The Bonding, Gallifrey Gals Get Warped! S3Ep5
Added 2020-12-01 18:00:05 +0000 UTCBe prepared for another emotional Star Trek Journey! This one is about family and bonding.... tissues at the ready! Also find out what mythical creature Katrina digs most and what has been your 2020 quarantine new hobby or binge-worthy new likes? Let us know, Paula is now into K-Pop!
https://vimeo.com/807445861/88c5b88987
PAULA DEMING
YouTube: https://www.youtube.com/channel/UCbTN...
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KATRINA ALYSHA
YouTube: https://www.youtube.com/channel/UC9jY...
Instagram: https://www.instagram.com/katrina_alysha
Twitter: https://twitter.com/katrinaalysha
IMDb: https://www.imdb.com/name/nm8371578/
Intro Song by: Pixel Pig by Di Young https://youtu.be/TiC7_167hQ0
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Comments
He was Littlefoot!?!?! OMG. So much love for that. And so much sadness for the actress that voiced Ducky.......
Dan Williams
2023-11-13 06:08:40 +0000 UTCI had fraud issues with my card. got locked out. I'm sticking with u two for season 3.
paulh7791
2020-12-08 01:12:34 +0000 UTCI also do believe that the next episode is also the one in which Patrick Stewart dons the new and final form of the TNG uniform.
Chrissonator
2020-12-07 22:56:29 +0000 UTCThe big thing I noticed rewatching the episode was the amount of close-ups there were on the actors. I think the most out of any of the previous episodes.
Bruce Bromley
2020-12-03 13:26:43 +0000 UTCWow what a video, starts off with Paula saying she’s into pop and Katrina saying she loves murder podcasts before talking how different these things are with no trace of irony about the fact Katrina is in black and Paula is wearing a white shirt with dinosaur prints, the contrast had me in stitches then we watch the episode which I watched as a young child and didn’t find it that interesting. Since then I have witnessed a lot of death in my family and on the day I decided to watch I had just learnt my niece had died after a two year battle with a brain tumour, she was 17, it took me two days before I watched the rest of this reaction and allowed myself to have a good cry. I have an anylitical mind so something like this where I can be outside my grief and feel it too helps so much thank you girls, I’m so glad I’m a patron
Steven morgan
2020-12-03 11:22:41 +0000 UTCPaula, Gabriel Damon was 13 during the filming of this episode and 15 during the filming of Newsies. As I'm sure you know, TV airdate has a faster turnaround time than a film release date.
David Brown
2020-12-03 10:34:13 +0000 UTCSo could 24, though for entirely different reasons to the rest. 🤣
G0d_Ginrai
2020-12-02 14:32:48 +0000 UTCAnd after those two I bet 23 will also be potential sobbing material.
Red Claw
2020-12-02 12:20:31 +0000 UTCWhen scimming through which episode this is, I had a totaly different Episode in mind. I confused this with 5x11 "Hero Worship". Although not a bad Episode, Hero Worship was more memorable to me.
Red Claw
2020-12-02 12:18:05 +0000 UTCYou guys are thinking way too hard about this. I am talking about early childhood development. The last place a grieving child should be is alone in a house for the first time after mother is dead. The first time to experience such freedom is not right after mother is gone as it will be perceived as abandonment. You can create your own narrative that the nanny was actually in the back room this whole time if you want. I was merely pointing out the odd presentation of grieving boy alone. At the same time, and to a lesser extent I always thought it was odd that guests (even those clueless ones from centuries in the past) were just dumped in their room. Merely an observation. It is interesting to see how people create their own narratives to fill in the gaps though.
Andrew Ramos
2020-12-02 03:29:15 +0000 UTCShame we got a few more weeks for those 2 episodes. :(
Chrissonator
2020-12-02 03:20:04 +0000 UTCWell, financially, he's able to stay there, since he would have no bills to worry about as money doesn't exist at this point, everyone's basic needs are provided for, but the living alone part might be a bit hard, especially for a child his age.
Chrissonator
2020-12-02 03:17:36 +0000 UTCI can't link to it because it has really bad spoiler content for TNG episodes Katrina hasn't seen, but there's an interesting article on StarTrek.com which basically says that The Bonding was a turning point for TNG. And it was a turning point that was made possible by Michael Piller. Ronald Moore explained why in this quote: “When Michael Piller came in, he made a creative decision to shift the focus of the show from being about the planet and the aliens of the week to our characters aboard the Enterprise and how characters are affected by the story.” Michael Piller became a co-executive producer on TNG in season 3. What was the first episode he was in charge of? The Bonding.
Jeff Seely
2020-12-02 03:09:09 +0000 UTCWe getting into the really good stuff now. :D
Chrissonator
2020-12-02 03:07:18 +0000 UTCIf you like Ronald D. Moore's writing, you might also enjoy the reimagined Battlestar Galactica if you haven't already seen it. He was the show runner for it. It came out not long after 9/11 and really played on the heavy themes but always staying focused on the humanity of the show.
John
2020-12-02 02:51:32 +0000 UTCI'm always down for the pre-episode rambling or occasional dancing. Heck, this year being what it is, I've had more social interaction with you two than most of my friends I know IRL locally. I love Worf's small ceremony after the away team returns. You can see how seriously he takes the well being of those under his command. That really shows his leadership potential. I like how they show the Klingon rituals for various events. Humans are portrayed as so rational and evolved that they have no need of superstition and ritual, but Klingons understand the need to mark important events in our lives, to recognize the impact those events have on us and to accept it. More and more I'm convinced Worf is the conscience of the show. When Picard said no one is alone, he said it was "on the starship Enterprise, no one is alone." To me it wasn't about Starfleet - it was HIS ship and on HIS ship, NO ONE is alone. And I *love* how Tasha gets mentioned - she may have only been on the show a short time, but she mattered and is remembered. Of course Data doesn't forget being an android, but the rest of the crew also remember her.
John
2020-12-02 02:28:41 +0000 UTCI realized that was next right after posting that comment. Buy Kleenex stock everybody, we'll be rich!
EricH86
2020-12-02 00:59:41 +0000 UTCDon’t forget episode 16.
TB
2020-12-02 00:56:32 +0000 UTCI was so young when I first saw this, and everything was right with the world, which is no longer true, making this episode quite the emotional experience. However, from my first viewing till now, I think they missed something by not having a scene allowing Jeremy to say those personal things to his mother, through the entity to say goodbye. Something many of us never have the chance ro do,
Mark Chrisco
2020-12-02 00:52:44 +0000 UTCI'd put good money on Katrina sobbing more than this on Episode 15.
EricH86
2020-12-02 00:12:52 +0000 UTCSo, for a long time, this was kinda a 'nothing' episode for me. Not nothing, but just a nice, kinda heavy, but okay episode. I think after my Dad died it gave me more, but, frankly there's a later Trek episode that is similar in theme that just DESTROYED me. Probably didn't help that it came up in my rewatch a WEEK after the funeral. But, watching you two react to this I see how powerful it is, what a good examination of the topic it is, and what an AMAZING Troi episode it is. She is doing her flippin' JOB this episode. I think part of what gets me through this episode in a bit more of a detached manner is remembering what an absolute bratty jerk the kid played in Robocop 2. But, this episode also made me realize something. The best seasons of TNG follow a theme, some of the DVD boxsets even discuss the theme of the season. I dunno if it was intentional by the writers or a happy happenstance, but "The Bonding" made me realize what the theme of Season 3 was: Exploring the escapes we have from reality to deal with grief, loss and pain. Consider the episodes we've already watched: Evoluton: A man that escaped into his work and baseball to avoid the pain and fear of failing to live up to his potential, while showing Wesley as avoiding that by being social and getting away from that at times. The Ensigns of Command: A community escaping from the reality of their situation by escaping into their traditions and accomplishments and finding false strength and hope in that. The Survivors: An all-powerful being escaping from his grief and guilt by recreating his wife and home to keep living as nothing has happened. Who Watches the Watchers: A community faced with frightening unknowns and carrying grief falls back into religious worldviews to avoid the grief they feel, to give hope, and to explain the unusual and strange and frightening things they've seen. Therefore, escape into religion and faith. And now The Bonding: A child must face the death of his last parent and is given an opportunity to hold on to her and the life before it all changed and how tempting the desire of that fantasy is as you struggle with grief. This theme will echo throughout the season to the very end, and I bet will be in pretty much every episode in some form or another. I KNOW that it's in the next episode, despite how murky and problematic that one can be. So, fun trivia for this episode. This was Ronald D. Moore's first script EVER. He thought it'd be fun to write for Star Trek, so wrote a script. His girlfriend at the time worked at Paramount and got him a set tour, and he figured; "What the heck, I'll just write a script and bring it along." Which you're not really supposed to do. Anyway, at the end of the tour he gives the guy leading the tour (who was also involved in the production of the show) and the guy reluctantly takes it, assuring Moore that nothing would likely come of it. But then the Writer's Strike happens and as S3 starts it's in a bit of a bind as they don't really have too many scripts. So the new showrunner sees this script of Moore's on his desk and reads it. He likes it. He calls Moore and works out a deal. Gene Roddenberry was wary about the script because he thinks human's still dealing with grief hurts the hope of the future Star Trek presents, which I think as a first reaction is fair, if flawed. I think the episode shows that it's not that grief that exists in the future, but that the future is hopeful about it in the WAY grief is handled, and the support that is there for it. But the episode goes over really well, and Moore gets hired on as a staff writer, and now he's written for multiple shows and created and show ran a few more widely popular ones; Battlestar Galactica and Outlander to name a couple. This episode is also trademark Moore. It delves into the human characters behind the screen and veneer of the future, it delves into the complex emotions that people feel and the ways that the way one person feels affects how they interact with others and how that other person's emotions affect how they see the interactions with that first person. He looks at the conflicts that arise from that, and the work and ability to use those conflicting emotional viewpoints to reach understanding between those people. He questions the status quo of the universe built and asks hard questions about it to really delve into what makes the status quo of the world work, and what it needs to work ON. It's not that he simply is deconstructing the Starfleet, Federation way of life and dogma, but exploring it to see how it works and strengthen it. He relates to the audience in a way that doesn't pander to them or talk down to them, and without breaking down the fantastical elements of the world that hold up the sandbox he is playing his story in. And by maintaining that 'Star Trek' feel, he let's the show get the audience to look at themselves and THEIR emotions and how they interplay with others while giving them the distance a fictional world provides to give them a comfort zone or blanket to let them do that exploration in a controlled, and safe space. I think a lot of modern TV is too focused on deconstruction of fantastical ideals and realism and relatability to fully grasp how powerful something like Moore's writing is. Sure, he's written stuff people don't like, and some (many) say the end of BSG was a failiure, but I think all those qualities remain in all that work. It's all successful at that to some degree. Just some more than others. Describe this Trek episode badly: Ghost Mom Good Grief. Peace and Long Life y'all!
Nolan
2020-12-01 23:36:53 +0000 UTCI chalk it up to having to fill in that part of the story with you own imagination. Judging by how the rest of the crew tries to protect Jeremy I think it’s somewhat safe to assume they’d have a caretaker or supervisor of some kind stay with him, or at least check in on him from time to time until his immediate relatives took him in. They probably had another counselor and/or maybe Deanna popped in.
Andrew Hogan
2020-12-01 22:51:02 +0000 UTCWeird idea, Gene Roddenberry was against this episode idea, he felt that people in the future would just accept death. But, I would disagree that in the future, with medical advances that will expand human lives, I would expect that we will have a much worse time with deaths of young people.
Robert Williams
2020-12-01 22:28:59 +0000 UTCA child that Worf agrees to take care of, and we never see again. INCONCEIVABLE!!!
Robert Williams
2020-12-01 22:14:48 +0000 UTCPaula & Katrina: Sorry for sniffling and sobbing through that episode. Us watching: How dare you be human beings with emotions! This is an episode that's what I think of as stealthily good: There are a bunch of episodes that really stand out for me as great episodes - a number of them coming up this season. I think most of the two-parters are like that, with big stories, lots of impact on the rest of the show (and franchise in some cases), big action or big character moments, that sort of thing. This isn't anything like those, and I mostly forget that it exists. (Maybe because when it was first run on Australian TV (two years after airing in the States) it would've been at 10:30/11:00 at night and had to be taped to watch later being well past my bedtime, and the automatic recording cut the first 20 minutes or so off.) But when I do come back to it, I love it. I think its a great example of quintessential Star Trek (and good sci-fi in general for that matter). Take a mundane yet common element from everyday life, and put it in a fantastical environment to be able to be analysed from different points of view without labelling any real-world side of the issue as evil. As you guys were saying, the fake mum here was not helping anyone but they were trying to do the right thing from an understandable and honourable viewpoint with the best of intentions. I always think some of the best stories, tv episodes/arcs, movies, etc are where the bad guy could be the good guy in their story. They're not bad just to be bad, wanting power to have more power, but are in conflict with the heroes because they have a different perspective. This episode maybe doesn't get to the point of wondering if maybe it would be better if the bad guys won this one, but you're definitely not cheering and pointing at the bad guys going "In your face!" at the end.
AJ
2020-12-01 21:53:39 +0000 UTCI beleive the phrase is "Don't Hassel the Hoff"
Graham Mills
2020-12-01 21:18:26 +0000 UTCYeah, I got notification, and if I go to Gallifrey Gals Patreon page it shows up. But not in my general Patreon page feed.
Firefly24601
2020-12-01 21:02:24 +0000 UTCThis episode seems to share a lot with episode three, The Survivors. Both deal with the aftermath of a war and a being that wishes to make things right. One for itself and it's own exsistance, the other to rectify the mistakes of others.
Bruce Bromley
2020-12-01 20:52:21 +0000 UTCI'm talking about in the immediate aftermath of the death. Warf goes to see him and he's just there alone dealing with the aftermath of the mother's death in an empty house. I wasn't claiming he was going to live out his life out of that apartment as a civilian.
Andrew Ramos
2020-12-01 20:51:21 +0000 UTCI doubt that. I'm sure he would have been transported back to the relatives on Earth at the earliest opportunities.
Bruce Bromley
2020-12-01 20:41:22 +0000 UTCI don't remember ever seeing this before. I'm glad I was able to watch it for the first time with you both. <3 The last time I saw you two cry this much, there were two white dogs that started snuggling with you! :)
Firefly24601
2020-12-01 20:31:36 +0000 UTCOne peculiar thing about this episode, that I never see mentioned, is the fact that the 9 or 10 year old boy loses his mother and is then expected to inherit his mother's apartment and live alone. I always found it very strange that a grieving boy would be left to live alone.
Andrew Ramos
2020-12-01 20:29:12 +0000 UTCThere a quite a few actors from Robocop 2 that pop up during series 3.
Geordie Joe
2020-12-01 20:19:20 +0000 UTCFirst of all, thank you Katrina for sharing part of your life with us. This episode is absolutely one of my favorites of the show - possibly top ten. Whenever I want to feel some emotions and have a catharsis, this is one of my go-to pieces of media. I think it is simply outstanding from top to bottom. Because of all of that, this is the first of several season three episodes that I have been eagerly/impatiently waiting for y'all to hit with zero chill and MAN ALIVE did y'all deliver. The part that always gets me right in the feels is right before the climax when the crew springs into action. There are a series of cuts from Riker and Data on the bridge to Worf in the transporter room to La Forge in engineering to Picard marching down the corridor that are very affecting, especially when combined with the episode's soundtrack. The low strings throughout do a lot for the tension, but what really gets me is how completely seriously the entire crew is taking this threat. Normally, the crew deals with much more existential or much broader threats, but here, the only direct threat is to one 12-year-old boy, and ALL OF THEM are deadly serious about protecting him. Even O'Brien and the extras playing the security officers and add to the pathos surrounding protecting Jeremy. It really pays off Picard's, "on the Enterprise, no one is alone" line from earlier in a way I hadn't ever really connected before. Thank y'all!
Joshua Gosdin
2020-12-01 20:15:05 +0000 UTCGabriel Damon played an absolute little psychopath in Robocop 2 - totally unlikeable until he realized he was about to die.
Graham Mills
2020-12-01 20:02:18 +0000 UTCI enjoyed rewatching this episode. Katrinas reaction to the alien reminded me of the great sci-fi aspect of this show. Aliens that find it alien how humans react to death. They understood the guilt and responsibility but didn't understand the need to accept the loss. It was kind of similar to the reaction from Worf. He felt responsibility and maybe guilt from leading the mission and wanted to make sure Jeremy was not alone as well. Everyone had their ways of making sure Jeremy would not feel alone but had to understand that they had to be lead by his own needs.
Peter
2020-12-01 19:33:38 +0000 UTCOkay, where to start. First the dinosaur shirt. Second, I was going to mention Newsies and was stunned to hear you mention and discuss it. It’s one of the only musicals I’ve ever enjoyed. The fact you went through his credits and he was on pretty much anything I saw as a kid. Ahh Baywatch, fond memories. If you thought he was Hasselhoffs kid, he wasn’t. That was Brandon Call from Step by Step from TGIF days in the mid 90’s. The second actor that played the son was Jeremy Jackson. Don’t dismiss the Hoff, this is Michael Knight and Mitch Buchanan we’re talking about. Also, I hope it’s the last I ever hear of KPop, sorry Paula. At this point watching you react to these episodes, you just have to watch every series now, you just have to. Since you’ve probably already seen the next episode, it’s a little easier, than this one and one of my favorites. If Katrina loves Data now, she’s going to really love him when his you know what shows up. I believe Ronald D. Moore wrote this and his girlfriend who was working on the show gave him an on set tour and they gave the script to one of the supervisors during the second season which. Michael Piller pulled out of the scrap pile and liked it so much they hired him shortly after this episode. I also believe Gene Roddenberry wanted the kid to react very matter of factly to his parent dying because in the 24th century, they could handle the concept of death much more intelligently, but he was talked out of that. Marina really gives another strong performance here. One last thing, even if Jeremy wasn’t on board, his mother still would have been on a dangerous mission, as you discussed, death is inevitable, his location doesn’t have much of a bearing on her outcome. Strap yourselves in, it’s gonna be a hell of a next couple of months.
Andrew Hogan
2020-12-01 19:23:55 +0000 UTCI do love the random conversations at the beginning of the recordings. :)
Firefly24601
2020-12-01 19:22:10 +0000 UTCYet another one of those episodes that I really liked as a child but appreciate on a whole other level as an adult. It's not just time, but the experiences.
Jarrod Wild
2020-12-01 19:06:20 +0000 UTCSecond episode in a row that resonates more as an adult than when I was a kid.
Josh G
2020-12-01 18:36:45 +0000 UTCJust a heads up that there might be a problem with Patreon for some people. Seems posts aren’t showing up in feeds so the only way to see this reaction is available is by going to your Patreon page. Just letting you know in case people start asking where the latest reaction is on Twitter or wherever.
G0d_Ginrai
2020-12-01 18:08:09 +0000 UTC
