Interview with George Olson

TV Interview!

 

George R. Olson, creator/writer/producer/showrunner of "SurrealEstate" on Syfy

Interview with Showrunner/creator/writer/EP George R. Olson of “SurrealEstate” on Syfy by Suzanne 10/16/23

It was really fun to speak with George about such an entertaining show. I’ve enjoyed “SurrealEstate” since the first episode because it has interesting stories of drama and horror, with a lot of humor and a good cast. I tried hard to get him to tell me if a certain character dies this season, but he wouldn’t budge…not that I expected him to! But it was all in fun, anyway. You don’t want to miss this season, which started October 4th on Syfy. It airs Wednesdays on Syfy, but you can also watch it on their website for free and on HULU the next day. You can watch season one on HULU as well.

 

MORE INFO:

SURREALESTATE -- Pictured: "SurrealEstate" Key Art -- (Photo by: SYFY)

SYFY logo
SurrealEstate

Wednesdays on SYFY(10-11pm ET/PT); Season Premiere: October 4

“SurrealEstate” follows real estate agent Luke Roman and an elite team of specialists that handle the cases no one else can: haunted and possessed houses that literally scare would-be buyers away. Researching, investigating and “fixing” the things that go bump in the night, the team works to create closure – and closings – even as they struggle with demons of their own.

201 “TRUST THE PROCESS” (Wednesday, Oct. 4 at 10 p.m. ET/PT)
Without his special powers, Luke struggles to handle an engaged property by instinct alone. Susan falls in love at first sight with a mysterious home that has a special power over her.

202 “TRUTH IN ADVERTISING” (Wednesday, Oct. 11 at 10 p.m. ET/PT)
Luke deals with a TV ghost hunter and his crew filming at a client’s legendary property. Susan investigates a seaside B&B where strange, provocative noises are scaring guests away.

203 “THE BUTLER DIDN’T” (Wednesday, Oct. 18 at 10 p.m. ET/PT)
When a client is taken hostage by a vengeful ghost, the Roman Agency must solve a decades-old murder mystery to save him before it’s too late.

204 “I PUT A SPELL ON YOU” (Wednesday, Oct. 25 at 10 p.m. ET/PT)
Luke sparks with a charming homeowner while negotiating a land deal. Zooey goes out on her first sales call as a newly minted real estate agent.

SurrealEstate” stars Tim Rozon, Sarah Levy, Adam Korson, Maurice Dean Wint, Savannah Basley and Elena Juatco.

The series was created by George R. Olson. Olson, Lance Samuels, Danishka Esterhazy, Armand Leo, Daniel Iron, Neil Tabatznik, Cosima Von Spreti and Kevin Anweiler executive produce.

George R. Olson

creator, showrunner, and executive producer

George Olson is a recovering advertising executive, having spent most of his career as creative director, partner and chief creative officer at one of Colorado’s largest advertising agencies. Several years ago, seeking the dangerous head rush of writing something longer than thirty seconds, George began writing for film.

One of his first efforts, a bio-pic of Nikola Tesla, won a screenwriting competition and attracted the attention of director Barry Sonnenfeld, who developed the script with him. He wrote a short film, KILLING KEVIN, which was an official selection at 18 international film festivals. Another one of his original screenplays, WHITEFISH, won another competition and he developed that script with actor/director John Turturro. Since then, George has written a number of features including MASTER RACE, the story of Jesse Owens at the 1936 Berlin Olympics, with Anthony Mackie attached to star.

Along the way, George began writing for television and has developed a number of original pilots including BITTERROOT, which he sold as a pitch to USA Network. Several of George’s original spec pilots are in various stages of development around town, including POISON COUNTY which he is developing with Mark Burnett and MGM Television. MGM also hired him to create and write the pilot for GODSPEED, a one-hour drama set in the world of NASCAR.  He has adapted his one-hour pilot FIRST PERSON SHOOTER with e-One into a made-for-TV film for Crackle. George sold his original spec pilot THE NATURE OF YOUR EMERGENCY to Keshet Studios, and sold his pitch for RUTHLESS to CBS Studios and developed the pilot for the CW Network.  Most recently, George’s original pilot SURREAL ESTATE was ordered to series by SYFY, with George serving as Showrunner and Executive Producer.

Splitting his time between Colorado, Los Angeles, Canada, features and television, George has no outside interests that he is aware of.

Proofread and Edited by Brenda

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George R. Olson with "SurrealEstate" cast

 

Why I think Days is Ridiculous 2023

Opinion Article

 

Random Rant by Jonathan Massey Moss

Leo (Kevin Rikaart) and Susan (Stacy Haiduk) on "Days of Our Lives' on Peacock

They just revealed that Susan Banks is alive. I’m not surprised – nobody dies in Salem! I doubted her death from day one. Some people hate her, but I find her hilarious. Some people also hate Leo, but I also find him hilarious. He has the funniest lines. I don’t care about the Dimitri triangle, but I guess he and Leo are well-suited. It’s obvious Dimitri will lose out on the money.

I don’t like Alex; he’s very annoying. I liked him much better when he was having casual flings – at least people don’t normally do that on the soaps. Perhaps Abby will return alive just before Chad and Stephanie get married…. that would be fun!

I am thankful the story line with Nurse Nuts and Abe is gone – that plot was tortuous. Speaking of tortuous, I liked the idea of Theresa coming back, but her character has been just annoying so far. It’s been a decade, so couldn’t she find someone else by now?

The residents of Salem have quite a few secrets. I’m not sure why they bother keeping them because they always come out. Salemites must have memories like goldfish.

I would hate to be Sloane when EJ finds out the baby isn’t his. Such a shame. I think Nichole and EJ are better suited. Wendy and Tripp are pretty boring, but it’s a good excuse for Lucas Adams to be shirtless. Xander and Chloes romance is obviously doomed – why are we even bothering with them?

Sonny is back, but what about Will? Oh, great, now I sound like some ridiculous fan whining about casting decisions…one of those who doesn’t realize that the showjust can’t afford lots of returnees.

People on social media were upset that Victor died in a plane crash instead of in his sleep. I don’t know what difference this makes, he’s dead either way. I did like Victor, though… he was funny and is already missed. RIP John.

 

John Aniston (Victor) on "Days of Our Lives" on Peacock (photo from NBC)

The opinions in these articles are those of the writer and do not necessarily reflect the opinions of TVMEG.COM or its other volunteers.

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Part 1 – Star Trek: The Original Series Favorite Quotes

TOS Favorite Lines Season one, part one by Suzanne

 

Charlie X and Captain Kirk

The Cage
The Man Trap
Charlie X
Where No Man Has Gone Before
The Naked Time
The Enemy Within
Mudd’s Women
What Are Little Girls Made Of?
Miri
Dagger Of The Mind
The Corbomite Maneuver
The Menagerie, part 1
The Menagerie, part 2
The Conscience of the King

“The Cage” (unaired pilot)

PIKE: What the devil are you putting in there, ice?
BOYCE: Who wants a warm martini?
PIKE: What makes you think I need one?
BOYCE: Sometimes a man’ll tell his bartender things he’ll never tell his doctor.

COLT: But you wanted the reports by oh five hundred. It’s oh five hundred now, sir.
PIKE: Oh, I see. Thank you.
NUMBER ONE: She’s replacing your former yeoman, sir.
PIKE: She does a good job, all right. It’s just that I can’t get used to having a woman on the bridge. No offence, Lieutenant. You’re different, of course.

VINA: You’re no better choice. They’d have more luck crossing him with a computer.
NUMBER ONE: Well, shall we do a little time computation? There was a Vina listed on that expedition as an adult crewman. Now, adding eighteen years to your age then…

COLT: Sir, I was wondering. Just curious. Who would have been Eve?
NUMBER ONE: Yeoman! You’ve delivered your report.
COLT: Yes, ma’am. Yes, sir.
TYLER: Eve, sir? Yes, sir.
BOYCE: Eve as in Adam?
PIKE: As in all ship’s doctors are dirty old men. What are we running here, a cadet ship, Number One? Are we ready or not?

“The Man Trap”

KIRK: Shall we pick some flowers, Doctor? When a man visits an old girlfriend she usually expects something like that.
MCCOY: Is that how you get girls to like you, by bribing them?

KIRK: Something wrong, Darnell?
DARNELL: Excuse me sir but, ma’am, if I didn’t know better I would swear you were someone I left behind on Wrigley’s Pleasure Planet. It’s funny, you’re exactly like a girl that
MCCOY: A little less mouth, Darnell.
DARNELL: I’m sorry. I didn’t mean to. I mean, I know it’s impossible, of course.
KIRK: Why don’t you step outside, Darnell.
DARNELL: Yes, sir. Thank you, sir.
KIRK: Maybe I’ll step outside, too.
NANCY: What? And let Plum examine me all alone?
KIRK: Plum?
MCCOY: Plum.
NANCY: A nickname I gave Leonard when we were very young.

MCCOY: I’m pleased you’re doing well but I’m required to confirm that fact.
CRATER: Doubtless the good surgeon will enjoy prodding and poking us with his arcane machinery. Go away, we don’t want you.

KIRK: Quote. All research personnel on alien planets are required to have their health certified by a starship surgeon at one year intervals. Like it or not, Professor, as commander of the starship, I’m required
CRATER: To show your gold braid to everyone. You love it, don’t you.
KIRK: He’s all yours, Plum. Doctor McCoy.

MCCOY: I’m not joking, Jim. She hasn’t aged a day. She doesn’t have a grey hair on her head.
KIRK: She’s got some grey, Bones. Excuse me, Professor, she’s a handsome woman, yes, but hardly twenty five.

MCCOY: Open your mouth.
CRATER: Why, I thought the machine
MCCOY: The machine is capable of almost anything but I’ll still put my trust in a healthy set of tonsils. Now, open your mouth.

SPOCK: Miss Uhura, your last sub-space log contained an error in the frequencies column.
UHURA: Mister Spock, sometimes I think if I hear that word frequency once more, I’ll cry.
SPOCK: Cry?
UHURA: I was just trying to start a conversation.
SPOCK: Well, since it is illogical for a communications officer to resent the word frequency, I have no answer.
UHURA: No, you have an answer. I’m an illogical woman who’s beginning to feel too much a part of that communications console. Why don’t you tell me I’m an attractive young lady, or ask me if I’ve ever been in love? Tell me how your planet Vulcan looks on a lazy evening when the moon is full.
SPOCK: Vulcan has no moon, Miss Uhura.
UHURA: I’m not surprised, Mister Spock.

UHURA: I don’t believe it.
SPOCK: Explain.
UHURA: You explain. That means that somebody is dead and you just sit there. It could be Captain Kirk. He’s the closest thing you have to a friend.
SPOCK: Lieutenant, my demonstration of concern will not change what happened. The transporter room is very well-manned and they will call if they need my assistance.

UHURA: Message, Captain. Starship base on Caran 4 requesting explanation of our delay here, sir. Space Commander Dominguez says we have supplies he urgently needs.
KIRK: Tell Jose he’ll get his chili peppers when we get there. Tell him they’re prime Mexican reds. I handpicked them myself, but he won’t die if he goes a few more days without them. Got it?
UHURA: Got it, Captain.

MCCOY: I thought it was, sir. Another error on my part.
KIRK: I’m not counting them, Bones. Are you in the mood for an apology?
MCCOY: Oh, forget it. I probably was mooning over her. I should have been thinking about my job.

CRATER: And your esteemed physician cannot explain our need for salt tablets?
KIRK: We’re all aware of the need for salt on a hot and arid planet like this, Professor, but it’s a mystery, and I don’t like mysteries. They give me a bellyache and I’ve got a beauty right now.

KIRK: We can’t search this whole planet on foot.
MCCOY: Jim!
KIRK: You could learn something from Mister Spock, Doctor. Stop thinking with your glands. We’ve equipment aboard the Enterprise that could pinpoint a match lit anywhere on this planet, or the heat of a body. Transporter room, Kirk speaking. Three to beam up.

RAND: Why don’t you go chase an asteroid?
REDSHIRT: Hey, Janice, is that for me?
RAND: Don’t you wish it was?
BLUESHIRT: How about that?
REDSHIRT: Yeah, how’d you like to have her as your personal yeoman?

RAND: Where are you, Sulu?
SULU: In here feeding the weepers, Janice.
RAND: I’ve got your tray.
SULU: May the Great Bird of the Galaxy bless your planet.
RAND: Thank you. Hello, Beauregard. How are you today, darling?
SULU: Her name’s Gertrude.
RAND: No, it’s a he plant. A girl can tell.
SULU: Why do people have to call inanimate objects she, like she’s a fast ship.
RAND: He is not an inanimate object. He’s so animate he makes me nervous. In fact, I keep expecting one of these plants of yours to grab me.
SULU: Hello, Green.
RAND: He’s not talking today. You been nipping saurian brandy or something?

UHURA: Crewman, do I know you?
CREWMAN: In a way, ma’am. You were just thinking of someone like me. I’m guessing of course, but you do look a little lonely.
UHURA: I see. So naturally, when I’m lonely I think of you.
CREWMAN: Ina cuvanea mwanamke turee.
UHURA: Una kafeeri Hur. You’re Swahili?

KIRK: What’s the matter, can’t you sleep?
MCCOY: Nope.
KIRK: Try taking one of those red pills you gave me last week. You’ll sleep.

MCCOY: The creature leading you a merry chase, Mister Sulu?
SULU: The creature?
MCCOY: Or whatever it is that’s killing the crewmen. Perhaps I can help. Fill me in.

KIRK: You bleed too much, Crater. You’re too pure and noble. Are you saving the last of its kind or has this become Crater’s private heaven, here on this planet? This thing becomes wife, lover, best friend, wise man, fool, idol, slave. It isn’t a bad life to have everyone in the universe at your beck and call, and you win all the arguments.
CRATER: You don’t understand.

KIRK: Dead. But it had you, too.
SPOCK: Fortunately, my ancestors spawned in another ocean than yours did. My blood cells are quite different.

KIRK: Move aside, Bones.
MCCOY: What’s going on here, Jim?
KIRK: She’s not Nancy, Bones.
MCCOY: Are you insane?

“Charlie X”

KIRK: Yeoman Rand, this is Charles Evans. Show him to his quarters and drop his records off at Doctor McCoy’s office, if you will.
RAND: Yes, sir. Come with me, please.
CHARLIE: Are you a girl? Is that a girl?
KIRK: That’s a girl.

CHARLIE: Some, the other ship, they didn’t like me. I tried. I’m trying to make people like me. I want them to like me.
MCCOY: Most seventeen year olds do.

CHARLIE: You got a deal, friend. (slaps her bottom)
RAND: Charlie!
CHARLIE: I thought. Don’t be angry. I didn’t, I wanted.
RAND: Charlie, you, you, you just don’t go around slapping girls on the… It’s okay, but, er, just don’t do it again.
CHARLIE: Don’t be angry.
RAND: Look, why don’t you tell Captain Kirk or Doctor McCoy what you did. They’ll explain it to you. Okay?

KIRK: Thank you. He’s working out a training programme for Charlie Evans. Earth history, his own background, that sort of thing. I’d like you to give him the necessary medical orientation on the problems of, um, er, adolescence.
MCCOY: Well, don’t you think it’d be better for a strong father image like you? He already looks up to you.
KIRK: The job is yours, Bones. Flattery will get you nowhere.

CHARLIE: Well, in the corridor I saw. When Janice, when Yeoman Rand was… (slaps Kirk’s bottom) I did that to her. She didn’t like it. She said you’d explain it to me.
KIRK: Me. I see. Well, um, er, there are things you can do with a lady, er, Charlie, that you er. There’s no right way to hit a woman. I mean, man to man is one thing, but, er, man and woman, er, it’s, er, it’s, er. Well it’s, er, another thing. Do you understand?
CHARLIE: I don’t know.

CHARLIE: Can I talk to you, alone.
RAND: Charlie, Tina’s–
TINA: Excuse me. I must be wanted somewhere.
RAND: That was, that was rude and completely uncalled-for.

KIRK: Charlie, there are a million things in this universe you can have and there are a million things you can’t have. It’s no fun facing that, but that’s the way things are.
CHARLIE: Then what am I going to do?
KIRK: Hang on tight and survive. Everybody does.

KIRK: Go to your quarters.
CHARLIE: He was going to hurt me.
KIRK: Go to your quarters or I’ll pick you up and carry you there.

CHARLIE: Well, they weren’t nice to me! They wanted to get rid of me. They don’t now.
KIRK: What about us, Charlie?
CHARLIE: I don’t know.
(Charlie leaves)
SPOCK: We’re in the hands of an adolescent.

KIRK: Mister Spock, you getting any readings on your instruments?
SPOCK: Yes, sir. There’s a Tyger, tyger, burning bright in the forest of the night.
KIRK: Mister Spock.
SPOCK: I’m trying to Saturn rings around my head, down a road that’s Martian red.

SPOCK: Once upon a midnight dreary while I pondered, weak and weary.
CHARLIE: Very nice, Mister Ears. Oh, I can make him do anything, whirl around, laugh, anything.
KIRK: That’s enough, Charlie.
CHARLIE: Don’t you think he’s funny? I think he’s funny.

KIRK: Are you creating that message, Charlie, or you’re blocking one that’s coming in.
CHARLIE: It’s my game, Captain. You have to find out. Like you said, that’s how the game’s played.

CHARLIE: I can make you all go away anytime I want to.
KIRK: Get out of my chair, Charlie, and get out of it now.
CHARLIE: I’ve got your ship, Captain.

CHARLIE: I won’t do it again. Please, I’ll be good. I won’t ever do it again. I’m sorry about the Antares. I’m sorry! When I came aboard–! Please, I want to go with you. Help me!
KIRK: The boy belongs with his own kind.

“Where No Man Has Gone Before”

KIRK: Have I ever mentioned you play a very irritating game of chess, Mister Spock?
SPOCK: Irritating? Ah, yes. One of your Earth emotions.
KIRK: Certain you don’t know what irritation is?
SPOCK: The fact one of my ancestors married a human female
KIRK: Terrible having bad blood like that.

DEHNER: lf there was an emergency, I’d be interested in how that crew reacted, too.
MITCHELL: Improving the breed, Doctor? Is that your line?
DEHNER: I heard that’s more your specialty, Commander, line included.
MITCHELL: Walking freezer unit.

KIRK: I’ve been worried about you ever since that night on Deneb IV.
MITCHELL: Yeah, she was nova, that one. Not nearly as many after-effects this time, except for the eyes. They kind of stare back at me when I’m shaving.

MITCHELL: Well, I’m getting a chance to read some of that longhair stuff you like. Hey man, I remember you back at the Academy. A stack of books with legs. The first thing I ever heard from an upperclassman was, watch out for Lieutenant Kirk. In his class, you either think or sink.
KIRK: I wasn’t that bad, was I?
MITCHELL: If I hadn’t aimed that little blonde lab technician at you…
KIRK: You what? You planned that?
MITCHELL: Well, you wanted me to think, didn’t you? I outlined her whole campaign for her.
KIRK: I almost married her!

KIRK: I’m going to ask Doctor Dehner to keep you under observation for a while.
MITCHELL: With almost a hundred women on board, you can do better than that, friend Captain.
KIRK: Consider it a challenge.

MITCHELL: I’ve got nothing against you, Doctor.
DEHNER: Nor against the walking freezer unit?
MITCHELL: Well, I… sorry about that.

SPOCK: Our subject is not Gary Mitchell. Our concern is, rather, what he is mutating into.
DEHNER: I know those from your planet aren’t suppose to have feelings like we do, Mister Spock, but to talk that way about a man you’ve worked next to for years is worse than
KIRK: That’s enough, Doctor.
DEHNER: I don’t think so. I understand you least of all. Gary told me that you’ve been friends since he joined the service, that you asked for him aboard your first command.

SPOCK: We’ll never reach an Earth base with him aboard, Jim. You heard the mathematics of it. In a month he’ll have as much in common with us as we’d have with a ship full of white mice.
KIRK: I need a recommendation, Spock, not vague warnings.
SPOCK: Recommendation one. There’s a planet a few light days away from here. Delta Vega. It has a lithium cracking station. We may be able to adapt some of its power packs to our engines.

SPOCK: It is your only other choice, assuming you make it while you still have time.
KIRK: Will you try for one moment to feel? At least act like you’ve got a heart. We’re talking about Gary.

MITCHELL: My friend James Kirk. remember those rodent things on Dimorus? The poisoned darts they threw? I took one meant for you.
KIRK: And almost died. I remember.
MITCHELL: So why be afraid of me now?
KIRK: You’ve been testing your ability to take over the Enterprise. In the transporter room, you said something about us seeming like insects by comparison, squashing us if we got in your way.

KIRK: Doctor Dehner feels he isn’t that dangerous. What makes you right and a trained psychiatrist wrong?
SPOCK: Because she feels. I don’t. All I know is logic. In my opinion we’ll be lucky if we can repair this ship and get away in time.

MITCHELL: A visitor. A very foolish man. You’ll enjoy being a god, Elizabeth. Blasphemy? No. Let there be food. Kaferian apples. Whenever we visited that planet, I always favoured these. Can you hear me, James? You cannot see me. I’m not there. You follow the right path, James. You’ll come to me soon.
DEHNER: I can see him in my mind, too.

KIRK: Did you hear him joke about compassion? Above all else, a god needs compassion. Mitchell! Elizabeth.
DEHNER: What do you know about gods?
KIRK: Then let’s talk about humans, about our frailties. As powerful as he gets, he’ll have all that inside him.

SPOCK: I felt for him, too.
KIRK: I believe there’s some hope for you after all, Mister Spock.

“The Naked Time”

MCCOY: You’re fine, Joe. Up and out of there. Mister Spock? Your pulse is two hundred and forty two, your blood pressure is practically nonexistent, assuming you call that green stuff in your veins blood.
SPOCK: The readings are perfectly normal for me, Doctor, thank you, and as for my anatomy being different from yours, I am delighted. Captain.

SULU: Foil. It’s a rapier. A thin sword.
RILEY: All right. So what do you do with it?
SULU: What do you mean, what do you do with it?
RILEY: Self-defence? Mayhem? Shish kebab?
SULU: You practice.
RILEY: For what?
SULU: Hi, Joey.
RILEY: Last week it was botany he was trying to get me interested in. I was supposed to be collecting leaves, plant specimens.
SULU: Your attitude is all wrong. Fencing tones the muscle, sharpens the eye, improves the posture. You tell him, Joey. Explain to him. Hey, Joey. You feeling all right?
TORMOLEN: Get off me! You don’t rank me and you don’t have pointed ears, so just get off my neck!

SULU: Don’t know if it’s this planet or what happened with Joe. I’m sweating like a bridegroom.
RILEY: Yeah, me too.
SULU: Hey, why don’t you come down to the gym with me, Kevin m’lad?
RILEY: Now?
SULU: Why not? Light workout will take the edge off.
RILEY: Sulu, what about. Hey, Sulu, don’t be a fool!

SPOCK: You haven’t answered my question. Where is Mister Sulu?
RILEY: Have no fear, O’Riley’s here. One Irishman is worth ten thousand of you
SPOCK: You’re relieved, Mister Riley. Lieutenant Uhura, take over this station.
UHURA: Yes, sir.
RILEY: Now that’s what I like. Let the women work too. Universal suffrage.
SPOCK: Report to Sickbay, Mister Riley.
RILEY: Sickbay? Exactly where I was heading, sir.

RILEY: You know something? You have such lovely eyes, pretty lady. (touches her face)
CHAPEL: I know he was a friend of yours. This must be a terrible shock.
RILEY: You know what Joe’s mistake was? He wasn’t born an Irishman.

UHURA: Sir, level two, corridor three reports a disturbance. Mister Sulu chasing crewmen with a sword.

KIRK: Mister Scott, acknowledge. Our controls are dead. Take her.
SULU: Richelieu, at last.
KIRK: Sulu, put that (discovers that the point is sharp) put that thing away.
SULU: For honour, Queen, and France! (lunges)
UHURA: Sulu.
SULU: Ah.
UHURA: Sulu, give me that.
SULU: I’ll protect you, fair maiden.
UHURA: Sorry, neither.
SULU: Foul Richelieu. (distracted by Uhura’s escape, Kirk is able to grab Sulu and Spock does a neck-pinch)
KIRK: I’d like you to teach me that sometime.
SPOCK: Take D’Artagnon here to Sickbay.

RILEY: You rang, sir?
KIRK: Who’s this?
RILEY: This is Captain Kevin Thomas Riley of the starship Enterprise. And who is this?
KIRK: This is Captain Kirk. Get out of the engine room, navigator. Where’s Mister Scott?
RILEY: I’ve relieved Mister Scott of his duties. Now, attention, cooks. This is your captain speaking. I would like double portions of ice cream for the entire crew.
KIRK: Clear that tube, will you?
UHURA: Yes, sir.
RILEY: And now, your captain will render an ancient Irish favourite. (sings) I’ll take you home again Kathleen
SPOCK: Captain. At our present rate of descent, we have less than twenty minutes before we enter planet atmosphere.
KIRK: And burn up. I know, Mister Spock.
RILEY: Wild and wide to where your heart…

RILEY: Lieutenant Uhura and you interrupted my song. I’m sorry, but there’ll be no ice cream for you tonight.
KIRK: Cut him off.
UHURA: I can’t, sir. There’s no way to do it.
RILEY: Attention, crew. This is Captain Riley. There will be a formal dance in the bowling alley at nineteen hundred hours tonight.

RILEY: This is Captain Riley. Crew, I have some additional orders. In the future, all female crew members will wear their hair loosely, about their shoulders. And use restraint in putting on your makeup. Women, women should not look made up. And now, crew, I will render Kathleen one more time!
KIRK: Please, not again.
RILEY: (singing) I’ll take you home again, Kathleen (meanwhile, Scott is working in a Jefferies tube) I’ve watched them fade away and die.
SCOTT: I’ve set the jumpers up there. Stand by ’til I give you a signal.
RILEY: And tears bedim your loving eyes. Oh, I will take you home Kathleen.

RAND: I would have gotten here sooner, sir but Crewman Moody stopped me in the hallway.
KIRK: Take the helm.
RAND: Sir?
KIRK: Take the helm!
RAND: Yes, sir.
RILEY: Kathleen. And now, crew, one more time!
KIRK: At least try cutting him off!
UHURA: Sir, if I could cut him off, don’t you think I–
RILEY: I’ll take you home again Kathleen
UHURA: Yes, sir. I’ll keep trying.
KIRK: Sorry.
RILEY: Across the ocean wild and wide…

KIRK: Where have you been? What happened?
SPOCK: My mother. I could never tell her I loved her.
KIRK: We’ve got four minutes, maybe five.
SPOCK: An Earth woman, living on a planet where love, emotion, is bad taste.
KIRK: We’ve got to risk a full-power start. The engines were shut off. No time to regenerate them. Do you hear me? We’ve got to risk a full-power start!
SPOCK: I respected my father, our customs. I was ashamed of my Earth blood. (Kirk slaps him) Jim, when I feel friendship for you, I’m ashamed.
KIRK: (hitting him repeatedly) You’ve got to hear me! We need a formula. We’ve got to risk implosion!
SPOCK: t’s never been done! Understand, Jim. I’ve spent a whole lifetime learning to hide my feelings. (finally hits Kirk back)
KIRK: We’ve got to risk implosion. It’s our only chance.
SPOCK: It’s never been done.

KIRK: I’ve got it, the disease. Love. You’re better off without it, and I’m better off without mine. This vessel, I give, she takes. She won’t permit me my life. I’ve got to live hers.
SPOCK: Jim.
KIRK: I have a beautiful yeoman. Have you noticed her, Mister Spock? You’re allowed to notice her. The Captain’s not permitted
SPOCK: Jim, there is an intermix formula.
KIRK: Now I know why it’s called she…
SPOCK: It’s never been tested. It’s a theoretical relationship between time and antimatter.
KIRK: Flesh woman to touch, to hold. A beach to walk on. A few days, no braid on my shoulder.
SCOTT: Captain.
KIRK: Scotty, help.

KIRK: The time warp. What did it do to us?
SPOCK: We’ve regressed in time seventy one hours. It is now three days ago, Captain. We have three days to live over again.
KIRK: Not those last three days.

“The Enemy Within”

KIRK: Yeah. At night it gets down to a hundred and twenty degrees below zero.
SULU: That’s nippy.

SCOTT: It might profit you to let Doctor McCoy give you the once-over.
KIRK: All right, Engineer, I’ll have my engines looked to.

MCCOY: You picked a good day, Fisher. Business has been lousy. What’d you do, take a fall on purpose so you could get a little vacation?
KIRK: Saurian brandy.
MCCOY: Back to duty status, Fisher. I have no sympathy for clumsiness.

SPOCK: Well, Doctor McCoy seemed to think I should check on you.
KIRK: That’s nice. Come on, Spock, I know that look. What is it?
SPOCK: Well, our good doctor said that you were acting like a wild man, demanded brandy.
KIRK: Our good doctor’s been putting you on again.
SPOCK: Hmm. Well, in that case, if you’ll excuse the intrusion Captain, I’ll get back to my work.
KIRK: I’ll tell him you were properly annoyed.

RAND: Oh! Captain, you startled me. Is there something that you? Can I help you, Captain?
KIRK: Jim will do here, Janice.
RAND: Oh.
KIRK: You’re too beautiful to ignore. Too much woman. We’ve both been pretending too long. (grabs her) Stop pretending. Let’s stop pretending. Come here, Janice. Don’t fight me. Don’t fight me, Janice. (kisses her)
RAND: Captain!
KIRK: Just a minute, Janice. Just a minute!

KIRK: How’s it going down there, Mister Sulu?
SULU: It’s already twenty degrees below zero. Can’t exactly call it balmy.

SPOCK: If your power of command continues to weaken, you’ll soon be unable to function as Captain. You must be prepared for that.
MCCOY: You have your intellect, Jim. You can fight with that!
KIRK: For how long?
SPOCK: If I seem insensitive to what you’re going through, Captain, understand it’s the way I am.

KIRK: We’ve located the trouble. It shouldn’t be much longer.
SULU: Do you think you might be able to find a long rope somewhere and lower us down a pot of hot coffee?
KIRK: I’ll see what we can do.
SULU: Rice wine will do, if you’re short on coffee.

SULU: (using phaser to heat rocks) I think we ought to give room service another call. That coffee’s taking too long. Enterprise, this is Sulu.
KIRK: Kirk here, Mister Sulu.
SULU: Hot line direct to the Captain. Are we that far gone?
KIRK: I gave everybody the afternoon off. I’m watching the store. How is it down there?
SULU: Oh, lovely, except that the frost is building up. We’re using hand phasers to heat the rocks. One phaser quit on us, three still operating. Any possibility of getting us back aboard before the skiing season opens down here?
SPOCK: This is Spock, Mister Sulu. You’ll have to hold on a little longer. There’s no other way. Survival procedures, Mister Sulu.
SULU: Per your training program, Mister Spock.

KIRK: I have to take him back inside myself. I can’t survive without him. I don’t want him back. He’s like an animal, a thoughtless, brutal animal, and yet it’s me. Me.
MCCOY: Jim, you’re no different than anyone else. We all have our darker side. We need it! It’s half of what we are. It’s not really ugly, it’s human.
KIRK: Human.
MCCOY: Yes, human. A lot of what he is makes you the man you are. God forbid I should have to agree with Spock, but he was right. Without the negative side, you wouldn’t be the Captain. You couldn’t be, and you know it. Your strength of command lies mostly in him.
KIRK: What do I have?
MCCOY: You have the goodness.
KIRK: Not enough. I have a ship to command.
MCCOY: The intelligence, the logic. It appears your half has most of that, and perhaps that’s where man’s essential courage comes from. For you see, he was afraid and you weren’t.

SPOCK: The shock of putting him back together seems to have been too much for him.
MCCOY: He’s dead, Jim.

RAND: Captain? The impostor told me what happened, who he really was, and I’d just like to say that. Well, sir, what I’d like is..
KIRK: Thank you, Yeoman.
SPOCK: The, er, impostor had some interesting qualities, wouldn’t you say, Yeoman?

“Mudd’s Women”

MUDD: Meaning no ingratitude, gentlemen, but just where is it I find meself?
MCCOY: You’re aboard the U.S.S. Enterprise.
MUDD: It’s really a darn beautiful ship, isn’t it? Really a beautiful ship. Oh, the name, gentlemen, is Walsh, Captain Leo Walsh.

KIRK: If that captain can walk, I want him in my cabin immediately. Correction, I want him there whether he can walk or not. Kirk out.
MUDD: That fellow sounded a mite upset, didn’t he?
MCCOY: Yes. Yes, they are.
SPOCK: Curious.

MUDD: Ah, sure, these starships are really something marvellous, but men will always be men no matter where they are. Eh, mister? You’ll never take that out of them.
SPOCK: Deck twelve.
MUDD: You’re part Vulcanian, aren’t you. Ah well then, a pretty face doesn’t affect you at all, does it. That is, unless you want it to. You can save it, girls. This type can turn himself off from any emotion.
EVE: I apologise for what he said, sir. He’s used to buying and selling people.
MUDD: I’ll handle the conversation, darling.

MUDD: You’re a hard-nosed one, Captain.
KIRK: And you’re a liar, Mister Walsh. I think we both understand each other.

SULU: You’re on duty, Johnny-o. Back to reality.
FARRELL: You can feel their eyes when they look at you, like something grabbing hold of you. Did you notice that?
SULU: I noticed. How I noticed. Come on, Johnny.

SPOCK: State your name for the record.
MUDD: Leo Francis Walsh.
COMPUTER: Incorrect.
SPOCK: Your correct name.
MUDD: Gentlemen, surely you’re not going to take the word of a soulless mechanical device over that of a real flesh and blood man.
SPOCK: State your correct name for the record.
MUDD: Harry Mudd.
COMPUTER: Incorrect.
MUDD: Harcourt Fenton Mudd.
SPOCK: Any past offenses, Mister Mudd?
MUDD: Of course not. Gentlemen, I’m simply an honest businessman.
COMPUTER: Incorrect.
MUDD: Blast that tin-plated pot.

KIRK: Destination and purpose of journey?
MUDD: Planet Ophiuchus 3. Wiving settlers.
KIRK: Come again, Mister Mudd. You do what?
MUDD: I recruit wives for settlers, a difficult but satisfying task.

MUDD: Oh, you beautiful galaxy! Oh, that heavenly universe! Well, girls, lithium miners. Don’t you understand? Lonely, isolated, overworked, rich lithium miners! Girls, do you still want husbands, hmm? Evie, you won’t be satisfied with a mere ship’s captain. I’ll get you a man who can buy you a whole planet. Maggie, you’re going to be a countess. Ruth, I’ll make you a duchess. And I, I’ll be running this starship. Captain James Kirk, the next orders you’re taking will be given by Harcourt Fenton Mudd!

KIRK: Well, come on, you’re the doctor. What is it? Is it that we’re tired, and they’re beautiful? They are incredibly beautiful.
MCCOY: Are they, Jim? Are they actually more lovely, pound for pound, measurement for measurement, than any other women you’ve known? Or is it that they just, well, act beautiful. No. Strike that, strike that.
KIRK: What are they?
MCCOY: You mean are they alien illusions? That sort of thing?
KIRK: I asked you first.
MCCOY: No, an alien smart enough to pull this could also keep my medical scanner from going beep!
KIRK: I don’t follow you.
MCCOY: I don’t either.

KIRK: Have Mudd meet me in the transporter room.
SPOCK: Mudd?
KIRK: The name of this game.

EVE: I ate some of your food, so I paid with some chores.
CHILDRESS: And I do my own cooking. I’ve not laid a hand on you. Remember that.
EVE: Oh, the sound of male ego. You travel halfway across the galaxy, and it’s still the same song. There. You going to eat or talk?
CHILDRESS: I guess I’m supposed to sit, taste, and roll my eyes. Ooh, female cooking again. I’ve tasted better, by my own hand.
EVE: Well you’re tasting some of it now. I couldn’t scrape three layers of your leavings out of that pan.

MUDD: Don’t you think you could possibly, by accident, arrange to leave me behind here? On this planet that would be punishment enough.
KIRK: I can’t do that, Harry, but I will appear as a character witness at your trial. If you think that’ll help.
MUDD: They’ll throw away the key.

MCCOY: That must have been quite a talk you made down there. Ever try considering the patent medicine business?
KIRK: Why should I work your side of the street?
SPOCK: I’m happy the affair is over. A most annoying emotional episode.
MCCOY: Smack right in the old heart. Oh, I’m sorry. In your case, it would be about here.
SPOCK: The fact that my internal arrangement differs from yours, Doctor, pleases me no end.

“What Are Little Girls Made Of?”

SPOCK: That’s an unusual request.
KIRK: The man making it is Doctor Roger Korby.
SPOCK: You’re certain you recognise his voice?
CHAPEL: Have you ever been engaged, Mister Spock? Yes, it’s Roger.

CHAPEL: Brownie, what is it?
BROWN: Explain.
CHAPEL: Don’t you recognise me?
BROWN: Christine. You look well. My name is Brown, Doctor Korby’s assistant. I presume you are Captain Kirk. He’s dead, I assure you. Come, Doctor Korby will be waiting.
KIRK: You do know him well? An old friend?
CHAPEL: I suppose living here for five years…

ANDREA: I do not understand. Why are you unhappy? You are with Roger again.
CHAPEL: Where is Captain Kirk?
ANDREA: You are concerned about the captain?
CHAPEL: Yes, I am concerned.
ANDREA: How can you love Roger without trusting him? Why does it bother you when I use the name Roger?
KORBY: Andrea, it’s sufficient that it does disturb her. You will call me Doctor Korby from now on, Andrea.
ANDREA: Yes, Doctor Korby.

CHAPEL: Yes, let’s start with Andrea.
ANDREA: I’m like Doctor Brown, an android. Didn’t you know?
KORBY: Remarkable, isn’t she? Notice the the lifelike pigmentation, the variation in skin tones. The flesh, the flesh has warmth. There’s even a pulse, physical sensation.
CHAPEL: How convenient.
KORBY: Christine, you must realise an android’s like a computer. It does only what I programme. As a trained scientist yourself, you must realise that
CHAPEL: Given a mechanical Doctor Brown, a mechanical geisha would be no more difficult.
KORBY: You think I could love a machine?
CHAPEL: Did you?
KORBY: Andrea’s incapable of that. She simply obeys orders. She has no meaning for me. There’s no emotional bond. Andrea, kiss Captain Kirk. Now strike him. You see? There’s no emotion in it, no emotional involvement. She simply responds to orders. She’s a totally logical computer. A thing is not a woman. Now do you understand?
KIRK: If these mechanical things have no feelings and perform only as you programme them, then why did Brown try to shoot me? Why did he kill two of my men? There are many things I don’t understand, Doctor.
KORBY: I will answer all of your questions now.

KORBY: Synthetic organs are in place. We merely synchronise them with Kirk’s autonomic nervous system, duplicating the rhythms of his body. At the same time, we duplicate the mental pattern. Now, physical pattern complete, we now make a mental pattern. Ready for final synaptic fusion. Andrea, stand by for cortex circuits. The android will be so perfect It could even replace the captain. The same memories, the same attitudes, the same abilities. Activate circuits.
KIRK: Mind your own business, Mister Spock. I’m sick of your half-breed interference, do you hear? Mind your own business, Mister Spock. I’m sick of your half-breed (passes out, the other one wakes up)

KORBY: Totally unimportant ones. You may leave now. (Kirk2 leaves) You haven’t guessed the rest? Not even you, Christine? What you saw was only a machine, Only half of what I could’ve accomplished, Do you understand? By continuing the process I could’ve transferred you, your very consciousness into that android. Your soul, if you wish. All of you. In android form, a human being can have practical immortality. Can you understand what I’m offering mankind?
KIRK: Programming. Different word, but the same old promises made by Genghis Khan, Julius Caesar, Hitler, Ferris, Maltuvis.
KORBY: Can you understand that a human converted to an android can be programmed for the better? Can you imagine how life could be improved if we could do away with jealousy, greed, hate?
KIRK: It can also be improved by eliminating love, tenderness, sentiment. The other side of the coin, Doctor.
KORBY: No one need ever die again. No disease, no deformities. why even fear can be programmed away, replaced with joy. I’m offering you a pracical heaven, a new paradise, and all I need is your help.

SPOCK: Captain, We finished ahead of schedule.
KIRK2: Doctor Korby has considerable cargo to beam aboard. I’ll have to go over our destination schedule with him.
SPOCK: You’re going back down with the command pack?
KIRK2: Mind your own business, Mister Spock. I’m sick of your half-breed interference, do you hear?
SPOCK: Yes. very well, Captain.
KIRK2: You look upset, Mister Spock. Is everything all right up here?
SPOCK: No problems here, sir.

KIRK: Something bothering you, Mister Spock?
SPOCK: Frankly, I was rather dismayed by your use of the term half-breed, Captain. You must admit it is an unsophisticated expression.
KIRK: I’ll remember that Mister Spock, the next time I find myself in a similar situation. Steady as we go, helm.

“Miri”

MIRI: You got a foolie, is that it, and you want me to play, but I can’t. I don’t know the rules. I’ve got to know the rules.
MCCOY: Foolie?
MIRI: A game, you know. You can’t play a game without rules. Even Grups ought to know that.
KIRK: What are Grups?
MIRI: You are. They will, when Onlies get old.
RAND: Grownups.

KIRK: There must be records somewhere and answers to some of our questions. Miri, do you know any buildings where the doctors used to work?
MIRI: Yes, I know that. Them and their pills and things.
KIRK: Will you take me there?
MIRI: That’s a bad place.
KIRK: It’s important. Please.
MIRI: All right. Do you have a name, too?
KIRK: Yes. It’s Jim.
MIRI: I like that name.
KIRK: Good. I like yours, too. I like you.
MIRI: Do you really?
KIRK: I wouldn’t lie to you.
MIRI: I wouldn’t lie to you, either, Jim. I remember the Grups, but you’re nice. You’re different.
KIRK: Why, thank you.

KIRK: Bones, why do you think the symptoms haven’t appeared in Mister Spock?
MCCOY: I don’t know. Probably the little bugs or whatever they are have no appetite for green blood.
SPOCK: Being a red-blooded human obviously has its disadvantages.

SPOCK: Progress report, genetics section, Life Prolongation Project.
RAND: So that’s what it was.
MCCOY: Life prolongation. Didn’t have much luck, did they?

RAND: One thing, Captain. If she were a wild animal ever since she’s been a little girl, how do you explain that she wants to stay with us?
KIRK: Loneliness? I don’t know, curiosity? I think children have an instinctive need for adults. They want to be told right and wrong.
SPOCK: There may be other emotions at work in this case, Captain.
MCCOY: She likes you, Jim.
SPOCK: She’s becoming a woman.

KIRK: I’m going to try. Miri? Come here. You want to go someplace with me?
MIRI: Sure.
RAND: That little girl…
SPOCK: Is at least three hundred years older than you are, Yeoman. Think about it.

MCCOY: What about us?
SPOCK: The older the victim, the more rapid the progress of the disease.
KIRK: And you? The disease doesn’t seem to be interested in you.
SPOCK: I am a carrier. Whatever happens, I can’t go back to the ship, and I do want to go back to the ship, Captain.

JAHN: That would be some foolie, Miri, but do you think it would work?
MIRI: I know. I know. Don’t you think I’ve heard them talk? They have such little time to do this dumb thing of theirs, this buttinsky thing. If we get her away. that Yeoman, that’s one person less to start off with.
MASKED BOY: But how, Miri? If they’re so busy, if they’re going to have the big emergency, how are you going to get her away?
MIRI: It’s easy. She’s always asking me about the youngest little Onlies, little ones. What if they get sick, who takes care of them? Do they have enough to eat? Where do they sleep? I’ll just tell her one of you fell down and got hurt.
RED HEAD BOY: Me. Say it’s me.
MIRI: All right, you.
JAHN: But Grups, they know things and all that. You know, I bet they’ll be able to do it with one person less.
MIRI: Not one, two. Because he’ll try to find her.
RED HEAD BOY: Who? Who will, Miri?
MIRI: The Captain. He’ll try to find her, but he won’t. Mister Lovey-dovey.
RED HEAD BOY: Lovey-dovey. Bonk bonk on the head. Bonk bonk! bonk bonk!
CHILDREN: Bonk bonk! Bonk bonk!

RED HEAD BOY: Blah, blah, blah!
JAHN: No, you got the wrong game. A teacher, I told you. Now, what does a teacher say, huh?
RED HEAD BOY: Yeah. Study, study, study, or bonk bonk, bad kid. (children all applaud)
RAND: It’s not funny.
JAHN: It’s a foolie.

JAHN: You listen, Miri.
MIRI: I did. Why do you think I brought him here? Tell them, Jim.
JAHN: Tell’em, Jim. Tell’em, Jim.
CHILDREN: Tell’em, Jim! Tell’em, Jim! Tell’em, Jim! Tell’em, Jim!
KIRK: Listen to me. Listen to me!
JAHN: No yelling in the classroom! Look at him, a very bad citizen.
KIRK: This isn’t a game. It never was a game.
BLONDE GIRL: Call the police!
RED HEAD BOY: I’m the police. Bonk bonk unless you’re good.
JAHN: You’re the teacher.
RED HEAD BOY: I got two jobs. Bonk bonk!
CHILDREN: Blah blah blah! Blah blah blah! Blah blah blah! Blah blah blah!

CHILDREN: (approaching menacingly) Nyah na nyah, nyah na nyah, nyah na nyah, nyah na nyah.
KIRK: You’ve seen your friends change one by one as they grew up. Did you ever see one of them not change? One by one, they got the disease, and they became like, Iike those creatures you’re afraid of, like Louise. One by one they changed and got the disease. The disease like I’ve got, like Miri has. You understand what I’m talking about. You’re not babies. We can help you!
RED HEAD BOY: Naughty Grup. (starts hitting Kirk) Bonk bonk! Bonk bonk!
MIRI: No, please. No! (the other children join in as the little blonde girl watches, smiling)
KIRK: (bleeding) It’s waiting for you. It may only be a matter of months.
MIRI: Listen to him. He’s telling the truth.
JAHN: He’s funny. He thinks he’s funny.
RED HEAD BOY: Bonk bonk! Get him!
KIRK: Look at my arms! That’s what’s going to happen to you unless you let me help you.
RED HEAD BOY: Bonk bonk! Hit him!
KIRK: And the little ones. What’s going to happen to them after you’ve gone, after you’ve turned into creatures like Louise? Oh, they’ll still be here, but not for long, because the food’s all gone. You’ve eaten it. Maybe six months left, that’s all, and then nothing left to eat, nobody left to take care of them. They’ll die, too.
MIRI: Look at my arm, Jahn. It’s happening to me. He’s telling the truth.
JAHN: They’re Grups!
CHILDREN: Bonk bonk! Bonk bonk! Bonk bonk! Bonk bonk!
KIRK: All right, you want a foolie? All right. I dare you, I double-dare you. Look at the blood on my face. Now look at your hands. Blood on your hands. Now who’s doing the hurting? Not the Grups, it’s you hurting, yelling, maybe killing, just like the Grups you remember and creatures you’re afraid of. You’re acting like them, and you’re going to be just like them unless you let me help you. I’m a Grup, and I want to help you. I’m begging you, let me help you or there won’t be anything left at all. Please.

IRK: Look at his face.
SPOCK: The blemishes are fading. They’re fading. Who will understand the medical mind?

RAND: Miri. She really loved you, you know.
KIRK: Yes. I never get involved with older women, Yeoman.

“Dagger Of The Mind”

KIRK: I would like to have met Doctor Adams. Have you ever been to a penal colony since they started following his theories?
MCCOY: A cage is a cage, Jim.
KIRK: You’re behind the times, Bones. They’re more like resort colonies now.

SPOCK: Interesting. Your Earth people glorify organised violence for forty centuries, but you imprison those who employ it privately.
MCCOY: And, of course, your people found an answer.
SPOCK: We disposed of emotion, Doctor. Where there is no emotion there is no motive for violence.

NOEL: Doctor Helen Noel, Captain. We’ve met. Don’t you remember the science lab Christmas party?
KIRK: Yes, I remember.
NOEL: You dropped in
KIRK: Yes, yes, I remember.
SPOCK: Problem, Captain?
KIRK: Mister Spock, you tell McCoy that she had better check out as the best assistant I ever had. Energize.

NOEL: Perhaps it would be simpler if you called me Helen, Captain, since–
KIRK: This is another time, another place, and another situation.
NOEL: Of course, Captain.

SPOCK: When do you plan to beam back up, Captain?
KIRK: I think we’ll spend the night here, Mister Spock.
GELDER: No! No, no, no.

KIRK: I’d like to see that treatment room again. You say you’re somewhat familiar with the theory behind it?
NOEL: Yes, somewhat, but if you’d simply state any doubts you have to Doctor Adams
KIRK: And if he’s lying, he’ll continue to lie, and I won’t find out a thing. The only way I can be sure is to see that machine at work, or is that too impractical and unscientific of me, Doctor? Well?
NOEL: Coming.

KIRK: Nothing happened.
NOEL: Something happened. Your face went completely blank.
KIRK: Try a harmless suggestion.
NOEL: You’re hungry.
KIRK: You know, when we finally get through this I’d like to locate and raid a kitchen somewhere.
NOEL: I put that suggestion in your mind, Captain. I said simply that you were hungry.
KIRK: Remarkably effective for a device that Doctor Adams was going to abandon.

“The Corbomite Maneuver”

SPOCK: Ahead slow. Steer a course around it, Mister Sulu.
BAILEY: It’s blocking the way!
SPOCK: Quite unnecessary to raise your voice, Mister Bailey.

KIRK: I’ll be right up. You could see the alarm lights flashing from there, McCoy. Why didn’t you tell me?
MCCOY: Finally finished a physical on you, didn’t I. (Kirk leaves) What am I, a doctor or a moon shuttle conductor? If I jumped every time a light came on around here, I’d end up talking to myself.

SPOCK: All decks have reported green, Mister Bailey.
BAILEY: Yes, sir.
SPOCK: And when the Captain arrives he will expect a full report on–
BAILEY: The cube’s range and position. I’ll have it by then. Raising my voice back there doesn’t mean I was scared or couldn’t do my job. It means I happen to have a human thing called an adrenaline gland.
SPOCK: It does sound most inconvenient, however. Have you considered having it removed?
BAILEY: Very funny.
SULU: You try to cross brains with Spock, he’ll cut you to pieces every time.

KIRK: Scotty.
SCOTT: Motive power? Beats me what makes it go.
KIRK: I’ll buy speculation.
SCOTT: I’d sell it if I had any. That’s a solid cube. How something like that can sense us coming, block us, move when we move, well it beats me. That’s my report.

BAILEY: Sir, we going to just let it hold us here? We’ve got phaser weapons. I vote we blast it.
KIRK: I’ll keep that in mind, Mister Bailey, when this becomes a democracy.

KIRK: Anything further, gentlemen?
SPOCK: I believe it adds up to either one of two possibilities. First, a space buoy of some kind.
KIRK: Second?
SPOCK: Flypaper.
KIRK: And you don’t recommend sticking around.

KIRK: It’s time for action, gentlemen. Mister Bailey–
BAILEY: Bridge to Phaser Gun Crew
KIRK: Countermand. I’ll select what kind of action.
BAILEY: I’m sorry, sir. I thought you meant…
KIRK: Are you explaining, Mister Bailey? I haven’t requested an explanation. Now, as I was about to say, Navigator, plot us a spiral course away from the cube.

KIRK: Care to speculate on what we’ll find if we go on ahead?
SPOCK: Speculate? No. Logically, we’ll discover the intelligence which sent out the cube.
KIRK: Intelligence different from ours or superior?
SPOCK: Probably both, and if you’re asking the logical decision to make
KIRK: No, I’m not. The mission of the Enterprise is to seek out and contact alien life.
SPOCK: Has it occurred to you that there’s a certain inefficiency in constantly questioning me on things you’ve already made up your mind about?
KIRK: It gives me emotional security. Navigator, set a course ahead.

RAND: Excuse me, sir. It’s past time you had something to eat, sir.
KIRK: What the devil is this? Green leaves?
RAND: It’s dietary salad, sir. Doctor McCoy ordered your diet card changed. I thought you knew.
MCCOY: Your weight was up a couple of pounds, remember?

KIRK: When I find the headquarters genius that assigned me a female yeoman
MCCOY: What’s the matter, Jim. Don’t you trust yourself?
KIRK: I’ve already got a female to worry about. Her name’s the Enterprise.

BAILEY: We’ve only got eight minutes left.
SULU: Seven minutes and forty five seconds.
BAILEY: He’s doing a countdown!
MCCOY: Practically end of watch.
BAILEY: What, are you all out of your minds? End of watch? It’s the end of everything. What are you, robots? Wound-up toy soldiers? Don’t you know when you’re dying? Watch and regulations and orders What do they mean?
KIRK: Bailey, you’re relieved! Escort him to his quarters, Doctor.

SPOCK: I regret not having learned more about this Balok. In some manner he was reminiscent of my father.
SCOTT: Then may heaven have helped your mother.
SPOCK: Quite the contrary. She considered herself a very fortunate Earth woman.
KIRK: Doc. Sorry.
MCCOY: For having other things on your mind? My fault. I don’t how the devil you keep from punching me in the face.

KIRK: Ready, Doctor?
MCCOY: No, but you won’t let that stop you.

“Menagerie, Part One”

KIRK: How long will he live?
MCCOY: As long as any of us. Blast medicine anyway. We’ve learned to tie into every human organ in the body except one. The brain. The brain is what life is all about. Now, that man can think any thought that we can, and love, hope, dream as much as we can, but he can’t reach out, and no one can reach in.

MCCOY: What’s going on around here? Who said Jim needed a medical rest leave? And this call about me being needed aboard the ship. I’ve checked everywhere.
SPOCK: And no one from the ship made such a call.
MCCOY: That’s right.
SPOCK: Doctor, I regret they elected to keep certain things from you.

KIRK: Blast you any way. You had no right to come along.
MENDEZ: RHIP, Captain. Rank hath its privileges.

MCCOY: Mister Spock is, er, under arrest. Is confinement to quarters enough?
SPOCK: Adequate, Doctor. I’ll make no trouble.
MCCOY: Well, confine him.

SPOCK: Sir, I must point out that there are three officers of command rank available. Yourself, Commodore Mendez, and Captain Christopher Pike.
KIRK: Denied. Captain Pike is a complete invalid.
SPOCK: I believe you’ll find he’s still on the active duty list.
MENDEZ: We didn’t have the heart to retire him, Jim. He’s got you. Whatever he’s up to, he’s planned it well.

KIRK: Do you know what you’re doing? Have you lost your mind?
SPOCK: Captain, Jim, please don’t stop me. Don’t let him stop me. It’s your career and Captain Pike’s life. You must see the rest of the transmission.
KIRK: Lock him up.

“The Menagerie, part 2”

SPOCK: Thank you, sir, for both of us. (flash)
KIRK: Er, Mister Spock, when you’re finished, please come back and see me. I want to talk to you. This regrettable tendency you’ve been showing lately towards flagrant emotionalism
SPOCK: I see no reason to insult me, sir. I believe I’ve been completely logical about the whole affair.

“The Conscience of the King”

LENORE: So. Captain of the Enterprise. Interesting.
KIRK: So, Lady Macbeth. Interesting.

SPOCK: How did you know this lady was coming aboard?
KIRK: I’m the Captain.

KIRK: You make it sound very interesting. The crew has been on patrol for a long time. They could use a break in the monotony.
LENORE: Then you’ll do it?
KIRK: You’ve got me backed into a corner. The men would never forgive me if I deprived them of your performance, and your presence.

SPOCK: Benecia Colony is eight light years off our course.
KIRK: If my memory needs refreshing, Mister Spock, I’ll ask you for it. In the meantime, follow my orders.

MCCOY: Mister Spock, the man on top walks a lonely street. The chain of command is often a noose.
SPOCK: Spare me your philosophical metaphors, Doctor. The Captain is acting strangely. I’m asking if you’ve noticed.
MCCOY: Negative. Did you know this is the first time in a week I’ve had time for a drop of the true? Would you care for a drink, Mister Spock?
SPOCK: My father’s race was spared the dubious benefits of alcohol.
MCCOY: Now I know why they were conquered. What are you so worried about, anyway? I find Jim generally knows what he’s doing.
KIRK: It was illogical for him to bring those players aboard.
MCCOY: Illogical? Did you get a look at that Juliet? That’s a pretty exciting creature. Of course your, personal chemistry would prevent you from seeing that. Did it ever occur to you that he simply might like the girl?
SPOCK: It occurred. I dismissed it.
MCCOY: You would.

KIRK: What would you like to know?
LENORE: Has the machine changed them? Made them just people instead of women?
KIRK: Worlds may change, galaxies disintegrate, but a woman always remains a woman.

RILEY: Talk to me.
MATSON: Larry Matson here. Is that you, Riley?
MATSON: What’s up?
RILEY: Not me. I am down. In the engineering room.
MATSON: You’ve been a bad boy.
RILEY: Maybe so. Whatever I’ve done, they’re sure keeping it a secret from me. Hey. Is that Uhura playing? Let me talk to her.
MATSON: I think his heart is sore.
UHURA: What can I do for you, Riley?
RILEY: A song. Make it a love song. Just something to reassure me I’m not the only living thing left in the universe, huh?

SPOCK: Someone tried to kill him.
MCCOY: Could have been an accident.
SPOCK: You should be told the difference between empiricism and stubbornness, Doctor. I checked with the library computer, just as you did. I got the same information.
KIRK: Aren’t you getting a little out of line, Mister Spock? My personal business–
SPOCK: Is my personal business when it might interfere with the smooth operation of this ship.
KIRK: You think that happened?
SPOCK: It could happen.
KIRK: I don’t like anyone meddling in my private affairs. Not even my second in command.
MCCOY: Jim, Spock’s simply trying,
KIRK: I know what he’s doing, and I don’t like it.
MCCOY: It’s his job, and you know it.
KIRK: And you also know that nothing is proven.
SPOCK: Even in this corner of the galaxy, Captain, two plus two equals four. Almost certainly an attempt will be made to kill you. Why do you invite death?
KIRK: I’m not. I’m interested in justice.
MCCOY: Are you? Are you sure it’s not vengeance?

KIRK: Are you Kodos? I asked you a question.
KARIDIAN: Do you believe that I am?
KIRK: I do.
KARIDIAN: Then I am Kodos, if it pleases you to believe so. I am an actor. I play many parts.
KIRK: You’re an actor now. What were you twenty years ago?
KARIDIAN: Younger, Captain. Much younger.

MCCOY: In the long history of medicine, no doctor has ever caught the first few minutes of a play. Riley, don’t forget to– Riley? Captain Kirk, McCoy here.
KIRK: Yes, Doctor.
MCCOY: Riley’s gone. I was recording my log about Karidian and Kodos. If he overheard…

“Balance of Terror”

ROBERT: Happy wedding day, almost.
ANGELA: You won’t get off my hook this easily. I’m going to marry you, Mister, battle or phaser weapons notwithstanding.
ROBERT: Well, meanwhile, temporarily at least, I am still your superior officer. So get with it, Mister.

KIRK: Cancel battle stations. All decks, standby alert.
SULU: Cancel battle stations.
STILES: Captain, may I respectfully remind the Captain what has happened? The Romulans have crossed the Neutral Zone, attacked our outposts, killed our men.
KIRK: Mister Stiles.
STILES: Add to that the fact it was a sneak attack.
KIRK: Mister Stiles, are you questioning my orders?
STILES: Negative, sir. I’m pointing our that we could have Romulan spies aboard this ship.
SULU: I agree, sir. Respectfully recommend all decks maintain security alert.
KIRK: Very well. All decks, security alert.

KIRK: Decoding?
UHURA: Cryptography is working on it, sir.
STILES: Give it to Spock.
KIRK: I didn’t quite get that, Mister Stiles.
STILES: Nothing, sir.
KIRK: Repeat it.
STILES: I was suggesting that Mister Spock could probably translate it for you, sir.
KIRK: I assume you’re complimenting Mister Spock on his ability to decode.
STILES: I’m not sure, sir.
KIRK: Well, here’s one thing you can be sure of, Mister. Leave any bigotry in your quarters. There’s no room for it on the Bridge. Do I make myself clear?
STILES: You do, sir.

STILES: We have to attack immediately.
KIRK: Explain.
STILES: They’re still on our side of the Neutral Zone. There would be no doubt they broke the treaty.
SULU: Attack, without a visible target? How do we aim our phasers?
STILES: Aim with sensors. Not accurate, but if we blanket them
SULU: And hope for a lucky shot before they zero in on us?
STILES: And if we don’t? Once back, they’ll report that we saw their weapons and ran.
SULU: And if they could report they destroyed us?
STILES: These are Romulans! You run away from them and you guarantee war. They’ll be back. Not just one ship but with everything they’ve got. You know that, Mister Science Officer. You’ve the expert on these people, always left out that one point. Why? I’m very interested in why.
KIRK: Sit down, Mister.
SPOCK: I agree. Attack.
KIRK: Are you suggesting we fight to prevent a fight?
MCCOY: Based on what? Memories of a war over a century ago? On theories about a people we’ve never even met face to face?
STILES: We know what they look like.
SPOCK: Yes, indeed we do, Mister Stiles. And if Romulans are an offshoot of my Vulcan blood, and I think this likely, then attack becomes even more imperative.
MCCOY: War is never imperative, Mister Spock.
SPOCK: It is for them, Doctor. Vulcan, like Earth, had its aggressive colonising period. Savage, even by Earth standards. And if Romulans retain this martial philosophy, then weakness is something we dare not show.

KIRK: Phasers, stand by.
STILES: Sir, at this distance?
KIRK: We know their Achilles heel, Mister Stiles. Their weapon takes all their energy. They must become visible in order to launch it.
STILES: A phaser hit at this distance would be the wildest stroke of luck.
KIRK: I’m aware of that, Mister Stiles. Are phasers ready?
STILES: Phasers show ready, sir.

KIRK: I wish I were on a long sea voyage somewhere. Not too much deck tennis, no frantic dancing, and no responsibility. Why me? I look around that Bridge, and I see the men waiting for me to make the next move. And Bones, what if I’m wrong?
MCCOY: Captain, I…
KIRK: No, I don’t really expect an answer.
MCCOY: But I’ve got one. Something I seldom say to a customer, Jim. In this galaxy, there’s a mathematical probability of three million Earth-type planets. And in all of the universe, three million million galaxies like this. And in all of that, and perhaps more, only one of each of us. Don’t destroy the one named Kirk.

KIRK: Captain. Standing by to beam your survivors aboard our ship. Prepare to abandon your vessel.
COMMANDER: No. No, that is not our way. I regret that we meet in this way. You and I are of a kind. In a different reality, I could have called you friend.
KIRK: What purpose will it serve to die?
COMMANDER: We are creatures of duty, Captain. I have lived my life by it. Just one more duty to perform.

STILES: I’m alive, sir. But I wouldn’t be. Mister Spock pulled me out of the phaser room. He saved my life. He risked his life after I–
SPOCK: I saved a trained navigator so he could return to duty. I am capable of no other feelings in such matters.

Miri, Rand, McCoy and Kirk in "Miri" on Star Trek

Transcript Excerpts from Chrissie’s Transcripts Site

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Interview with cast and crew of “Astrid and Lilly Saves the World”

TV Interview!

Syfy panel with actors and producers from "Astrid & Lilly Save the World"

Interview with actors Samantha Aucoin and Jana Morrison, and showrunners Noelle Stehman and Betsy Van Stone of “Astrid and Lilly Save the World” on Syfy by Suzanne 12/9/21

This was a fun panel with the stars and executive producers of this new Syfy show. The show seems to me like “Scooby Doo” crossed with “Supernatural.”

NBCUNIVERSAL VIRTUAL PRESS TOUR SYFY

Astrid & Lilly Save the World

Samantha Aucoin, Talent, “Lilly Fortenberry”, Jana Morrison, Talent, “Astrid Bell”, Noelle Stehman, Executive Producer/Showrunner and Betsy Van Stone, Executive Producer/Showrunner

Virtual via Zoom December 9, 2021

© 2021 NBCUniversal, Inc.  All rights reserved.

HALLE HERMAN: Hi. I’m Halle Herman, and I’m here to introduce the panel for SYFY’s new series “Astrid and Lilly Save the World,” which will premiere Wednesday, January 26th, at 10:00 p.m., on both SYFY and USA Network before airing exclusively on SYFY.

High school is hard enough when you’re different, but when outcast BFFs Astrid and Lilly accidently crack open a portal to a terrifyingly quirky monster dimension, it gets a lot more complicated. It’s up to them to vanquish the creepy creatures and save the world, becoming the badass heroes they were meant to be; that is, if they can survive the horrors of high school.

Here’s a peek at “Astrid and Lilly Save the World.”

From left to right are executive producers Noelle Stehman and Betsy Van Stone and Samantha Aucoin and Jana Morrison. We are now ready for your questions.

MATTHEW LIFSON: Thank you, Halle, and welcome to our panelists.

(Zoom instructions.)

QUESTION: Hey, Noelle and Betsy. I love that these two lead actresses are larger than a typical leading lady. Was that body positivity something you went into creating with these particular roles or did you just stumble on these really good talents and they fit the characters?

BETSY VAN STONE: We went into it very intentionally. You know, the whole world doesn’t look the same. Not everyone is a size two, and representation matters. We are lucky to have found incredibly talented actresses who happen to look like what most American women look like. And it’s long overdue to see that represented on television.

QUESTION: Amen. Thank you, guys, so much. And Samantha and Jana, you guys are beautiful, and I love that you guys get these comedic leads to you. Talk about, for you, what it means to you to see more inclusivity as far as larger lead actresses.

JANA MORRISON: Like, where do we start? It obviously means the world because when we were young, we would have killed to see a show like this.

SAMANTHA AUCOIN: Yeah.

JANA MORRISON: To have people like us be heroes? Back then it wasn’t a thing and now I’m really stoked that we’re that for people around the world.

SAMANTHA AUCOIN: Yeah.

JANA MORRISON: Anything you want to say?

SAMANTHA AUCOIN: Yeah. No. I mean, that’s so true. I could have 100 percent used this show in high school. And I’m so proud that we get to represent these characters, these amazing characters. And I think it’s really going to make a difference in for anyone who watches the show.

QUESTION: This is for Noelle and Betsy. So much of TV is about people who are perceived of as outsiders; particularly teen shows, a lot are about that. So, I’m just wondering, in your own teen years, when you were kids, were you thought of do you think of yourself as outsiders or were you one of the cool kids or were you in the theater crowd? What were you like at the time?

BETSY VAN STONE: All of the above.

NOELLE STEHMAN: Yeah. I think I hopped through a lot of the different crowds the uncool crowd, a little bit of the theater crowd, a little bit of sometimes in with the cool kids. But, definitely, I think high school’s a time when no one quite feels comfortable no matter what crowd you’re in. And that doesn’t just stop at high school. It kind of extends throughout all of life. So, I think in that way, this is a show that is for everybody of every age, anyone who’s ever felt like an outsider in any type of way, yeah.

QUESTION: Well, let me ask the actresses that too because you’re so near to having been in high school. And like you say, that’s probably the time when you feel like you said, everyone feels like an outsider. So, what were your high school years like? Were you cool kids? Were you outsiders? What did you feel like?

SAMANTHA AUCOIN: Yeah. My high school experience, I was definitely part of the theater group and music kids. I kind of hopped from group to group; and because I hopped from group to group, I definitely felt like more of an outsider. I definitely didn’t stick with one set group. So, I can definitely relate to the characters in that way.

JANA MORRISON: For me, my high school, I was definitely theater-kid through and through. All my little group were just theater and dance people and we just all got each other because we were weird and loud. And all the other kids in school thought we were losers for, like, loving theater, which I don’t know why. Theater’s really fun. But I had maybe a couple, like, “cool kid” friends, but I don’t know if they were really my friends. So

QUESTION: Okay. Cool.

BETSY VAN STONE: Yeah. I just want to add quickly that one thing we’ve really learned in writing and making the show and talking to as many people as we have come in contact with, whether they be related to the show or not, like, at some point in your life, you felt like an outsider. That’s just universally true. And you felt like an outcast, whether that was when you were a kid or at work or in your family, and that’s why this show is for everyone. And what’s cooler than two outcasts who save the world? I mean, come on.

NOELLE STEHMAN: Absolutely. And we want to celebrate everyone’s uniqueness and weirdness in all of its glory.

QUESTION: Good point. Thanks a lot.

BETSY VAN STONE: Thank you.

QUESTION: I kind of want to follow up on Mike’s question about the teen subject. Can you talk a little bit I’d like to hear from the producers and then from the talent, please, about the series and maybe what is your most important subject matter that you think will continue to keep teens interested in the show?

NOELLE STEHMAN: I mean, I guess I would say overall it’s just, again, emphasis on the feeling comfortable being yourself, whatever that means.

BETSY VAN STONE: Yeah.

NOELLE STEHMAN: And I feel like that extends to all the different categories of insecurities and vulnerabilities and being different. So, yeah, I think whatever it is that scares you or makes you feel like an outsider, that is to be celebrated, and that’s what we’re trying to emphasize across the board.

I don’t know if you have anything specific to add.

BETSY VAN STONE: Well, yeah, I mean, specific to the teen experience, I think you’re sort of forced in high school into trying to be like everyone else. And when you’re not, you feel somehow like you’re cast aside or

NOELLE STEHMAN: You don’t matter as much.

BETSY VAN STONE: like you don’t matter. And we just want people to watch this show, and I think they’ll be surprised and charmed by these unlikely heroes and will connect to the fact that they are different and they matter the most in the world because they’re the only two girls who can save the world.

QUESTION: Okay. And then the talent, please.

JANA MORRISON: I think it’s going to be really important for teens to hear that whether you think you look like a hero or you act a certain way, you can still be a hero in your own way and in your own community because you don’t have to be in a certain group or look a certain way to be a hero for the people in your life.

SAMANTHA AUCOIN: Yeah, absolutely, yeah. I mean, appearances aren’t everything, and I think this show really shows you that it doesn’t matter what you look like. And I think people are really going to resonate with that, hopefully, and

(To Jana) I know. We’re going to cry.

no. But, yeah, this really means everything to us to be able to be those characters for people. I think people are really going to resonate with this show. And, like Betsy said, there really is something in it for everyone. So, I think that’s going to keep people watching.

QUESTION: And could the two of you or one of you talk about was there ever a time on the set where reality and fantasy may have coincided?

JANA MORRISON: It’s like that every day.

SAMANTHA AUCOIN: Yeah.

JANA MORRISON: Because we were living it was like we were living two different lives.

SAMANTHA AUCOIN: Yeah, yeah.

JANA MORRISON: Kind of, right?

SAMANTHA AUCOIN: Totally, totally.

JANA MORRISON: I feel like I know we both feel ourselves in the characters. So, every scene, it felt like it was kind of an Astrid and Jana situation.

SAMANTHA AUCOIN: Right, and a Lilly and Sam situation, totally. No, I totally agree with.

JANA MORRISON: Because I can resonate so deeply with the character, and it doesn’t it’s not often that that happens. So, reality and fantasy really hit. I mean, I don’t necessarily have monsters in my life.

SAMANTHA AUCOIN: Physically, physical monsters.

JANA MORRISON: Physical monsters.

UNIDENTIFIED FEMALE PANELIST: That you know of.

SAMANTHA AUCOIN: That we know of.

But, no, the internal monsters have definitely been there with us, and we’ve kind of gotten to grow and, I think, really learn from the characters as they kind of conquer their internal demons. So

JANA MORRISON: Yeah.

UNIDENTIFIED FEMALE PANELIST: Which is a blessing.

QUESTION: Great. Thank you very much.

JANA MORRISON: Thank you.

SAMANTHA AUCOIN: Thank you.

QUESTION: Hi. Noelle and Betsy, can you talk a little bit about the creation and development of the show, the hows and the whys and how it all worked out and the casting of the two young women here?

BETSY VAN STONE: Yeah. Noelle and I have always written strong female women who are dynamic and colorful and likeable and also unlikeable. And it was always a dream of ours to find two characters like that in high school. And then, you know, because of some experiences we had as kids or as teens, I guess these two characters developed that are outcasts and are called losers, but they rise above that. And maybe that’s something we wanted to do in high school

NOELLE STEHMAN: Yeah.

BETSY VAN STONE: you know.

NOELLE STEHMAN: Absolutely. And on a personal note, I can say I came from a small town, and one of our, sort of, social activities because there wasn’t much to do was driving around and looking to see what kids were doing, driving by their houses late at night. So, again, we didn’t open any portals that I know of, but that really was one of our social activities. That was part of the patrolling aspects of it.

BETSY VAN STONE: Oh, absolutely. Same here. I mean, suburban, high school town where, yeah, we would meet in the grocery store parking lot and then drive past people’s houses because what else do you do. So, we definitely injected some of our own experiences for sure.

QUESTION: And the casting process?

NOELLE STEHMAN: Well, that was just a dream process for us. I feel like got very lucky.

BETSY VAN STONE: Yeah. I mean, you know, you create a character in your head and you sort of picture who the actors are going to be more or less. And then we met Jana first, and it was no question. The second she opened her mouth, we knew that she was our Astrid. She also embodied her. She was wearing a very Astrid shirt and had her hair in a very Astrid look. And she actually Jana the actress influenced Astrid the character, and it was just it was just her from the beginning. We just knew it.

And then, once we had our Astrid, the trick was then to find a complimentary Lilly. And we met Sam. And we saw them interact on Zoom, mind you. And the chemistry on Zoom was so incredible, and right away they both got such a kick out of each other. And it was like, ah ha, that’s what we’re looking for. And it was one of those things that you couldn’t manufacture it. It just was, and it was evident on Zoom. And then when they met in person and we all met together, it was like, oh my god. These characters are real. This is real. This is magic. And we couldn’t be happier that we found them.

QUESTION: Thank you so much.

BETSY VAN STONE: Thank you.

JANA MORRISON: So giggly.

BETSY VAN STONE: It’s all true.

QUESTION: Hi, guys. This is for Noelle and Betsy. There’s a lot of shows that have supernatural elements to it, and one of the really fun things about developing a show like that is that you make your own bible. You determine, you know, what your how far you go, what kind of things we’re going to see. So just in terms of the supernatural elements and the demon aspects and the monsters, what’s kind of the first season, either parameters or the mythology that you want to you’re going to let us learn?

BETSY VAN STONE: You want to take this one?

NOELLE STEHMAN: I mean, I will say, first of all, if you love shows with monsters, this is absolutely for you. And each episode we try to create a monster that was fully formed and very dynamic in its own way, a monster that you want to watch and follow along with. Almost that you can’t tell if you want to root for, but probably not, but they’re that interesting. And each monster has a theme about them that sort of ties into a different theme of what the high school kids are going through in that episode. So that overall is the sort of model for the season. And some of the monsters are straight up terrifying. Some of them are a little bit funny. They’re all certainly quirky. I’m very excited for you to meet all of them.

BETSY VAN STONE: And I will just add that they’re not monsters you’ve seen before.

NOELLE STEHMAN: Yes.

BETSY VAN STONE: We created original, weird monsters, and they all have big personalities. And we’re super excited for y’all to get a whole picture of who they are, yeah.

QUESTION: Thanks.

BETSY VAN STONE: Thank you.

QUESTION: My question is also for the creators. How much of an influence because obviously this was the big, great grandmother of “high school is hell” shows. How much of an influence was “Buffy the Vampire Slayer” on you guys? And (foreign language). How is your show explicitly different from “Buffy”?

NOELLE STEHMAN: Well, I’m a huge we’re both huge “Buffy” fans. It’s something definitely that I grew up with. And there are certainly various homage moments to “Buffy” throughout this season, which you will see. But within that, we sort of it became a, sort of, model where we combined it with, sort of, a book-smart type aspect because this is about also a very close female friendship. And that’s one way that it differs.

And, also, we put an emphasis as we had said before on this outcast story and the idea that someone who you least expect can be a hero. And that extends to the way that the powers that the girls inherit are very quirky and not something that necessarily seems particularly helpful. And their monster guide is a bit quirky. So, yeah, I would say that it takes those models but turns them on their head a little bit.

Do you have anything else?

BETSY VAN STONE: No. I think you said that well, yeah.

QUESTION: Thank you very much.

BETSY VAN STONE: Thank you.

QUESTION: Hello. Also, for the creators, with a project like this and a title like this, you’ve got to come up with that combination of names that sing, whether it’s Bill and Ted, or Jay, which I personally like, in “Silent Bob.” How many variations did you go through to arrive at Astrid and Lilly?

BETSY VAN STONE: You know, they were kind of right away, Astrid and well, there was a slight tweak on Lilly, but

NOELLE STEHMAN: Yeah. The Astrid name has been there for so long, honestly, I don’t even

BETSY VAN STONE: I think Astrid was the first name we gave her, and it’s just like who she was at her core.

NOELLE STEHMAN: Yeah.

BETSY VAN STONE: It just made sense.

Lilly was a little bit after that, but it also it just felt like her. Astrid is kind of a bold, unapologetic name. And Lilly is a little softer and like a little more of a sensitive

NOELLE STEHMAN: Sensitive, yeah.

BETSY VAN STONE: of a name. And, so, they just really fit the two characters well.

QUESTION: Thank you very much.

BETSY VAN STONE: Thank you.

QUESTION: Hi, guys. Thanks for talking to us. This is for the two actresses. You talked about how you felt like outsiders before and how you connected to the characters. But can you talk about maybe what parts of the characters were the most difficult for you to connect to? You know, not including the monsters, because obviously

(Simultaneous speaking.)

SAMANTHA AUCOIN: Yeah, for sure. Well, for me personally, I found that Lilly, she really wears her heart on her sleeve. And one thing, something I absolutely love about her and I personally don’t because I’m much more guarded and Lilly kind of opened me up, I found. I ended up learning a lot from her. So that was definitely difficult at first to access being so vulnerable openly all the time. And that’s one of the differences between the two characters, Lilly and Astrid. And, yeah, I think that was definitely the most difficult part to access, but definitely learned a lot from getting to be able to access that side of her.

JANA MORRISON: And you did it so beautifully.

SAMANTHA AUCOIN: Aww.

JANA MORRISON: And for me, I think something that was different from Astrid and I is that I have a hard time, like, speaking up for myself once in a while. And Astrid, if she doesn’t like something, oh, you’ll know it. And I think that’s something I can take away from Astrid. You know, as a woman who is Filipino and maybe sometimes reverts to keeping things to myself to not hurt others, I think I can do a little more speaking up and learning a little bit more from Astrid in that way.

QUESTION: Thank you so much, both of you.

QUESTION: Well, thank you for coming along. We wondered who was going to save us.

SAMANTHA AUCOIN: We’re here for you.

JANA MORRISON: We got you.

QUESTION: You know, we all ask ourselves: What would I do if I was really tested, really confronted with something difficult? So, I want to know, in your young lives, what each you has been through that tested you and what your expectation of yourself is that you could get through things?

BETSY VAN STONE: Ooh. I mean, I guess I will say for myself there is a lot of Lilly and Astrid in me, you know. High school wasn’t always super easy, and that shifts your perspective, I think, for the rest of your life. So, I think I felt a little like, you know, I had to prove myself a little more maybe than some people. And, honestly, in creating these characters, I’ve actually learned a lot from them, which is weird because I wrote them. But they’ve really shown me, you know, if two 16 year olds can battle monsters and struggle through high school and come out of it feeling great, then maybe so can I?

NOELLE STEHMAN: Yeah. And I think the only thing that comes to mind is I moved schools right before middle school, which is one of the most awkward phases of time to be a stranger, and I did feel like an outsider at that time. And, I think, just learning that you can survive the idea of being sort of a fish out of water and it’s okay to be scared and it’s okay to be brave and you can get through the unknown. Which, you know, doing this show was a big unknown and a big, exciting challenge and just to embrace that kind of unknown and feeling, you know, like, taking on challenges.

QUESTION: And for our actresses, the actresses, do you feel like you’ve been tested, and what’s your assessment of your own strength?

JANA MORRISON: I feel like I have been tested kind of within this acting industry, because for so many years, you try really hard and you put your heart out there and you put yourself out there. And you think you believe in yourself, but when it doesn’t come at the time you want, it’s easy to let that dream go away. And I think that continuing to have that fire and confidence continue on is what really helped me get here. And there could have been times where I could have been doing something else, but this is something I really wanted.

SAMANTHA AUCOIN: Yeah.

JANA MORRISON: And I think the confidence in myself really helped me get through.

SAMANTHA AUCOIN: Mm hmm. Yeah. And I would say I was definitely tested. It was a really weird transition after high school for me, and it was I had this really weird, sort of, sense of unknowing and I didn’t really know what was going to happen. I kind of didn’t have much of a plan. I wasn’t really sure what life was going to throw at me or if life was going to throw anything at me. And then, funnily enough, this show happened and it kind of saved me a little, I think, in so many ways. But it definitely gave me this sort of reassurance that the unknown isn’t scary; or that it is scary but it’s okay and it’s okay to not know what’s going to happen next. And I really thank this show and I thank everyone for that, yeah.

QUESTION: Thank you, all, and thanks for coming to save us.

ALL PANELISTS: Thank you.

QUESTION: Okay. I have a question for each of the ladies here. For Noelle and Betsy, I’d like to know if you ladies have either teen children or teen relatives. What do they think about this show? And for the actresses, I’d like to know: Would your teenage selves what would they think of Astrid and Lilly?

NOELLE STEHMAN: Well, we don’t have teenage kids. I do have a niece who’s getting toward that age and she’s very excited. And our friends who have teen kids are very excited. I think, though, we’re, in a lot of ways, big teenagers ourselves.

BETSY VAN STONE: Yeah. Well, I was going to say something similar. Like, I don’t have any teenagers, but I am friends with

NOELLE STEHMAN: Yes.

BETSY VAN STONE: some teenagers, you know, friends’ kids.

And one thing I will say is they’ve all asked me why the show sounds like it was written by actual teenagers. They’re like, “It sounds like the way we talk. How did you guys do that?” And I think it’s because we’re, on a very base level, still 16.

JANA MORRISON: I think my high-school self would be a little intimidated by Astrid because of how she does whatever she wants and she doesn’t care what authority thinks. She just is, and if you don’t like it, you can go.

SAMANTHA AUCOIN: Yeah. I mean, I think my high-school self would probably really empathize with Lilly and would probably feel comfort in all of Lilly’s insecurities. And I think my high-school self would absolutely love this show and would get a lot from it. And, again, I wish I had this show when I was in high school because I feel like it would have really helped me.

JANA MORRISON: Uh, my high-school self would have loved the show.

SAMANTHA AUCOIN: Right? Right.

QUESTION: Thank you, ladies.

ALL PANELISTS: Thank you.

QUESTION: Hi. I’m from the Filipino channel ABS CBN, so, of course, my question is for Jana.

JANA MORRISON: Yay.

QUESTION: Asian matters. Phew, you can’t see me, but I’m a little bit teary eyed at the

JANA MORRISON: I am too. We’re good together.

BETSY VAN STONE: Me too.

QUESTION: You’re one of very few Filipino Americans in lead roles who’s also playing a Filipino character. So, what does this representation mean for you?

JANA MORRISON: It means a lot for me because, of course, growing up I’m actually I’m Canadian. And growing up in Canada, watching American shows, I had not seen any sort of Filipino representation on screen. And this is something in entertainment I wanted to do my whole life and I wanted to be a Filipino in this industry. And, thankfully, I have a group of Filipino mentors in this industry that really helped back me up and lift me up to say you can still do this and you need to continue because the other Filipinos around the whole world who want to do this will see you and want to follow their dreams also. So, it’s really important. And us Filipinos, oh, my gosh. We work so hard and I think we need a little more credit.

QUESTION: Well, thank you so much, and I hope to see you in person soon. I’m rooting for you always. You know, this is amazing, just watching the episodes and seeing you and seeing the person who plays your mom, who’s obviously Filipino.

BETSY VAN STONE: Yeah, she is.

JANA MORRISON: I want to say that that was a really amazing thing for the creators to bring for me. Because, you know, my mother’s Filipino, and to have my mother on the show be Filipino also, it is really touching to see the dynamic. And I’m really excited for the world to see our relationship on screen.

BETSY VAN STONE: Me too.

QUESTION: Salamat. That’s thank you in Tagalog. And if you ever need to consult in Tagalog, hey, holler.

JANA MORRISON: Oh, I’m going to holler. I’m going to holler. Salamat.

QUESTION: Thank you. And I wish you all the best.

JANA MORRISON: Thank you so much.

BETSY VAN STONE: Thank you so much for your question.

QUESTION: Thanks.

MATTHEW LIFSON: Oh, what a perfect question to end on.

Thank you to our panelists. That concludes our session for “Astrid and Lilly Save the World.” We’re going to take one more short break, and then we’ll pick it back up for our final panel of the day, NBC’s “Grand Crew.”

ALL PANELISTS: Thanks, everyone.

BETSY VAN STONE: Watch the show.

SAMANTHA AUCOIN: Yes.

JANA MORRISON: Thank you.

MORE INFO:

High school is hard enough when you’re different, but when outcast BFFs Astrid (Jana Morrison) and Lilly (Samantha Aucoin) accidentally crack open a portal to a terrifyingly quirky monster dimension, it gets a lot more complicated. It’s up to them to vanquish the creepy creatures and save the world, becoming the badass heroes they were meant to be. That is, if they can survive the horrors of high school.

“Astrid & Lilly Save the World” was written by Noelle Stehman and Betsy Van Stone, who executive produce along with Lance Samuels, Daniel Iron and Samantha Levine. Blue Ice Pictures will produce.

Samantha Aucoin

Lilly Fortenberry

ASTRID AND LILLY SAVE THE WORLD -- Season:1 -- Pictured: Samantha Aucoin as Lilly -- (Photo by: Alex Stead/Blue Ice Pictures/SYFY)
Samantha Aucoin makes her television debut as Lilly in the SYFY original new series “Astrid & Lilly Save the World.”

Aucoin is a Canadian singer, songwriter and actress from Beeton, Ontario, a small town north of Toronto. She began her acting career in local plays and would go on to play the lead roles in “Fiddler on the Roof,” “James and the Giant Peach,” “Mary Poppins” and many more. With a desire to venture into the television and film world, Aucoin attended an open call with BookItTalent agency in 2016.

Aucoin’s recording debut was on the album “What Is Christmas For.” She wrote three original songs for other singers and wrote and recorded the power anthem “Hip Hop, Santa Bop.” Aucoin has been spending the last year in the studio producing more original music.

 

 

 

Jana Morrison

Astrid Bell

ASTRID AND LILLY SAVE THE WORLD -- Season:1 -- Pictured: Jana Morrison as Astrid -- (Photo by: Alex Stead/Blue Ice Pictures/SYFY)
Jana Morrison plays Astrid in the new SYFY original series “Astrid & Lilly Save the World.”

Morrison is a Filipino-Canadian multi-disciplinary artist hailing from Winnipeg, Manitoba. Now based in Vancouver, she studied at the Canadian College of Performing Arts and is very passionate about performing on stage and in front the camera.

Most recently, she appeared on NBC’s “Zoey’s Extraordinary Playlist” as well as Hallmark’s “Master of the Heart” and “Chesapeake Shores.” Morrison was recognized for her work in the British Columbia arts community and was awarded the Pro-Art Early Career Artist Award in 2020.

 

 

 

Noelle Stehman and Betsy Van Stone

Executive Producer

Noelle Stehman and Betsy Van Stone are the creators and executive producers of SYFY’s new original series “Astrid & Lilly Save the World.”

They began their partnership in New York writing for pop culture mecca VH1. From there they moved to Los Angeles where they started writing and developing for various outlets, including a YA genre pilot for Lionsgate as well as a feature for the team behind “How to Lose a Guy in 10 Days.” They also created, wrote and produced the web series “Clean Freaks” for Elizabeth Banks’ comedy site WhoHaha. Currently, they are crafting a holiday feature film for Viacom.

As a writing team, they are committed to creating dynamic female characters through their collective love of comedy, horror and sci-fi.

Proofread and Edited by Brenda

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