It's been my pleasure over the years here on the Twilight Term Podcast to welcome
many great guests to the show, and some of them we've been able to
enjoy their company several times, and I guess it is tinged with a hint
of sadness that inevitably, as we near the end of our run, for
some of our retaining guests, it might be the last time that we get
to speak to them. Tonight's guest is, of course, the great Mark
Zickrey, the author of The Twilight Zone Companion, among many many other things,
and this will be his fourth time joining us here on the Twilight Zone
Podcast. He's spoken with me twice and then once to my friend Brandon Shaye
Mtala, and I feel like between those three chats we've had a good amount
of talk about his takes on the Twilight Zone writing The Twilight Zone Companion,
and while I could listen to him talking about the Twilight Zone all day,
when he launched a Kickstarter in the last week to fund post production on his
latest installment of his self produced show, Space Command, it'd be a good
opportunity to get him back on the show to talk about that project, because
I like behind the scenes stories, and I like to hear from creative people
who love what they do and are enthusiastic about what they do. And nobody's
more enthusiastic about what they do than Mark Zickreg So our regular episode looking at
ninety years without Slumbering will be coming soon. Some real world things have taken
my attention over the last couple of weeks, but in the meantime, I
hope you don't mind this little detour from the twilight Zone, although there is
some Twilight Zone talk in here as we blast off once again with our friend
Mark Scott Zickree. Mark, when I've spoken to you before, you know,
it's been mostly about the Twilight Zone, with maybe a little side Space
Commands here and there. But I'd like to do it the other way round,
if I may so. Could you tell us about the genesis of space
commands and how it all came about. Yeah, it's really interesting and unusual.
You know, Twilight Zone and Outer Limits and Star Trek. The original
versions of those three shows are what formed me and what made me want to
make television and be a writer. And all three of those shows had great
ability to inspire to bring people to profound insights about themselves, about the world.
These were not people running away into fantasy. These were people who wanted
to say something about the life we live in and utilize power of science fiction
to create stories that were essentially timeless and would not be bogged down by the
issues of the moment. And I thought that was a great opportunity. And
so from when I was a kid and got a trip to the original Star
Trek set for the last episode they ever shot when I was ten, I
started to want to be a showrunner, but you know, writer, producer
in television and create a body of work that would be meaningful. And you
know, I sold my first short straight at nineteen, I was writing the
Twilights on Companion at twenty one, and writing for television by the time I
was twenty two or twenty three, And you know, I wrote for all
the major studios and networks, and I was very lucky to create work that
was actually meaningful to me. But at one point, a few years ago,
I saw that all the science fiction TV shows and movies that I was
seeing were very ditopic and very negative, and some of them were quite wonderful.
I mean, Battlestar Galactica, you know they're on more version. There
was good work being done, but nothing that inspired in the way that the
twilights On and Star Trek did, where they said they basically said, you
can create a future worth living in, but you have to take a stand
for that, and you have to be not given to fear, but rise
to the and essentially given to compassion and empathy and action. And so I
thought, well, I wanted to create a show like that, a space
going show that could inspire and say there's a future worth building for all of
us, and if we just reach across boundaries and barriers. And so for
many years I've been running a round table of writers and directors and actors and
producers just to create a compassionate Hollywood, essentially every Thursday, and we have
thousands of members around the world. Now we both meet in person and via
zoom. In fact, we have one table member who's from Liverpool. He
calls in every now and then, very late at night his time. And
I started hearing because I mentor so many young people, I started hearing about
crowdfunding, and because I felt so strongly about Space Command, I didn't want
to take the risk. A lot of friends of mine are showrunners, and
they said to me, well, let's partner and take this in and get
a pilot deal. But I knew that the pilot could be cut off,
as script could be cut off at filmed. Pilot could or I could get
notes that would wreck the thing. And because the people are who are giving
me notes are paying the bills, writing the checks, I would listen to
them. So I thought, well, I've never raised money before, but
let me see if I can. And so our first Kickstarter campaign, the
goal was seventy five thousand dollars and we ended up we got that in three
days, and over the course of the campaign we raised two hundred and twenty
one thousand dollars, and that was time to open our studio and start,
you know, go actively into pre production. And so now after several years,
we have our own studio here in Los Angeles. We also have our
companies also in London as well, and we have three shooting stages and we've
just finished shooting principal photography on the sixth hour of the twelve hour season of
Space Command, and so it's been really amazing and overall, between selling investments
to shares for seventy five hundred bucks, where the people by shares get a
portion of my producer's net profits. And Kickstarter campaigns, we've raised over four
million dollars and that's allowed us to shoot, you know, as I say,
the first six hours, and so now we're launching a Kickstarter campaign for
the box set, which is the first six hours of Space Command and more.
And as I sit here, we're actively doing visual effects. We're actively
getting ready to shoot some creature stuff on our stage, these eight foot tall
creatures. We're actively and we're writing the production draft of the next episode,
to the next two hour episode, and we'll be shooting that in the next
few weeks, I think, you know. So it's it's very exciting.
Our goal is to finish shooting the first season, you know, within the
year, and get it to our fans very soon after. So it's it's
a very fun project. I love it. Good good. So for the
uninitiated, what is the story? What's it about? Essentially, Spaceman starts
sixty years from now and it follows four families as we go out into the
Solar System and colonize the Solar System and jump to the stars. But more
than that, it's through the through the lens of a military family. So
it's our hero is Captain Jack Kimer. He's in Space Command, which you
know is sort of the it's it's sort of like the United Federation of Planets
and Star for all of that, and we the United Planets, and we
follow Jack Kimer as he becomes a captain, as he then has children and
grandchildren and great grandchildren. There's a two hundred year span off the series where
we jump back and forth between the generations. In fact, the one that
we just completed shooting has two timelines, one with Jack and one with his
great grandson and how these stories interlink. And and then we have another family
that's essentially a zeno archaeologist played by Marra Furlin from Babylon five, who I
you know, I wrote Babylon five years ago, and and so mirror.
Sadly we lost Mirra during the pandemic to West Vile virus, but she's wonderful
in the show, and she's in a number of the episodes and U and
it's what it's about her and her daughter. And then there's another family that's
a mining mining engineer who runs a team of synthetic cumans on series and that's
played by Robert Priccardo of Star Trek Voyager and Stargate Atlantis, and and so
we see him and then his son and so forth. So interesting enough,
Armine Shimmerman from DS nine will be playing Robert Piccardo's grandson, so that's really
fun, and and and so and so's And then we have Dori Nevin played
by Doug Jones, and he's a synthetic Cuman who essentially leads a revolt along
the lines of Spartacus. And essentially he's part of an archaeological team run by
Mira Furland and his boss is the mining engineer Robert Paccardo. And on Mars
they dig up a two hundred million year old alien spaceship five miles long,
and Doug Jones, you know, Door Nevin, he is in an accident,
a minor accident. His inhibitorship was destroyed. It forces the synthetics to
obey whatever commands they get, and so he's the only one with free will,
and so he essentially seizes this alien spaceship and takes Mira Ferlin and Bob
Pacardo hostage, and Jack Kemer is sent to pursue him and stop him while
he embarks on a mission to free all the synthetics in the system using this
alien spaceship, and ultimately Jack has to decide whether or not he's on the
right side in trying to stop Doug Jones. So it's and Ethan McDowell plays
Jack camer We had a worldwide talent search and Ethan won the role and now
he's on Walking Dead as well, and he was recently on Doom Patrol.
So it's a great ensemble and you know, so it's it's just been super
fun, and it's basically if you're if you're a Star Trek fan, and
if you liked you know, TS and and Next Gen, you're you know,
you'll love this. It's it's its own flavor and it's its own universe,
but it's very much in that spirit of Star Trek and uh so it's
uh, you know. And so we've written the entire first season, plus
a prequel that we've done as both a radio play and a graphic novel,
and we can we've combined them into an animatic an anti storyboard. So that's
called United Planet, and so it sets up everything that leads right into our
first episode. So it's it's it's huge fun. And so we have a
studio full of alien spaceship sets and space suits and giant robots and eight foot
tall aliens and uh, you know, every day is Christmas. Now you
mentioned the KICKSTARTA and I believe in the KICKSTARTE. It's going to be the
first time that you can get what what's out so far the box set,
right, because you know, sometimes if people aren't on the ground floor,
the best way to get into something is to have a box set, isn't
it, and to just go through it? So what can you tell us
about that? Yeah, it's super fun because you know, for one thing,
I produced the Twilight's on Blue ray set and if everyone talked for thirty
hours, I did fifty two episode commentaries. And so I love I love
Blu rays and all and DVD and all of that, because my god.
You know, when I was growing up, if you wanted to see a
TV show or a movie, you had to wait till it aired on television
or until it came into the movie theaters. You couldn't watch what you wanted
to watch when you wanted to see it. But moreover, the idea of
having the director, the writer, the actors sit with you and tell you
blow by blow how the film or the TV show was made. This was
unheard of, This didn't exist. And so when Blue Rays came out and
you can actually have commentaries and behind the scenes features and all these wonderful things
in one package, it was just a dream come true. And so with
the Space Blu Ray set, the box set, and and it's also you
know, obviously DVD or downloadable all these you know, whatever, whatever,
pick your poison. But it's my idea was that all of the stories that
we tell in Space Command are cannons. So in other words, it's not
like where you buy a Star Trek novel and no matter how good the story
is, it's not going to be part of the larger official universe. Same
with Star Wars, where all those Star Wars novels became like, you know,
they were kicked to the curb and so forth. In Space Command,
the graphic novels, the short stories, the all of it is all canon.
It's all part of the larger story. So what you get in the
box set is you could start by watching the animatic of United Planet. Now
that's got so the reason that we did it that way was. I wanted
to do a story that was set thirty years before the start of the first
episode of Space Command, but I didn't have millions of dollars to de age
my actors like Scorsese or Indiana Jones, and so I thought it as an
audio play. So we got all of our actors back together, Ethan McDowell,
Mir Referral and Bill Woomy, Doug Jones, Robert Riccardo, and Mike
Michael Harney from Orange is the New Black, and we did this prequel that
starts thirty years from now and ends just at the scene the beg begins the
first episode of the show, and Neil de grasse Tyson is in it.
He because he I had a question, a scientific question, and I ran
into him at the gym one day and I said, Okay, if you
want to take something, bring something back from space that would help turn around
global warming, what would it be? And he said, well, do
you think about that In a few days later, he got on the treadmill
next to me and you know, describe what he had in mind for about
thirty minutes. And so when when I actually wrote United Planet with that idea,
that that that Neil had given me. I reached out to him and
said, hey, you want to be in this and he said sure,
so, so he's in it, and so that's so. That's so.
Then and then this wonderful artist name to Hanni Farr. She's illustrated the graphic
no, and it's just spectacular. And then our editor Dave Edison combines the
two so it's a moving storyboard in color and with all the sound and all
the roles and all of that, and it come to thirty years and leads
right into the first two hour episode that we shot, which is Redemption,
and that as far as all the actors I just mentioned, and that's a
two hour episode that we shot and it has nineteen hundred visual effect shots.
So we finished that, and then the pandemic hit. And during the pandemic,
all of my actor friends were stuck at home, and so my wife
and I I write and direct and produce Space Coman with my wife Elaine,
we said, well, let's not just be stuck. Let's create an episode
of Space Command where the actors can shoot with their own cameras in their own
homes and we'll direct them long distance. We'll do stuff. Well, because
I had all of these characters and all the storyline in mind for the first
season. Oh, we were stuck, all stuck at home. So I
thought, well, I can have I can introduce characters we haven't seen yet.
I can have other characters do monologues. We could do be very experimental,
and so we did this two hour episode called Ripple Effect and it's got
again Neil de grass Tyson and you're Furlan and Armine Shimmerman and my friend Christina
Moses who stars in A Million Little Things and so forth, and so we
put get this two hour episode that and Barbara Baine from Space nineteen ninety nine.
We also got Barbara Bain in it, and we just it's wonderful to
our episode. It's very experimental, and it's just kind of like, let's
get together and put on a show. And that comes to the box set
as well. It's sort of a it's a sort of a parallel companion piece
to the entire first season of twelve you know of episodes. And then the
final episode that's in the box set is it is called Forgiveness, and it
basically picks up three in the chronology. It picks up three years after the
end of Redemption and follows the characters as they embark on an adventure, just
discover whether or not people really change, if forgiveness can, if you can
open your heart to forgiveness. It's it's a it's a big, big subject.
Every every episode of Spaceman is about something very meaningful to me and hopefully
to the audience. So the first two hours Redemption it's about really recognizing if
you're on the right side or not. And certainly nowadays with what's going on
in Israel and Gaza and so forth, you know, you have to really
have to keep an eye on whether you're you know, I just Pat posted
a video where the title was one atrocity does not justify another, and you
know, it's sort of like we cannot leave our humanity at the door,
nor our empathy or our compassion and so so so Redemption was very much about,
you know, don't just assume you're the good guy, because it's you,
you know, really the actions and say, am I on the right
side? Am I acting in a morally justifiable way? And do I have
the courage to perhaps you know, take action that maybe personally you know,
have have consequences. But on the other hand, is the correct thing to
do in terms of compassion and empathy for others, and then forgiveness carries that
on to Okay, if you are angry, justifiably angry at someone and hold
them accountable for something terrible that they did, can they change? And can
you let go of that weight that you're carrying. Can you forgive them?
Can they forgive themselves? Is it possible to change? Is it possible to
have a future that's not dictated by the past. And so these are very
interesting issues. So that's the first six hours and more of the box set,
and then the box set will also come contain audio commentaries behind the scenes
stuff. I also wrote a short story called Grizzled Space Jockey because when I
was in in the first two hours a space pane, I knew. I
knew I would have a cameo because when I was twelve years old, my
mom got me a real spacesuit, a Navy high altitude suit from the fifties
that was in the Twilight Zone and it was used in Twilight Zone, and
I so I owned a spacesuit. So I thought, I'll have a one
scene where there's this ship that crash lands and I'm in a spacesuit. I'm
on Mars, I'm working at a terraforming station, and I just have one
line, which is I watched the thing come down in this miraculous crash landing,
and I go wow. And then later but then later in the episode,
we were shooting a scene of battle on Titan, these rebel fighters and
so forth, and one of the people didn't show up for the scene,
and so I said, well, I can put on a space suit and
I can be in the scene, but I have to be blown up.
So that's what we did. And then I thought, well, and then
at the end of the episode, there's a sculpture garden where was just a
sculpture of Captain Jack Cammer, and I thought, well, I could put
a sculpture of myself there, and then I could link those three cameos of
me into one character and justify that whole timeline. Oh cool, I wrote
as I was approached to contribute a story to an anthology, and I wrote
that, and so then I did a reading of it on my my mister
sci Fi YouTube channel, and so that's also going to be included in the
set. That that story and that reading and so forth. So just it's
going to be an amazing corn ucopia of pleasures. And uh, you know,
and and and if one wants to also get little bonuses, you can
get little miniature figures of me and little miniature figures of Captain Jack Kamer and
of the palette and our our spaceship. There's there's lots of fun stuff in
this in this campaign, uh you know, T shirts and posters and all
on comic books and graphic novels and all the all the usual. I love
the sound of that, you know, spinning off a little character here like
that in his own story. Very fun, very fun. Yes, yes,
well it's funny because in Forgiveness, part of as I mentioned, part
of Forgiveness takes place ninety years later with Jack's great grandson, Captain Camera,
played by Aaron Gappe, who also won our worldwide talent search. We had
seven thousand inquiries, twelve hundred video auditions for the two of the lead roles,
Captain Kimmer and Lieutenant Bradbury, and so it's it's and we ended up
casting nine actors from those auditions, So people who never would have gotten a
chance to play a lead in a show got the opportunity and they really rose
to the challenge. We're very glad that we got this opportunity to cast these
actors. But so in forgiveness, the part that takes place ninety years later,
there's a scene on a departure lounge on a space station. So but
I created the I created a clone of the of the grizzled face jockey character
that I've had in the first one, the third generation clone, and I
named him after Hindleine. So he's Captain Bob Heinlein and he's a pilot,
you know, for you know, intergalactic space lines or whatever. And so
I have a cameo in that episode as well as the clone character I've played
in the first episode. It's all right, I'm going to be writing a
short story called and Bob about that guy, and so we'll see where that
leads. But yeah, it's it's really fun because we have and we have
total autonomy. We can Elaine and I write what we want to write,
cast who we want to shoot, what we want to shooting. Off we
go. So it's really fun. So what's the plan then, Mark,
you know, going forward? Is this fully formed in your mind as to
yes, you know, the whole thing is going to be Yes, it
is. Well, we have the entire season ready to shoot. I mean
we have. We're now at the halfway stage. It's twelve hour season.
We've shot six hours, so we have six more to go. So it's
space manut structured as two hour stories. Okay, we split down the middle
of one hour episodes and then they form a larger sparking story over the course
of the season. So the ones that remain to be shot are the next
two hour stories. Great Solar War. It's a big story about war and
why we shouldn't fight wars, and it's it's really cool, lots of spaceships,
alien spaceships, human spaceships. It's it's on a very very vast scale.
And and then after that the next to our stories called Empire, and
that deals with you know, sort of a galactic empire and how we deal
with that. It's basically everything is as a result of actions from previous episodes.
So there's cause because one of the other larger issues in Space plan is
the notion that sometimes even if you do the right thing, it has it
can have repercussions that cause people to be hurt, and there's sometimes there's no
there's no perfect thing to do, there's only the better thing to do,
and then you have to clean up the mess that comes of that and uh
and so that's that's really interesting to us. And so uh so the next
one, so there's Great Solar War, then Empire, and then the final
to our story is called Harvester, and that ends the But but after that,
I'm creating something called the Showrunners Network, where I'm teaming with the creators
of far Escape and The Expanse and many other shows to create a slate of
six series science fiction series. And so Space Command is the first one.
Then Rockneil Bannon and I are creating one called Sweet Haven that has an amazing
cast, and then after a future Space and then there's one I'm talking to
Serling State about called rod Sterlings after Twilight and then and then Magic Times.
So it's a it's gonna there's a lot of amazing stuff ahead and uh and
Veronica Cartwright and Kates McFadden and Barbara Bain and many of the other actors I've
been I'm forming an ensemble company of actors working with and so they'll you'll see
them popping up in different roles in different shows that we're doing. So it's
it's really cool. The busiest man in Hollywood. Every time I speak to
you, You've got a million a million things going on. It's so fun.
And one of one of the things I'm doing that's really really fun to
me is, you know, when I was ten years old and I got
to be on the Star Trek set, it was the last episode they ever
shot. It was turned about intruder and and sitting in the captain's chair and
stand on the transport and see the little light bulb that was screwed in on
top. It was magical. And when I set step on my own spaceship
sets, I get that same feeling, you know. And one of the
things I do. You know, when Rod Sterling did Twilight Zone, he
was shooting at MGM, so we had access to all the sets, all
the props, all the costumes, everything ever made for any MGM movie from
the beginning. So you see a lot of stuff Bidden Planet crop up and
so forth. So when I was a producer on Sliders at Universal, I
said, do we have access to everything that Universal has ever made? And
they said, well, we don't know. No one's ever asked the question
we'll find out. And then they came back to me and said, well,
with very few exceptions, yes, So when Sliders, we were us
things from Jurassic Park and Twelve Monkeys and all these other movies and TV shows
Time coop and so with Space commat I continued that tradition. So anytime there's
a big budget science fiction TV series or movie, when those end, often
some of the props and sets and costumes and space suits and things come available
either on eway or via the auction houses, and it's pennies on the dollar.
So I've acquired a lot of stuff that we then we use for Space
Command, and we build design stuff fresh as well, but we augment it.
So we have things from Falling Skies and Cloverfield, Paradox and Enders Game
and Armageddon and Aliens and on and on and on and on, and it's
terrific, I mean, because it adds so much production value to what we
have, you know. So, for instance, the Alien spaceship set that
we just build for forgiveness, it's gorgeous and it's really it's unique. But
then I found some of these giant eggs from Falling Skies and we were able
to use those to augment the set we built. So it was it's really
fun. It's really really fun. Yeah, brilliant, proper old school kind
of movie making. Sounds brilliant, very much, very much so. And
you know, and so we're getting all the spaceship consoles and all that stuff
up and running. There's a great console that we have from Thunderbirds, the
live action one that Jonathan Fakes did. Yeah, it's like this incredible metal
console and the lights up and it's got all this and throttles and all this
stuff. So we basically are wiring it up and we'll be you like that
as well as many other things. So it's just yeah, it's it's it's
for me. This is a dream come true because I get to write about
meaningful things but also have the gosh ge whiz of you know, that same
little kid who went on the Star Trek set. You know. So it's
you know, it's it's perfect for me. Well, I will put a
link to your new kickstart out with this with this podcast, But I couldn't
let you go without asking a couple of things about, you know, twilight
Zone, because well, the last time I spoke to you, twilight Zone
was actually on the air, the new Twilight Zone was on the air,
and now that is a thing of the past as well. Yes, when
do you see the future of the Twilight Zone? Should we even tried to
bring it back now or should we just accept that it was what it was?
You know, and it's you're never going to get I mean, it's
lightning in a bottle, it's magic, you know, it was. Rots
never wanted to be a science fiction writer. He didn't grow up wanting to
be Ray Bradbury or you know, Arthur C. Clark. He wanted to
be Arthur Miller. He wanted to grow up to be the great playwright of
this incredible new medium of television. The problem was that the censors increasingly were
stopping him saying anything meaningful about race, about politics, about any of the
social issues of the day. You know, if he had been content just
writing Requiem for a Heavyweight over and over again, that would have been okay.
But he had a lot to say, and he had a lot to
get off his chest, and so he figured out that science fiction would allow
him to slip all this stuff past the sensors, and he could write things
about mass hysteria, like monsters are do on Maple Street or about you know,
the incredible dysfunction of conformity in things like E the Beholder, you know,
and and ironically it made his work more timeless because probably most people have
never heard of Recream for Heavyweight or Patterns or any of these huge things he
did in the fifties and live TV. But twilight Zone, you know,
is timeless. It really is an amazing show that really is held up in
terms of doing twilight Zone again. You know, it's going to be different
no matter who takes it on. And you know, I think Black Mirror
is probably the most effective successor to twilight Zone. It's very dark, and
Serling was not Serling was not a cynic. It has a very Black Mirror
does have a very different flavor, but it's excellent. But I think that
a lot of the Twilight Zone remakes, you know, have their strength and
their weaknesses, but none of them have batting average the original had, I
mean, week after week after week, the original twilight Zone was just astonished,
astonishing. Now the project I've been talking to the Serling family about and
their representative is that, you know, Rod dictated all the scripts he wrote
and letters and everything. He dictated into a little recorder and then his security
to type it up. And it was assumed that these these dictation belts were
lost, and then they found a thousand of them. And so my idea
was to create a show called Rod Serling's After Twilight that Rod would actually narrate
from that material. And there are scripts that he wrote that never got made,
great scripts from Night Gallery that never got made. There's scripts he wrote
in the fifties that haven't been seen since the fifties science fiction, fantasy,
horror, and also scripts by some of the other writers of Twilight, and
even some of the writers now, like guys like Neil Gaiman and so forth.
It would be an anthology where Rod would actually narrate it from because when
he dictated letters, when he dictated speeches, it was almos an amazing unique
vocal style that he had. And so the idea would be this show would
be unseen Serling material, you know, narration Bi Serling. It would just
be quite wonderful. And uh so we'll see if that comes to fruition.
But I think, you know, there's nothing, there's nothing to stop it
from happening other than you know, the whims of fate. But you know,
but again I think, you know, Rod was prescient. I mean,
you can watch Monsters do on Maple Street now and it's as relevant now,
if not more so, you know, I mean with at the time
of great polarization, great panic, and uh, you know, and and
and the great thing about Rod and this is something that people don't ever mention,
but you know, one of the reasons I think that Star Trek and
Twilight Zone and Outer Limits had the depth and weight and drama that they had
was a lot of these guys had been through World War Two. They've been
you know, Rod Serling was a paratrooper. He fought in the Philippines.
He was wounded by shrapnel. I mean, you know, he'd seen life
and death up close. Purple Testament is a perfect example. I mean,
that's one of the best things I ever written about war by anyone. It's
so grind you feel the grime and exhaustion and the fear and all that comes
through so brilliantly. And then Roddenberry had been a bomber pilot, be twenty
four bomber pilots, so you know, it's like they they knew what life
and death were about. And you know, I refer to the soldiers who
came back from World War Two and the Twilight Zone. I know it's in
one of my other books. I refer to the soldiers who came back from
World War Two as young old men, you know, because they were older
than their their years. And I mean when you realize that Rod was only
around thirty when Twilight Zone was on, you know, he was thirty years
old, and yet he seems so he has such gravitas, you know,
and so there's there's great authenticity that in that work. So I try to
continue that tradition in my work as well. Absolutely well, I think we'll
leave it there, Mark. You know, I could listen to your talk
about the Twilight Zone all day, but get the Blue Hat, the Blu
Ray of Twilight One and you can listen to me for a month. Yeah,
but it's been fun to talk about Space Command too. You know,
I'm just hearing from someone who enjoys their work so much. I think is
inspiration in itself. So yes, I wish you, you know, all
the best look in the world with it, and you know, thank you
for being a friend to this podcast over the years as well. You know,
I think This is like the third or fourth time you've been on,
so I appreciate it. It's so much fun. The one thing I should
mention before I forget is Michelle Nichols is also in Spaceman. She's in Forgiven,
and I met her when I was ten. She gave me her own
copies of some of the Star Trek scripts and she signed a photo to me.
And fifty years later to be able to sit down with her in her
home seen from Space Command. I feel so blessed that we got that before
she left, this veil of tears and you know, and at the end
of that day of shooting with her on Space Comman, she said, thank
you for blessing my home, Like, wow, what amazing? Amazing?
I mean, how could I ever complain about anything? Well, I think
that will do it. Thank you so much more, Very welcome. Talk
to you next time.