --> 00:20:11,440
Speaker 1: She confirms that there is this is a zoo and

367
00:20:12,640 --> 00:20:14,480
Speaker 1: and then it becomes clear, Okay, we need a pair

368
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Speaker 1: of humans, but like, where would the woman come from?

369
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Speaker 1: Is Vienna even real? And Vina's like, no, I'm real,

370
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Speaker 1: and again I can be like much realer in any

371
00:20:24,760 --> 00:20:27,040
Speaker 1: way you want. But then all of a sudden, she

372
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Speaker 1: screams and disappears in the big head alien like apparently

373
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Speaker 1: like just made her disappear.

374
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Speaker 2: We don't sucked him, sucked her back into his big

375
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Speaker 2: butt slash testical brain uncle something like that. I did

376
00:20:39,880 --> 00:20:43,439
Speaker 2: think this was actually very evocative and a great moment

377
00:20:43,560 --> 00:20:46,800
Speaker 2: when she is, you know, talking to Pike and they

378
00:20:46,920 --> 00:20:49,400
Speaker 2: kind of have this like picnic projection, and she sort

379
00:20:49,400 --> 00:20:52,200
Speaker 2: of says to him, like, just tell me any fantasy,

380
00:20:52,240 --> 00:20:53,080
Speaker 2: whatever your.

381
00:20:53,040 --> 00:20:55,639
Speaker 3: Dream is, let me live it with you.

382
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Speaker 2: Because I think she is aware that she doesn't really exist,

383
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Speaker 2: but in that way, maybe they would let how to

384
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Speaker 2: stay alive.

385
00:21:01,320 --> 00:21:01,639
Speaker 4: I don't know.

386
00:21:01,640 --> 00:21:02,600
Speaker 3: I was very ebucative.

387
00:21:02,600 --> 00:21:08,760
Speaker 2: And again the creepy, haunting, existential kind of throwaway moments

388
00:21:08,800 --> 00:21:12,920
Speaker 2: that made star Trek what it is being seeded hit because.

389
00:21:12,680 --> 00:21:13,920
Speaker 3: Then she just doesn't exist.

390
00:21:14,400 --> 00:21:19,320
Speaker 1: Yeah, because there's like deeper There are deeper complexities as

391
00:21:19,359 --> 00:21:21,920
Speaker 1: you drill down into Starturek, which makes it very interesting

392
00:21:22,720 --> 00:21:26,880
Speaker 1: even for the period. So Pike is, you know, how

393
00:21:26,920 --> 00:21:28,960
Speaker 1: do I escape from here? He's trying to figure it out.

394
00:21:29,000 --> 00:21:30,959
Speaker 1: He can't. The aliens come over and they feed him.

395
00:21:30,960 --> 00:21:34,400
Speaker 1: It's feeding time. They give him just like a gross

396
00:21:34,560 --> 00:21:38,840
Speaker 1: like a flagon of a gross nutrient liquid, and the

397
00:21:38,880 --> 00:21:42,000
Speaker 1: alien is like, you gotta eat that, and if you

398
00:21:42,040 --> 00:21:44,760
Speaker 1: don't eat it, we're going to torture you with various

399
00:21:45,200 --> 00:21:48,800
Speaker 1: torture illusions. And now Pike is. Now Pike is really

400
00:21:48,960 --> 00:21:52,000
Speaker 1: fascinated because he's like, why not just make me think

401
00:21:52,040 --> 00:21:59,119
Speaker 1: I'm really hungry? Yeah, you can't do that, can you? Like?

402
00:21:59,200 --> 00:22:01,040
Speaker 1: There must be to what you're doing.

403
00:22:01,080 --> 00:22:04,439
Speaker 2: And the alien's like, why not just make him have

404
00:22:04,600 --> 00:22:06,439
Speaker 2: sex with Bena if they do that?

405
00:22:06,480 --> 00:22:09,040
Speaker 3: But they can't, And just so this sudden, I guess.

406
00:22:09,359 --> 00:22:12,119
Speaker 1: So the Alien's like, listen, motherfucker. You keep thinking like

407
00:22:12,200 --> 00:22:15,800
Speaker 1: that and you're gonna You're gonna regret it. All of

408
00:22:15,840 --> 00:22:17,960
Speaker 1: a sudden, Pike is like, oh yeah, bitch, And then

409
00:22:18,080 --> 00:22:21,960
Speaker 1: like rushes at the glass and the alien is flinches,

410
00:22:22,720 --> 00:22:27,200
Speaker 1: and Pike is like, Aha, that's interesting, Like you got

411
00:22:27,240 --> 00:22:29,600
Speaker 1: scared when I rushed the glass. You didn't know I

412
00:22:29,640 --> 00:22:31,440
Speaker 1: was gonna do that. You can read my mind, but

413
00:22:31,480 --> 00:22:35,479
Speaker 1: you didn't know I was gonna do that. Aha, So

414
00:22:35,560 --> 00:22:40,200
Speaker 1: now what's really what is going on? The alien won't

415
00:22:40,200 --> 00:22:42,639
Speaker 1: stop talking about Viena, like Viena Vienavina, Like don't you

416
00:22:42,760 --> 00:22:44,920
Speaker 1: like her? Since she hot? Like do you want something else?

417
00:22:45,000 --> 00:22:47,240
Speaker 1: Like what's going on? Like what we want you to

418
00:22:47,280 --> 00:22:49,920
Speaker 1: be happy here? And we made this like very young

419
00:22:50,000 --> 00:22:54,320
Speaker 1: girl that is like totally interest you and why don't

420
00:22:54,359 --> 00:22:58,480
Speaker 1: you want that? And we sense that, like you're protective

421
00:22:58,560 --> 00:23:01,199
Speaker 1: towards her, so like it's got to be working on

422
00:23:01,240 --> 00:23:04,080
Speaker 1: some level. All of a sudden, Pike finds himself in

423
00:23:04,119 --> 00:23:06,480
Speaker 1: that illusion that you were talking about with Ana. He's

424
00:23:06,520 --> 00:23:08,960
Speaker 1: back on earth with his two horses and he's talking about,

425
00:23:09,000 --> 00:23:10,800
Speaker 1: oh yeah, I still go riding around here all the

426
00:23:10,840 --> 00:23:14,440
Speaker 1: time and YadA, YadA, YadA, And it's definitely working on Pike,

427
00:23:14,480 --> 00:23:15,840
Speaker 1: like he's getting sucked into it.

428
00:23:15,920 --> 00:23:17,960
Speaker 3: It's kind of like, oh, well, maybe it's not too bad.

429
00:23:18,440 --> 00:23:21,320
Speaker 1: It's clearly based on the conversation that he had back

430
00:23:21,359 --> 00:23:24,800
Speaker 1: with the about Rigel and the events of Rigel with

431
00:23:24,840 --> 00:23:28,240
Speaker 1: the doc and the aliens. Clearly thought, oh, here's here's

432
00:23:28,240 --> 00:23:31,280
Speaker 1: an example of him wanting to like stop being the

433
00:23:31,320 --> 00:23:33,400
Speaker 1: captain of the ship. Maybe we use that to get

434
00:23:33,440 --> 00:23:36,960
Speaker 1: him out of this, and so Pike. But Pike can't

435
00:23:37,000 --> 00:23:38,800
Speaker 1: let it go. He's talking with Viena about the illusion.

436
00:23:38,800 --> 00:23:40,600
Speaker 1: He's like, what are they up to? What do they want?

437
00:23:40,640 --> 00:23:43,879
Speaker 1: And Venus like, fine, okay, listen enough, I'll tell you

438
00:23:43,960 --> 00:23:47,000
Speaker 1: and then we can do weird sex shit, okay, whatever

439
00:23:47,000 --> 00:23:51,880
Speaker 1: you want. The aliens can't read like base primitive emotions

440
00:23:52,119 --> 00:23:55,600
Speaker 1: like hate. They never really expand on what other emotions.

441
00:23:55,640 --> 00:24:00,440
Speaker 1: Possibly they can't read, but definitely hate, anger, strong anger feelings.

442
00:24:00,480 --> 00:24:03,919
Speaker 1: You can't do it and the only like and Vena's like,

443
00:24:03,960 --> 00:24:05,600
Speaker 1: the only issue with that is like it's hard to

444
00:24:05,680 --> 00:24:07,920
Speaker 1: keep that up for a long period of time. Pike

445
00:24:08,040 --> 00:24:14,600
Speaker 1: is like, listen, Vina, you're hot as hell, okay, And

446
00:24:14,720 --> 00:24:17,240
Speaker 1: from the moment I came down to this planet, I thought,

447
00:24:17,680 --> 00:24:20,040
Speaker 1: here's like a hot twenty year old in space. And

448
00:24:20,080 --> 00:24:23,679
Speaker 1: I'm like, i gotta like I'm feeling stuff, but like

449
00:24:24,000 --> 00:24:26,200
Speaker 1: I'm a captain of a ship. And Vena's like, well,

450
00:24:26,240 --> 00:24:29,080
Speaker 1: you know, we can do it again for the fifteenth time.

451
00:24:29,119 --> 00:24:31,440
Speaker 1: We can do whatever you want. Yeah, and then boom.

452
00:24:31,480 --> 00:24:34,000
Speaker 2: Also, can I just say, guys, this this episode of

453
00:24:34,040 --> 00:24:35,359
Speaker 2: it sounds like a lot is happening.

454
00:24:35,400 --> 00:24:37,560
Speaker 3: It's because this pilot is over an hour long.

455
00:24:37,800 --> 00:24:41,440
Speaker 2: It's like there is there is a lot of conversation

456
00:24:41,800 --> 00:24:44,760
Speaker 2: about whether or not Pike is going to have sex

457
00:24:44,840 --> 00:24:46,359
Speaker 2: with this imaginary woman.

458
00:24:46,960 --> 00:24:49,880
Speaker 1: So then the aliens are like, Okay, let's just get

459
00:24:50,000 --> 00:24:53,679
Speaker 1: very explicit with the sexual part of this, right, So

460
00:24:53,720 --> 00:24:57,960
Speaker 1: the illusion changes to like a white person's idea of

461
00:24:58,040 --> 00:25:02,439
Speaker 1: like a near East stern like space middle Eastern court

462
00:25:03,000 --> 00:25:06,480
Speaker 1: from the medieval times, with like a green dancing woman

463
00:25:06,640 --> 00:25:10,199
Speaker 1: and music that suggests like a harem and you know

464
00:25:10,240 --> 00:25:11,160
Speaker 1: that kind of thing.

465
00:25:11,200 --> 00:25:12,680
Speaker 3: Yeah, very orientalist.

466
00:25:13,160 --> 00:25:13,360
Speaker 6: Yeah.

467
00:25:13,560 --> 00:25:16,680
Speaker 1: Captain Pike is sitting at at a table with these

468
00:25:16,720 --> 00:25:19,320
Speaker 1: two other like lecherousue guys who are like, oh, yeah,

469
00:25:19,480 --> 00:25:21,800
Speaker 1: I love this planet. I love coming here. It's fucking

470
00:25:22,119 --> 00:25:24,800
Speaker 1: you know anything you want, Like it's great. And then

471
00:25:24,840 --> 00:25:28,120
Speaker 1: he the guy, the guy like directly in the Pike's right,

472
00:25:28,240 --> 00:25:30,480
Speaker 1: says literally like, you know what I love about the

473
00:25:30,480 --> 00:25:34,000
Speaker 1: women on this planet? They actually like being taken advantage

474
00:25:34,000 --> 00:25:41,960
Speaker 1: of a holy shit, And Pike is like, he's looking

475
00:25:41,960 --> 00:25:45,760
Speaker 1: at Vena Vina is the green skinned one's because.

476
00:25:45,560 --> 00:25:48,040
Speaker 3: She also looks like hella old when in the green

477
00:25:48,080 --> 00:25:49,800
Speaker 3: skin it's like a totally different look.

478
00:25:49,800 --> 00:25:52,920
Speaker 2: I feel like they didn't understand the nature of pikes

479
00:25:53,000 --> 00:25:56,000
Speaker 2: like innocence, Like he was being drawn to this kind

480
00:25:56,040 --> 00:25:57,479
Speaker 2: of innocent, picnic fashion.

481
00:25:57,640 --> 00:25:59,879
Speaker 3: But it doesn't mean he's not enjoying it.

482
00:26:00,080 --> 00:26:03,440
Speaker 1: I mean he's definitely getting aroused. Like it's a very

483
00:26:04,560 --> 00:26:10,600
Speaker 1: complex performance because Pike is both like trying to keep

484
00:26:10,680 --> 00:26:13,760
Speaker 1: it legit and professional, but he's also like, damn, like,

485
00:26:13,960 --> 00:26:17,119
Speaker 1: you know, I'm in space brothel with green skin alien

486
00:26:17,119 --> 00:26:21,560
Speaker 1: who wants me like and finally he's like, I gotta

487
00:26:22,119 --> 00:26:25,840
Speaker 1: that's it. I'm leaving. So he leaves the like dance area,

488
00:26:25,960 --> 00:26:29,960
Speaker 1: and he's finds himself trapped all of a sudden. I

489
00:26:29,960 --> 00:26:31,719
Speaker 1: guess he was like going to storm off to like

490
00:26:31,920 --> 00:26:35,119
Speaker 1: jack off in the bathroom or something it seems like,

491
00:26:35,320 --> 00:26:38,000
Speaker 1: but what it seemed like, But he finds himself trapped

492
00:26:38,040 --> 00:26:42,240
Speaker 1: and Vena' is there and she's looking at him very erotically. Meanwhile,

493
00:26:42,320 --> 00:26:46,120
Speaker 1: we cut to the surface. Spot A Number one are

494
00:26:46,680 --> 00:26:51,199
Speaker 1: their Their plan now is beam ourselves directly into the

495
00:26:51,240 --> 00:26:54,160
Speaker 1: base with a strike team. It's me Spot number one,

496
00:26:54,920 --> 00:26:58,520
Speaker 1: Yeoman and three others and we'll get in there with

497
00:26:58,560 --> 00:27:02,200
Speaker 1: our phasers and we'll break him out, and only Number

498
00:27:02,240 --> 00:27:04,840
Speaker 1: one and the yeoman who got yelled at earlier get

499
00:27:04,880 --> 00:27:10,080
Speaker 1: in and they get into a Pike cell and Pike

500
00:27:10,400 --> 00:27:14,040
Speaker 1: gets like, insanely the Vina excuse me, it gets insanely

501
00:27:14,080 --> 00:27:15,440
Speaker 1: jaeolus at me, like what the fuck?

502
00:27:16,080 --> 00:27:16,159
Speaker 2: What?

503
00:27:16,800 --> 00:27:19,359
Speaker 1: Like I was so we were so close. I've been

504
00:27:19,400 --> 00:27:21,840
Speaker 1: working on this like he's my guy, and now you

505
00:27:21,960 --> 00:27:27,160
Speaker 1: two fucking bitches broke, ugly, ugly, broke, broke let YouTube,

506
00:27:27,200 --> 00:27:31,840
Speaker 1: dumb bitches, show up, your ruin out, I'll hang now.

507
00:27:31,840 --> 00:27:35,160
Speaker 1: The aliens show up and they're like, okay, Pike, look

508
00:27:35,200 --> 00:27:38,119
Speaker 1: at what we got you. Okay, we understand Vina. Now

509
00:27:39,200 --> 00:27:42,200
Speaker 1: maybe we don't know how to create the illusion right,

510
00:27:42,280 --> 00:27:44,320
Speaker 1: and she's not everything you wanted, But now we got

511
00:27:44,480 --> 00:27:48,800
Speaker 1: number one, your direct report who she's an older woman

512
00:27:49,040 --> 00:27:51,640
Speaker 1: and it seems like she has a very cold exterior,

513
00:27:51,760 --> 00:27:56,600
Speaker 1: professional exterior towards you. But guess what she fantasizes about you,

514
00:27:56,680 --> 00:27:57,240
Speaker 1: Captain Pike.

515
00:27:57,520 --> 00:27:58,400
Speaker 3: This was wild.

516
00:27:58,880 --> 00:28:02,199
Speaker 1: Number one is like you, I can't believe you just

517
00:28:02,240 --> 00:28:06,679
Speaker 1: did that, snitches around, and then she goes to and

518
00:28:06,720 --> 00:28:09,480
Speaker 1: then they go and the yeoman who you screamed at earlier,

519
00:28:09,880 --> 00:28:14,320
Speaker 1: obviously younger, prime breeding like, and I gotta tell you this,

520
00:28:14,840 --> 00:28:15,840
Speaker 1: she loves sex.

521
00:28:16,200 --> 00:28:19,480
Speaker 7: It's the aliens literally tell this the Christopher Pike like,

522
00:28:19,560 --> 00:28:26,080
Speaker 7: she loves sex, okay, and Pike is like, I got

523
00:28:26,119 --> 00:28:26,480
Speaker 7: a lot of.

524
00:28:26,440 --> 00:28:28,800
Speaker 1: Respect for Captain Pike in this moment, because Captain Pike

525
00:28:28,920 --> 00:28:32,360
Speaker 1: responds to none of that. He's just like, listen, when

526
00:28:32,400 --> 00:28:35,159
Speaker 1: I get my fucking hands on you, you son of

527
00:28:35,200 --> 00:28:37,720
Speaker 1: a bitch. He's like, don't be talking about those women

528
00:28:37,800 --> 00:28:44,000
Speaker 1: like that. I'm gonna fucking rig your little fucking neck

529
00:28:44,560 --> 00:28:48,040
Speaker 1: and the aliens your alien neck. Alien then sends a

530
00:28:48,080 --> 00:28:51,000
Speaker 1: bolt of pain through Pike's mind, like fuck off. Pike's like.

531
00:28:51,760 --> 00:28:54,680
Speaker 1: Pike then tells his number one in the Yeoman like, listen,

532
00:28:54,720 --> 00:28:59,080
Speaker 1: they can't keep your mind hateful, like they can't read that.

533
00:28:59,200 --> 00:29:01,400
Speaker 1: They can't read hate. And Number one is probably like,

534
00:29:01,600 --> 00:29:02,800
Speaker 1: believe me, I'm already there.

535
00:29:02,880 --> 00:29:05,320
Speaker 2: She's like I'm that also as well, Like I thought

536
00:29:05,320 --> 00:29:07,760
Speaker 2: this was really interesting because then I was like, oh,

537
00:29:07,880 --> 00:29:11,000
Speaker 2: is this why they get everyone horny on the planet.

538
00:29:10,640 --> 00:29:12,680
Speaker 3: Because that like it's hard to be hateful if you're

539
00:29:12,720 --> 00:29:15,080
Speaker 3: just really horny. But yeah, I mean number one, they

540
00:29:15,120 --> 00:29:16,520
Speaker 3: ain't reading shit. She's pissed.

541
00:29:17,120 --> 00:29:21,800
Speaker 1: Yes, So on the ship Spock is now in control,

542
00:29:21,880 --> 00:29:26,080
Speaker 1: and he's like, fuck number one, fuck the Yeomen, fuck Crystaler, Pike,

543
00:29:26,120 --> 00:29:28,760
Speaker 1: We're out of here, Like this is crazy. We get Federation,

544
00:29:28,840 --> 00:29:32,400
Speaker 1: we gotta go, man Federation. We are out, Captain Spock,

545
00:29:32,520 --> 00:29:35,840
Speaker 1: you can call me that now. I'm out of here. Pike. Meanwhile,

546
00:29:35,960 --> 00:29:39,640
Speaker 1: and I'm not even sure what happened here. This feels

547
00:29:39,640 --> 00:29:41,920
Speaker 1: like something that would have been edited. I mean, this is,

548
00:29:42,160 --> 00:29:44,320
Speaker 1: as you mentioned, a long running episode that would have

549
00:29:44,320 --> 00:29:47,240
Speaker 1: been cut down to forty two or something like that

550
00:29:47,720 --> 00:29:51,239
Speaker 1: for television. So what happens is an alien is like

551
00:29:51,400 --> 00:29:57,560
Speaker 1: crawling into the cell for unclear reasons, and Pike, who's

552
00:29:57,600 --> 00:30:01,480
Speaker 1: like sleeping, manages to catch him and fucking drags of

553
00:30:01,560 --> 00:30:04,600
Speaker 1: it in the cell and he starts like ringing this

554
00:30:04,720 --> 00:30:09,640
Speaker 1: alien's necks, like stop doing the fucking illusions, and the

555
00:30:09,640 --> 00:30:12,400
Speaker 1: alien's like, listen, I'll destroy your ship unless you let

556
00:30:12,440 --> 00:30:15,400
Speaker 1: me go. We can do that. We can put crazy

557
00:30:15,440 --> 00:30:17,640
Speaker 1: illusions in your cruise mind and they will destroy it

558
00:30:17,680 --> 00:30:21,720
Speaker 1: for us. Meanwhile, on the ship, the aliens are like

559
00:30:22,200 --> 00:30:25,280
Speaker 1: in everybody's minds and they're downloading like all the information

560
00:30:25,480 --> 00:30:27,280
Speaker 1: that they can get about the ship and Earth history

561
00:30:27,320 --> 00:30:31,240
Speaker 1: and all that Pike is then takes out his phaser

562
00:30:31,400 --> 00:30:34,480
Speaker 1: and he's like, I'm gonna fucking blow your fucking testicle

563
00:30:34,560 --> 00:30:37,760
Speaker 1: brains out, and he marches the alien of the cell

564
00:30:38,200 --> 00:30:40,719
Speaker 1: and it's like, take me back to the fucking service now.

565
00:30:41,440 --> 00:30:44,040
Speaker 1: And Pike tells Number one contact the ship, tell him

566
00:30:44,040 --> 00:30:48,240
Speaker 1: we escape. The alien says, listen, just stay here, okay,

567
00:30:48,400 --> 00:30:52,800
Speaker 1: pick one of these females and repopulate the planet. Like

568
00:30:52,840 --> 00:30:55,920
Speaker 1: what's the big deal? It would be great, come on,

569
00:30:57,040 --> 00:30:59,800
Speaker 1: And Pike is like, listen, send number one and Yeoman

570
00:30:59,840 --> 00:31:01,920
Speaker 1: back to the ship. Here's the deal, and I'll stay

571
00:31:01,920 --> 00:31:05,200
Speaker 1: here with Vina and we'll make it happen. So and

572
00:31:05,400 --> 00:31:08,760
Speaker 1: it's unclear in this moment whether he's legit or or

573
00:31:08,800 --> 00:31:11,240
Speaker 1: he's tempted, or if this is a ploy. Number one

574
00:31:11,840 --> 00:31:15,880
Speaker 1: sets a phaser to explode while he while Pike is

575
00:31:15,920 --> 00:31:19,960
Speaker 1: making this deal and is like, I'd rather us all

576
00:31:20,040 --> 00:31:22,880
Speaker 1: die than we live down here like zoo animals and

577
00:31:22,880 --> 00:31:25,320
Speaker 1: the other aliens show up and they're like, listen, we

578
00:31:25,440 --> 00:31:28,280
Speaker 1: have all the enterprises records and all the memories from there.

579
00:31:28,800 --> 00:31:32,160
Speaker 1: It's a crazy That species is crazy, Like they are nuts.

580
00:31:32,400 --> 00:31:35,920
Speaker 1: They don't like to live as slaves. They are very violent,

581
00:31:36,560 --> 00:31:38,040
Speaker 1: maybe too violent than what.

582
00:31:37,960 --> 00:31:38,560
Speaker 4: We're used to.

583
00:31:39,280 --> 00:31:43,480
Speaker 1: And so the boss aliens like, Okay, we made a mistake.

584
00:31:43,520 --> 00:31:46,400
Speaker 1: You guys are too wild, like kind of crazy. You

585
00:31:46,440 --> 00:31:49,680
Speaker 1: can go like no harm, no foul, sorry about the

586
00:31:49,760 --> 00:31:52,480
Speaker 1: whole thing, but you guys can go. And Pike is like, well,

587
00:31:52,560 --> 00:31:55,440
Speaker 1: let me take Vina and if she wants to come,

588
00:31:55,480 --> 00:31:58,800
Speaker 1: and she's like, I can't. And it's unclear if wait

589
00:31:58,880 --> 00:31:59,480
Speaker 1: is she reel?

590
00:31:59,680 --> 00:32:00,400
Speaker 2: Is she like?

591
00:32:00,440 --> 00:32:04,080
Speaker 1: What is going on with na Yeoman and Numero Uno? Back?

592
00:32:04,280 --> 00:32:08,120
Speaker 1: Go back up to the ship. Pike stays on the planet.

593
00:32:08,760 --> 00:32:10,800
Speaker 1: They look back and they're in the transporter and where

594
00:32:10,800 --> 00:32:14,800
Speaker 1: the Pike, Pike is down there just chatting up. Vina

595
00:32:15,640 --> 00:32:18,640
Speaker 1: all of a sudden turns like really old and messed up.

596
00:32:18,680 --> 00:32:22,560
Speaker 1: And it turned out that after the crash, the aliens

597
00:32:22,560 --> 00:32:24,400
Speaker 1: were like, we don't know what a human is. So

598
00:32:24,480 --> 00:32:27,880
Speaker 1: they like fixed her put her back together, and they

599
00:32:27,920 --> 00:32:30,520
Speaker 1: put her back together like all lumpy and shucked off,

600
00:32:32,920 --> 00:32:36,360
Speaker 1: and Pike's like, nah uglay yeah. He's like yeah, yeah, yeah, yeah,

601
00:32:36,360 --> 00:32:38,920
Speaker 1: you know, and you know who, You're gonna stay here

602
00:32:39,040 --> 00:32:39,640
Speaker 1: like it's fine.

603
00:32:41,320 --> 00:32:41,640
Speaker 3: Uh.

604
00:32:41,800 --> 00:32:45,000
Speaker 1: Pike is like, so Pike is like, listen, I'm gonna

605
00:32:45,040 --> 00:32:47,520
Speaker 1: go back to the ship. It was really nice meeting you.

606
00:32:47,880 --> 00:32:49,120
Speaker 3: Sorry we didn't get to me.

607
00:32:50,000 --> 00:32:51,720
Speaker 1: I had a great time with you.

608
00:32:52,320 --> 00:32:52,920
Speaker 7: Uh.

609
00:32:53,000 --> 00:32:57,680
Speaker 1: And so she walks off and then Pike like goes

610
00:32:57,760 --> 00:33:01,240
Speaker 1: to the alien and is like, listener, feel like she's

611
00:33:01,280 --> 00:33:03,200
Speaker 1: beautiful again? Can you do that for me? Like it's

612
00:33:03,240 --> 00:33:03,920
Speaker 1: really terrible.

613
00:33:04,160 --> 00:33:08,360
Speaker 3: He's like, this is off. Shut the truth like the

614
00:33:08,480 --> 00:33:10,000
Speaker 3: macersions a guy.

615
00:33:10,160 --> 00:33:13,480
Speaker 1: Yeah, make her feel beautiful again, because I feel like

616
00:33:13,720 --> 00:33:18,080
Speaker 1: really fucking bad for her. And so Pike goes back

617
00:33:18,120 --> 00:33:22,240
Speaker 1: up to the ship and business as usual. The yeoman

618
00:33:22,760 --> 00:33:25,640
Speaker 1: comes again with the daily report and Pike yells at

619
00:33:25,680 --> 00:33:27,880
Speaker 1: her again and then she's like, but it's the report

620
00:33:27,880 --> 00:33:30,240
Speaker 1: and he's like, oh yeah, that's fucking fuck. Yeah, you're right,

621
00:33:31,200 --> 00:33:38,320
Speaker 1: my mom sigh you. She then as she's leaving, is like,

622
00:33:38,440 --> 00:33:43,080
Speaker 1: can I ask you, Christopher Pike, who would you have

623
00:33:43,240 --> 00:33:48,280
Speaker 1: chosen between me and number one? Wild question? What set

624
00:33:48,360 --> 00:33:52,440
Speaker 1: the back off the ship? And then Doc Haskins is

625
00:33:52,480 --> 00:33:55,600
Speaker 1: looking herround like what the fuck happened on this planet?

626
00:33:55,880 --> 00:33:59,920
Speaker 1: And then we go to the credits. Incredible wild Up

627
00:34:00,000 --> 00:34:06,880
Speaker 1: episode never aired, but is the historical pilot for Star Trek.

628
00:34:07,160 --> 00:34:08,719
Speaker 1: Let's go to break and then we will talk about

629
00:34:08,719 --> 00:34:10,600
Speaker 1: the themes, discuss some of the themes and the things

630
00:34:10,640 --> 00:34:11,960
Speaker 1: we saw in this.

631
00:34:11,960 --> 00:34:29,399
Speaker 5: Episode, and we're back.

632
00:34:29,960 --> 00:34:33,239
Speaker 1: Okay. Very fascinating episode because I think it does a

633
00:34:33,280 --> 00:34:36,280
Speaker 1: couple of things, and I think for me, the themes

634
00:34:37,040 --> 00:34:41,959
Speaker 1: of this are really one the responsibility of leadership, Like Pike,

635
00:34:42,080 --> 00:34:43,560
Speaker 1: is it a crisis when we meet him, is it

636
00:34:43,600 --> 00:34:46,000
Speaker 1: a crisis of confidence about whether he wants to continue

637
00:34:46,040 --> 00:34:50,440
Speaker 1: doing this and whether he's the man for this job?

638
00:34:50,520 --> 00:34:52,759
Speaker 1: Having just lost people on rigel in a way that

639
00:34:52,840 --> 00:34:56,719
Speaker 1: makes it makes you feel like he's feeling like I

640
00:34:56,760 --> 00:35:00,120
Speaker 1: could have done should I have done something different? And

641
00:35:00,120 --> 00:35:03,359
Speaker 1: those people would still be alive. It's also a very

642
00:35:03,360 --> 00:35:09,640
Speaker 1: interesting performance from Hunter because his portrayal of Pike is

643
00:35:09,640 --> 00:35:14,080
Speaker 1: definitely like a moody Yeah, he's very handsome, but he's

644
00:35:14,120 --> 00:35:19,319
Speaker 1: also like generally more stressed out and on the edge

645
00:35:19,360 --> 00:35:24,360
Speaker 1: of burnout. Like he's not the kind of swashbuckling, charming

646
00:35:24,560 --> 00:35:27,640
Speaker 1: Captain Kirk that we're going to get. And I think

647
00:35:27,640 --> 00:35:30,480
Speaker 1: that's probably a note from the studio is like, make

648
00:35:30,520 --> 00:35:36,960
Speaker 1: this guy less like existentially troubled. And then I think

649
00:35:37,040 --> 00:35:40,439
Speaker 1: quite clearly the role of women in society in the workplace, Yeah,

650
00:35:40,560 --> 00:35:44,839
Speaker 1: all over this because you're clearly not meant to think

651
00:35:44,880 --> 00:35:47,359
Speaker 1: when Pike flips out on the Yeomen and says women

652
00:35:47,360 --> 00:35:49,360
Speaker 1: should be on the bridge, you're not meant to be

653
00:35:49,520 --> 00:35:53,200
Speaker 1: agree with him, because everything in this episode tells you

654
00:35:53,239 --> 00:35:57,520
Speaker 1: that Pike's wrong about that. Like Number one is great

655
00:35:57,640 --> 00:35:59,840
Speaker 1: take when she takes over the ship, she plays a

656
00:36:00,040 --> 00:36:04,920
Speaker 1: id role in rescuing Pike, even though we then go

657
00:36:05,040 --> 00:36:10,479
Speaker 1: to There's also this other layer where the show also

658
00:36:10,680 --> 00:36:15,759
Speaker 1: doesn't really interrogate whether women have any other value besides

659
00:36:15,800 --> 00:36:16,399
Speaker 1: being hot.

660
00:36:16,800 --> 00:36:19,239
Speaker 3: No, there's a huge part.

661
00:36:19,600 --> 00:36:23,360
Speaker 2: And I also think that the stuff with my Gel

662
00:36:23,640 --> 00:36:27,640
Speaker 2: and playing Number one is really interesting because it is

663
00:36:27,680 --> 00:36:31,799
Speaker 2: this duality of Gene Roddenbury being like, yeah, women are

664
00:36:31,840 --> 00:36:34,400
Speaker 2: sexy and men want to fuck them, and that's really important.

665
00:36:34,440 --> 00:36:38,040
Speaker 2: But also when Number one takes over, there is like

666
00:36:38,160 --> 00:36:39,840
Speaker 2: no fanfare, no hype.

667
00:36:39,920 --> 00:36:43,520
Speaker 3: She just does it. She has good ideas, and I think.

668
00:36:43,360 --> 00:36:47,880
Speaker 2: That there was something there that he would he really

669
00:36:47,920 --> 00:36:52,719
Speaker 2: wanted to explore, and so did Margel probably. But interestingly,

670
00:36:52,840 --> 00:36:55,360
Speaker 2: I think there's two things here that tell us a

671
00:36:55,360 --> 00:36:58,800
Speaker 2: lot about where NBC was at, because there are multiple

672
00:36:58,880 --> 00:37:01,160
Speaker 2: characters who are set up here as could have taken

673
00:37:01,200 --> 00:37:04,719
Speaker 2: over from Jeffrey Hunter as Christopher Pike. Obviously number one

674
00:37:04,800 --> 00:37:07,640
Speaker 2: is one of them, but NBC had actually asked her

675
00:37:07,680 --> 00:37:10,759
Speaker 2: to be removed when they reshot the pilot because they

676
00:37:10,760 --> 00:37:12,600
Speaker 2: said no one would believe a woman could hold the

677
00:37:12,640 --> 00:37:16,759
Speaker 2: position of second in command. Now, honestly, sure, crazy thing

678
00:37:16,800 --> 00:37:18,880
Speaker 2: to say at the time, but we get it and

679
00:37:19,080 --> 00:37:23,520
Speaker 2: led to you know, different kinds of casting, including Michelle

680
00:37:23,600 --> 00:37:28,000
Speaker 2: Nichols as Yes, the communications officer Hura that would you know,

681
00:37:28,200 --> 00:37:32,040
Speaker 2: change American TV forever and even inspire Martin Luther King.

682
00:37:32,239 --> 00:37:35,520
Speaker 2: But it's very interesting that even in a show where

683
00:37:35,560 --> 00:37:39,080
Speaker 2: they're having that conversation when they reshot the pilot, that

684
00:37:39,200 --> 00:37:40,799
Speaker 2: was one of the things they wanted to take out

685
00:37:40,800 --> 00:37:42,840
Speaker 2: of it.

686
00:37:42,840 --> 00:37:47,320
Speaker 1: It's quite interesting. I also think that you know clearly

687
00:37:47,360 --> 00:37:51,080
Speaker 1: what Roddenberry is working through here too, is like, Okay,

688
00:37:51,120 --> 00:37:55,279
Speaker 1: women are entering the workforce. Mm hmm, how can we

689
00:37:56,160 --> 00:37:59,799
Speaker 1: work with them and also like not want to fuck

690
00:37:59,800 --> 00:38:05,719
Speaker 1: them like that is It's like very much part of

691
00:38:05,760 --> 00:38:08,520
Speaker 1: this episode is like, okay, you're two direct two of

692
00:38:08,560 --> 00:38:13,239
Speaker 1: your direct reports like wanna fuck captain, but one of

693
00:38:13,280 --> 00:38:16,680
Speaker 1: them who is like not letting on in a very

694
00:38:16,680 --> 00:38:19,520
Speaker 1: professional manner that she would ever have those thoughts and

695
00:38:19,560 --> 00:38:21,560
Speaker 1: the second one who's kind of a freak. And also

696
00:38:21,600 --> 00:38:24,360
Speaker 1: this is sixty six. He's being made, so this is

697
00:38:24,440 --> 00:38:26,920
Speaker 1: like summer of love. Stuff is like bubbling, you know,

698
00:38:26,960 --> 00:38:30,759
Speaker 1: the sexual revolution, the whole hippie free love thing is

699
00:38:30,800 --> 00:38:33,120
Speaker 1: like coming. And that's quite clear that the Yeoman is

700
00:38:33,160 --> 00:38:36,840
Speaker 1: meant to kind of symbolize that rising generation with for

701
00:38:36,960 --> 00:38:41,239
Speaker 1: your sexual attitudes. And you know, roden Berry, I think

702
00:38:41,360 --> 00:38:44,719
Speaker 1: is trying to say, like, okay, guys, how do you

703
00:38:44,760 --> 00:38:46,640
Speaker 1: deal with this? Women are in the workplace now? Like

704
00:38:46,680 --> 00:38:49,560
Speaker 1: what do you do? How do you how do you

705
00:38:49,800 --> 00:38:56,879
Speaker 1: manage these tensions that of having women here and how

706
00:38:56,880 --> 00:39:00,400
Speaker 1: do you keep it professional? And I think it was

707
00:39:01,239 --> 00:39:05,320
Speaker 1: from that perspective a really interesting episode, despite the fact

708
00:39:05,360 --> 00:39:07,239
Speaker 1: that again Pike at the end when he sees that

709
00:39:07,320 --> 00:39:11,040
Speaker 1: Vita's old, is like, you know what, uh forget it,

710
00:39:11,120 --> 00:39:12,480
Speaker 1: but but I love targeting.

711
00:39:12,680 --> 00:39:15,200
Speaker 3: Yeah, He's like, look, he's like, this is this is

712
00:39:15,239 --> 00:39:15,799
Speaker 3: where we're at.

713
00:39:15,960 --> 00:39:18,920
Speaker 2: And as with any old guy who made stuff, you know,

714
00:39:19,000 --> 00:39:22,040
Speaker 2: Geene Roudenbury has had his own controversies and stuff through

715
00:39:22,040 --> 00:39:25,840
Speaker 2: the years. And the truth is, look, the episode has

716
00:39:25,880 --> 00:39:32,000
Speaker 2: such a great interesting kind of complexity to those conversations.

717
00:39:31,480 --> 00:39:34,440
Speaker 3: But ultimately at the end, it's like, well, a woman

718
00:39:34,680 --> 00:39:37,160
Speaker 3: is valuable as long as she's hot, Like she can

719
00:39:37,280 --> 00:39:38,479
Speaker 3: join the ship if she's hot.

720
00:39:38,680 --> 00:39:41,080
Speaker 2: She can't join the ship if she's lumpy, even though

721
00:39:41,080 --> 00:39:43,400
Speaker 2: it's the twenty third century and we have a doctor,

722
00:39:43,760 --> 00:39:47,359
Speaker 2: you know, so no lumpy, no lumpy space princess here.

723
00:39:47,560 --> 00:39:50,560
Speaker 2: So yeah, it's very interesting. But I will say I

724
00:39:50,640 --> 00:39:53,000
Speaker 2: do just think like how cool.

725
00:39:52,760 --> 00:39:53,600
Speaker 3: That this exists.

726
00:39:53,600 --> 00:39:56,440
Speaker 2: Like you can currently watch this on Paramount Plus, even

727
00:39:56,480 --> 00:39:58,799
Speaker 2: though Google results will tell you otherwise, but it is

728
00:39:58,880 --> 00:40:02,200
Speaker 2: listed on Paramount Plus as the first episode of Star Trek,

729
00:40:02,520 --> 00:40:06,239
Speaker 2: and it is so beautifully shot, it's so weird, it's

730
00:40:06,280 --> 00:40:09,000
Speaker 2: so long, Like it doesn't feel like it should have

731
00:40:09,040 --> 00:40:12,480
Speaker 2: been able to launch a series that the series that

732
00:40:12,520 --> 00:40:14,799
Speaker 2: it did. But actually when you go back and you

733
00:40:14,880 --> 00:40:17,200
Speaker 2: look and you watch those forty five minute episodes that

734
00:40:17,239 --> 00:40:21,239
Speaker 2: are really esoteric or later episodes, you know, the Deep

735
00:40:21,239 --> 00:40:25,200
Speaker 2: Space nine stuff where there's a lot of a hollow deck,

736
00:40:25,640 --> 00:40:29,799
Speaker 2: you know, like and lots of like Shakespearean weirdness, Like

737
00:40:29,880 --> 00:40:31,919
Speaker 2: a lot of that is seeded here by just how

738
00:40:32,040 --> 00:40:37,080
Speaker 2: unconventional it is. Jason revisiting this, what is like your

739
00:40:37,120 --> 00:40:41,600
Speaker 2: biggest takeaway as we step into potentially, you know, covering

740
00:40:41,640 --> 00:40:44,480
Speaker 2: the official pilot that people got to watch in sixty seven.

741
00:40:45,360 --> 00:40:52,680
Speaker 1: That it's good sometimes studio notes are good, you know,

742
00:40:53,320 --> 00:40:58,920
Speaker 1: And that while I probably would not agree with a

743
00:40:58,960 --> 00:41:01,680
Speaker 1: lot of some of the probably many of the things

744
00:41:01,760 --> 00:41:05,439
Speaker 1: the studio critiqued about ron Berry, it created a better

745
00:41:05,520 --> 00:41:09,920
Speaker 1: product because it made him have to figure out how

746
00:41:09,960 --> 00:41:12,640
Speaker 1: to make a lot of these complex and very cutting

747
00:41:12,719 --> 00:41:21,000
Speaker 1: edge societal sociological ideas more palatable, more mainstream, more graspable.

748
00:41:21,760 --> 00:41:24,080
Speaker 1: And I think they did a good job of that.

749
00:41:24,200 --> 00:41:27,920
Speaker 1: Like it's impossible to not watch Pike and then ab

750
00:41:28,760 --> 00:41:33,759
Speaker 1: Pike with Kirk. You know, Kirk love being Kirk. There

751
00:41:33,760 --> 00:41:36,240
Speaker 1: are moments in the run of Star Trek where Captain

752
00:41:36,280 --> 00:41:38,600
Speaker 1: Kirk is like feeling the weight of being the captain,

753
00:41:38,640 --> 00:41:40,920
Speaker 1: but honestly, he loves it. That guy loves sitting in

754
00:41:40,920 --> 00:41:41,239
Speaker 1: the chair.

755
00:41:42,360 --> 00:41:45,040
Speaker 2: I do think it's very funny that one of the

756
00:41:45,040 --> 00:41:48,520
Speaker 2: biggest takeaways they had was like, Okay, so if the

757
00:41:48,560 --> 00:41:51,239
Speaker 2: captain does get to go to an alien planet because

758
00:41:51,239 --> 00:41:53,920
Speaker 2: he doesn't work with those women, make sure he's kissing him.

759
00:41:53,920 --> 00:41:57,319
Speaker 6: Make sure he's fucking them, because because Cork is a lover,

760
00:41:57,600 --> 00:42:02,239
Speaker 6: Cork is like he's having an alien relations It's very

761
00:42:02,280 --> 00:42:05,280
Speaker 6: clear that they leaned into that aspect, right. It's like, okay,

762
00:42:05,440 --> 00:42:07,080
Speaker 6: you know, we kind of like to think where Kirk

763
00:42:07,120 --> 00:42:09,319
Speaker 6: has to choose between three women, one of whom want

764
00:42:09,360 --> 00:42:13,040
Speaker 6: to be utilusion, but what if going pike rather, but

765
00:42:13,080 --> 00:42:15,680
Speaker 6: what if going for a you know forward, the captain

766
00:42:15,880 --> 00:42:18,960
Speaker 6: actually you know, starts missing around with some of these aliens.

767
00:42:19,320 --> 00:42:23,120
Speaker 6: I also think that though they don't talk about the

768
00:42:23,120 --> 00:42:31,279
Speaker 6: more you know, honestly almost utopian philosophical mission of Starfleet

769
00:42:31,480 --> 00:42:34,759
Speaker 6: in this episode, you could sense it here in the

770
00:42:34,800 --> 00:42:39,000
Speaker 6: sense in the fact that, you know, the Enterprise tussles

771
00:42:39,160 --> 00:42:43,440
Speaker 6: with these Telosian aliens who imprison their captain and almost

772
00:42:43,480 --> 00:42:46,200
Speaker 6: make him live in a zoo with a lumpy woman, and.

773
00:42:48,480 --> 00:42:51,480
Speaker 1: At the end of it, the humans are just like, okay,

774
00:42:51,480 --> 00:42:54,960
Speaker 1: we're leaving, like that that was that happened, and it's

775
00:42:55,000 --> 00:42:58,960
Speaker 1: a clash of cultures and societies. But there's no reason

776
00:42:59,000 --> 00:43:01,879
Speaker 1: to like nuke your whole planet, like live and let live.

777
00:43:02,000 --> 00:43:04,239
Speaker 1: We're at Eagre and see you later. It was a

778
00:43:04,239 --> 00:43:11,120
Speaker 1: misunderstanding basically, and that ethos will be much further distilled

779
00:43:11,480 --> 00:43:14,120
Speaker 1: in the actual Star Trek. Well, they talk about like

780
00:43:14,160 --> 00:43:17,000
Speaker 1: what the mission is and to your point, as you

781
00:43:17,040 --> 00:43:19,200
Speaker 1: talked about earlier, like how important the mission is of

782
00:43:19,480 --> 00:43:23,400
Speaker 1: it's a mission of peace, et cetera, and of studying

783
00:43:23,560 --> 00:43:27,120
Speaker 1: life across the galaxy in the universe, but not like interfering,

784
00:43:27,760 --> 00:43:30,359
Speaker 1: and you get a sense of that here, whereas in

785
00:43:31,280 --> 00:43:34,759
Speaker 1: any other kind of space adventure of the era this

786
00:43:34,800 --> 00:43:36,600
Speaker 1: would lead to like, Okay, blow the.

787
00:43:36,520 --> 00:43:39,080
Speaker 2: Step, come up, hut it up, or put them in

788
00:43:39,120 --> 00:43:41,920
Speaker 2: space prison or something. So I like that you pointed

789
00:43:42,000 --> 00:43:44,919
Speaker 2: out Also, I mean, I think this is well known

790
00:43:45,000 --> 00:43:46,879
Speaker 2: by this point, but hey, if you're on this track

791
00:43:46,960 --> 00:43:51,680
Speaker 2: through track with us, we do now have a new

792
00:43:51,840 --> 00:43:54,920
Speaker 2: version of Captain Pike, who was inspired by the Cage,

793
00:43:54,960 --> 00:43:57,360
Speaker 2: who is in strange in your world's played by Anson

794
00:43:57,520 --> 00:44:02,440
Speaker 2: might Mount, and the ideas that us seeing the Pike

795
00:44:02,680 --> 00:44:08,080
Speaker 2: era explorations that occurred before Kirk. So I also like

796
00:44:08,160 --> 00:44:11,680
Speaker 2: that now this is very clinical and has even been expanded,

797
00:44:12,120 --> 00:44:14,680
Speaker 2: And that would happen because they would recut some of

798
00:44:14,719 --> 00:44:17,560
Speaker 2: the pilot to act as flashbacks to kind of explain

799
00:44:17,600 --> 00:44:19,920
Speaker 2: away some of it with Jeffrey Hunters, some of it

800
00:44:20,000 --> 00:44:23,600
Speaker 2: not because Jeffrey Hunter was like, nah, I've done one pilot.

801
00:44:23,640 --> 00:44:25,919
Speaker 3: I want to do movies and just turn them down.

802
00:44:26,000 --> 00:44:28,040
Speaker 3: So and of course that gave us William Shattner.

803
00:44:28,239 --> 00:44:30,640
Speaker 2: But yeah, if this sounds interesting and you want to

804
00:44:30,680 --> 00:44:36,000
Speaker 2: see more from your kind of introverted, strange sexy pike,

805
00:44:36,160 --> 00:44:37,200
Speaker 2: well guess what that.

806
00:44:37,239 --> 00:44:39,200
Speaker 3: Is very much the world of Strange New World.

807
00:44:39,280 --> 00:44:41,239
Speaker 2: So that's one of the newest Star Trek series that

808
00:44:41,360 --> 00:44:43,920
Speaker 2: is taking from this classic episode.

809
00:44:44,880 --> 00:44:48,239
Speaker 1: Let's take a quick break and we'll be back with

810
00:44:48,280 --> 00:44:48,919
Speaker 1: the back matter.

811
00:44:49,600 --> 00:45:00,160
Speaker 4: A quick history of this pilot, and.

812
00:45:06,960 --> 00:45:11,840
Speaker 1: We're back. Some quick facts about the Cage. The Cage

813
00:45:12,640 --> 00:45:14,719
Speaker 1: does not begin as you noticed it, as we talked

814
00:45:14,760 --> 00:45:17,920
Speaker 1: about with the iconic Star Trek mission statement on the

815
00:45:17,960 --> 00:45:20,359
Speaker 1: five year journey to explore Strange New World, seek out

816
00:45:20,640 --> 00:45:23,839
Speaker 1: new life and civilizations at Boldigo, where nowhere no man

817
00:45:23,880 --> 00:45:29,520
Speaker 1: has gone before. That would be for the actual first pilot.

818
00:45:29,560 --> 00:45:31,480
Speaker 1: The aired pilot of Star.

819
00:45:31,280 --> 00:45:34,800
Speaker 2: Trek NBC began filming the Cage on November twenty seven,

820
00:45:35,560 --> 00:45:38,400
Speaker 2: nineteen sixty four. Hilariously, they would then go on to

821
00:45:38,440 --> 00:45:41,640
Speaker 2: cool the pilot to cerebral, too intellectual, too slow, and

822
00:45:41,719 --> 00:45:44,920
Speaker 2: not enough action. Not to mention, and this is pretty

823
00:45:44,960 --> 00:45:48,760
Speaker 2: crazy cost five hundred thousand dollars for that episode.

824
00:45:48,800 --> 00:45:51,000
Speaker 3: But you know what I got to say, Sure, wop

825
00:45:51,040 --> 00:45:52,480
Speaker 3: in price stag for the time, but guess what.

826
00:45:52,480 --> 00:45:56,480
Speaker 2: Guys looks great, really looks beautiful HC TV.

827
00:45:56,440 --> 00:45:57,640
Speaker 3: Like this shit stood up.

828
00:45:58,160 --> 00:46:03,760
Speaker 1: I mean, this kind of tells you how how Titanic

829
00:46:03,880 --> 00:46:06,120
Speaker 1: television was at the time. It's kind of like hard

830
00:46:06,160 --> 00:46:10,080
Speaker 1: to think about now, but there were three channels period,

831
00:46:10,880 --> 00:46:14,080
Speaker 1: and so while five hundred thousand is a whopping amount

832
00:46:14,080 --> 00:46:17,080
Speaker 1: of money for nineteen sixty four, it also tells you

833
00:46:17,200 --> 00:46:21,840
Speaker 1: the kind of like resources that they were throwing around

834
00:46:22,800 --> 00:46:26,719
Speaker 1: Rather than rejecting the series outright after this, I guess

835
00:46:26,840 --> 00:46:30,440
Speaker 1: you could say disastrous pilot that cost five hundred thousand dollars,

836
00:46:31,239 --> 00:46:35,520
Speaker 1: the network gave notes recommissioned a second pilot, which ended

837
00:46:35,560 --> 00:46:37,919
Speaker 1: up being Where No Man Has Gone Before, which led

838
00:46:37,960 --> 00:46:41,680
Speaker 1: to the eventual series order for Star Trek, which came

839
00:46:41,719 --> 00:46:42,799
Speaker 1: in nineteen sixty six.

840
00:46:43,760 --> 00:46:47,920
Speaker 2: Even though NBC never officially added we did get the

841
00:46:48,040 --> 00:46:51,560
Speaker 2: classic The Menagerie, which is one of the early Star

842
00:46:51,640 --> 00:46:54,640
Speaker 2: Trek episodes. That this would have probably been the way

843
00:46:54,680 --> 00:46:57,680
Speaker 2: that they put them on the BHS is they put

844
00:46:57,719 --> 00:46:59,920
Speaker 2: them with two episodes, so you could imagine that this

845
00:47:00,120 --> 00:47:02,000
Speaker 2: somewhere where they thought if they ever did er it,

846
00:47:02,000 --> 00:47:05,480
Speaker 2: they would double up. They recycled a law of the footage,

847
00:47:05,920 --> 00:47:08,440
Speaker 2: and then they actually had to hire, as I mentioned,

848
00:47:08,480 --> 00:47:13,200
Speaker 2: a guy called Sean Kenny to come back and play Pike,

849
00:47:13,320 --> 00:47:15,839
Speaker 2: because Jeffrey was like, Hey, I'm doing movies now, guys,

850
00:47:15,840 --> 00:47:16,719
Speaker 2: which I love.

851
00:47:17,640 --> 00:47:21,600
Speaker 1: And he was like in a coma, I believe like

852
00:47:21,600 --> 00:47:24,000
Speaker 1: Sean k Well the Pike. The Pike of that version

853
00:47:24,080 --> 00:47:27,000
Speaker 1: was like brain dead, so like they you could get

854
00:47:27,040 --> 00:47:31,000
Speaker 1: away with him looking a little different. Even though NBC

855
00:47:31,080 --> 00:47:34,319
Speaker 1: never actually air The Cage of the Menagerie, took a

856
00:47:34,360 --> 00:47:38,760
Speaker 1: bunch of the footage from this episode and then cut

857
00:47:38,800 --> 00:47:44,399
Speaker 1: it into the existing episode that was going to air

858
00:47:44,719 --> 00:47:47,640
Speaker 1: that was now called The Menagerie. Geen Roddenberry had the

859
00:47:47,640 --> 00:47:50,160
Speaker 1: black and white workprint the sixteen millimeter from the original

860
00:47:50,160 --> 00:47:54,600
Speaker 1: thirty five millimeter negative and was able to salvage a

861
00:47:54,640 --> 00:47:59,000
Speaker 1: bunch of scenes from that for The Menagerie. This left

862
00:47:59,080 --> 00:48:03,239
Speaker 1: Roddenberry's copy is the only known surviving version. When the

863
00:48:03,320 --> 00:48:06,600
Speaker 1: VHS version raised his version of the Cage.

864
00:48:06,560 --> 00:48:07,520
Speaker 3: I want to find that.

865
00:48:07,920 --> 00:48:09,960
Speaker 2: In nineteen eighty seven, this is what I was touching

866
00:48:10,000 --> 00:48:10,920
Speaker 2: on with Bob Fernach.

867
00:48:11,239 --> 00:48:13,960
Speaker 3: Basically, he found an unlabeled film.

868
00:48:14,040 --> 00:48:18,360
Speaker 2: Canister returned it to Roddenbury and then that allowed Rodenberry

869
00:48:18,440 --> 00:48:21,320
Speaker 2: to make it possible to complete a full color version,

870
00:48:21,920 --> 00:48:25,920
Speaker 2: and the restored color version was broadcast on October nineteen

871
00:48:26,040 --> 00:48:29,320
Speaker 2: eighty eight, the first ever television airing of The Cage,

872
00:48:29,480 --> 00:48:32,000
Speaker 2: and it was hosted by Patrick strew Up.

873
00:48:32,360 --> 00:48:36,600
Speaker 1: Baba Star Trek. The original series ironically has two episodes

874
00:48:36,600 --> 00:48:40,160
Speaker 1: that count as series premiers. After the rejected pilot The Cage,

875
00:48:40,440 --> 00:48:43,359
Speaker 1: NBC premiered Star Trek on September eighth, nineteen sixty six,

876
00:48:43,440 --> 00:48:47,960
Speaker 1: with The Man Trap, in which the Starship Enterprise faced

877
00:48:47,960 --> 00:48:52,200
Speaker 1: a monster called the Salt Vampire. Very spooky episode. However,

878
00:48:53,239 --> 00:48:55,640
Speaker 1: while the Man Trap wasn't the first Star Trek episode there,

879
00:48:55,680 --> 00:48:57,880
Speaker 1: it wasn't supposed to be the series premiere. Star Trek's

880
00:48:57,880 --> 00:48:59,840
Speaker 1: second pilot is called Where No Man Has Gone Before,

881
00:49:00,160 --> 00:49:03,040
Speaker 1: and it was the third episode broadcast on NBC, and

882
00:49:03,520 --> 00:49:06,719
Speaker 1: the Man Trap ended up premiering first because I loved

883
00:49:07,040 --> 00:49:09,799
Speaker 1: just production stuff, so they aired it first, even though

884
00:49:09,840 --> 00:49:13,719
Speaker 1: it was supposed to go after dude, Where No Man

885
00:49:13,760 --> 00:49:14,480
Speaker 1: Has Gone Before?

886
00:49:14,760 --> 00:49:18,440
Speaker 2: Such a classic bit of Hollywood chaikhaneri like we have

887
00:49:18,520 --> 00:49:21,680
Speaker 2: that with so many animated shows where we still don't

888
00:49:21,680 --> 00:49:25,839
Speaker 2: know what the official NBC version or Cartoon network version

889
00:49:25,880 --> 00:49:27,640
Speaker 2: was meant to be, and then they added, you know,

890
00:49:27,680 --> 00:49:29,880
Speaker 2: the release version. I love that kind of stuff. It's

891
00:49:29,920 --> 00:49:32,800
Speaker 2: weird as heck. Okay, so good production. Note Cage was

892
00:49:32,840 --> 00:49:36,400
Speaker 2: actually filmed at Desolu Production Studio, and Star Trek would

893
00:49:36,440 --> 00:49:40,600
Speaker 2: continue to film on that lot at least until the

894
00:49:40,760 --> 00:49:42,440
Speaker 2: end of sixty four.

895
00:49:42,920 --> 00:49:45,279
Speaker 3: If you're wondering how Roddenberry kind of got.

896
00:49:45,040 --> 00:49:48,960
Speaker 2: Into TV, well, he was in Westerns, which were obviously

897
00:49:49,000 --> 00:49:52,440
Speaker 2: the biggest thing of the time before Sci Fi, and

898
00:49:53,160 --> 00:49:59,360
Speaker 2: his show was particularly inspired by NBC to ABC series

899
00:49:59,400 --> 00:50:02,399
Speaker 2: The Wagon Train from nine fifty seven to ninety sixty five,

900
00:50:02,760 --> 00:50:05,759
Speaker 2: and in his original Star Trek pitch, he actually used

901
00:50:05,760 --> 00:50:09,000
Speaker 2: the wagon Train as a reference. The format is wagon

902
00:50:09,080 --> 00:50:11,360
Speaker 2: Train to the Stars, the sci fi creator wrote in

903
00:50:11,400 --> 00:50:15,160
Speaker 2: his initial pitch document built around the characters to travel

904
00:50:15,200 --> 00:50:17,799
Speaker 2: to other worlds and meet the Jeopardy and adventure which

905
00:50:17,800 --> 00:50:21,400
Speaker 2: become our stories, very similar to what would become that

906
00:50:21,560 --> 00:50:24,719
Speaker 2: opening kind of spiel for Star Trek.

907
00:50:25,320 --> 00:50:26,840
Speaker 1: And that's how you do it, by the way, like

908
00:50:26,920 --> 00:50:29,600
Speaker 1: you say, hey, it's like wagon Train in space and

909
00:50:29,640 --> 00:50:33,400
Speaker 1: it worked. Morris Chapnick who became Rodenberry's assistant and was

910
00:50:33,800 --> 00:50:40,200
Speaker 1: a future longtime Paramount executive, recalled his first, uh you know,

911
00:50:40,360 --> 00:50:45,000
Speaker 1: encountering of the star trek idea, admitting that, oh, it

912
00:50:45,040 --> 00:50:47,640
Speaker 1: was the wagon train pitch, part of the pitch that

913
00:50:47,760 --> 00:50:51,160
Speaker 1: gave me like something to hold on to. Quote, I

914
00:50:51,239 --> 00:50:54,600
Speaker 1: know anything about outer space, but the wagon train of

915
00:50:54,600 --> 00:50:58,320
Speaker 1: the stars that I understood, and that's how it got sold.

916
00:50:58,360 --> 00:51:01,239
Speaker 1: Jane Robert or like, that's the way you do it. Well,

917
00:51:01,239 --> 00:51:04,719
Speaker 1: that's it for the pilot episode of Trek through Trek. Hey,

918
00:51:04,880 --> 00:51:07,919
Speaker 1: you want to hear more, let us know. Next up

919
00:51:08,320 --> 00:51:10,439
Speaker 1: on Extra Vision, we have another episode of Exit Vision

920
00:51:10,480 --> 00:51:13,319
Speaker 1: group chat with our reactions to Dan Tractorbers, Predator bad

921
00:51:13,400 --> 00:51:18,840
Speaker 1: Lands and Gearmo del Toro's Frankenstein and a little bit more.

922
00:51:19,840 --> 00:51:24,000
Speaker 1: That's it for this episode. Thanks listing, bye x ray

923
00:51:24,080 --> 00:51:26,759
Speaker 1: Vision is hosted by Jason Concepcion and Rosie Knight and

924
00:51:26,880 --> 00:51:28,680
Speaker 1: is a production of iHeart Podcasts.

925
00:51:28,840 --> 00:51:32,440
Speaker 2: Our executive producers are Joel Monique and Aaron Kolefman.

926
00:51:32,680 --> 00:51:34,760
Speaker 1: Our supervising producer is Abu Safar.

927
00:51:35,120 --> 00:51:39,040
Speaker 2: Our producers are Common Laurent Dean Jonathan and Bay Wag.

928
00:51:39,160 --> 00:51:41,960
Speaker 1: Our theme song is by Brian Vasquez with alternate theme

929
00:51:42,000 --> 00:51:43,280
Speaker 1: songs by Aaron Kauffman.

930
00:51:43,440 --> 00:51:46,839
Speaker 2: Special thanks to Saul Rubin, Chris Lord, Kenny Goodman, and

931
00:51:46,920 --> 00:51:48,759
Speaker 2: Heidi Our discord moderate though