MTO Final Q&A-Transcript

MOONBASE THETA, OUT – End of Show Q&A Special
Featuring D.J. Sylvis, Tina Case, Cass McPhee

D.J. Sylvis  0:01  

Hello Moonbaseians!  Hey folks, DJ Sylvis here, creator of Moonbase data out and one of your co producers. And we’re here for the big final end of series q&a. And I’m not the only one here we have Cass and Tina, please say hello, introduce yourselves.

Tina Case  0:18  

[tentatively after a pause] Hello and introduce yourself.

Cass McPhee  0:21  


D.J. Sylvis  0:22  

Thank You..

Cass McPhee  0:22  

I was so tempted, but I was like, I’m just gonna be silent and see if it happens. And it did. So thanks, Tina.

Tina Case  0:26  

[laughs overlapping Cass] The show’s over, they can’t fire us. It’s fine. 

Cass McPhee  0:28  

High five..

Tina Case  0:30  

Yes. High five. 

D.J. Sylvis  0:33  


D.J. Sylvis  0:33  

All right, neither of you has actually introduced yourselves.

Tina Case  0:35  


Cass McPhee  0:35  

Aw, c’mon!

Cass McPhee  0:36  

I’m Cass, he him. I play Michell. I’m done sound designing. I wanna nap forever.

D.J. Sylvis  0:43  

[laughs] Are you done sound designing?

Cass McPhee  0:46  

Pretty much, I don’t kno– I’m not gonna do any sound design to this. You just enjoy this and whatever. Whatever happens.

D.J. Sylvis  0:53  

That’s fair.

Tina Case  0:53  

Oh, man, okay. My name is Tina. She/ her pronouns. I, they brought me on to do all the things they didn’t want to do and said I was producer. And then I voice act everybody’s favorite– [mind blank as she forgets the joke she always makes here] I don’t even know what you would call her– Wilder. And I would say I get to take a break. But I don’t get to take a break. Because I am doing more things- because I don’t know how to take a break.

D.J. Sylvis  0:53  

That is fair. 

D.J. Sylvis  0:54  

Yeah, so we have a lovely list of questions that people have sent in to us. Um, we have, I think five or six different people who sent in a mess of questions for us. And we’re just gonna go through them one by one, I sort of tried to organize them a little bit, but we’re probably going to jump back and forth a lot too, there are a bunch of writing things that will go directly to me. There are a bunch of other things that I’m throwing to other people just because I want to hear what they’ll say. And some that were specifically for Tina and Cass as well. So yeah, um, let’s just go thr– start from the top of the list. Cass or Tina, whichever one of you wants to ask the questions to me that are specifically for me, and then I’ll respond. And we’ll sort of move from there. You might as well say, who the people are that ask them as well, even though it’s going to be repeating the same names a lot.

Tina Case  2:08  

[laughs] I I can take the first one if you want.

Cass McPhee  2:11  

Yeah, we can pass it back and forth pretty much.

Tina Case  2:13  

All right. So our first question is from Peter XYZ. And this is you’re gonna have to forgive me I have Invisalign. I sound like I’m in high school again, it’s fantastic. This’s for Deej. How did you decide on the moon as opposed to an O’Neill cylinder or a more modest space station, or even an island or a cruise ship, I think of Agatha Christie’s whenever a group of people are placed in a confined place.

D.J. Sylvis  2:41  

Which made it definitely– I enjoyed that. But as far as answering that, and I had to look up an O’Neill cylinder, even though I knew what it was when I saw the pictures, it’s just type of space station construction. But –But how did I decide on the moon is probably be–, just from when I was a kid. [laughs] When I was a kid, I read a lot of like, I mean, I was a kid in the 70s. So I read a lot of sci fi from the 50s and 60s, because that’s what was available. And there was stuff like the people who they- you think of as the big names now who like, really aren’t that great anymore. Isaac Asimov, Robert Heinlein, things like that. A lot of their stuff was set on the moon. I stole a lot of plot elements from Heinlein’s book Moon Is a Harsh Mistress. And a lot of sort of like– some of the sort of like moon city type stuff from some of Asimov’s things. And it was just sort of it seemed like a good way to — because space station’s always feel kind of flimsy to me and kind of temporary. I wanted it to feel like this was an attempt to sort of like a make a next step, where there– like there had been this attempt to, like, start into into serious space exploration. And then it got taken over by extreme commercialism, like everything else in the world of our show, and eventually became– was not profitable enough and got shut down. So yeah, just sort of the moon just seemed like a more permanent place for that. I tend to think of, and it’s sort of, just sort of I did do a lot of research as well. And space stations feel at least right now pretty temporary, as far as places that you can live for very long, they have to swap like cruise in and out of the ISS and places like that. Pretty regularly. Whereas on the moon, there’s at least a nominal amount of gravity. You can set up a more permanent installations. And so it just seemed like more of a permanent place to stay there. Plus, I mean, I like the moon, there’s more poetry in the moon than a space station, at least, right now. I mean, people need to write more poems about space stations, I guess. [Cass and Tina laugh}

Cass McPhee  4:57  

Yeah, we’ve been thinking about the moon. in various ways for as long as we have been able to literally look up in the sky and think about what’s that thing? So, you know, I can – I can see there being like, you know, it’s like, we’ve got a little lot more skin in the game with the moon

Tina Case  5:20  

I got nothing. Y’all got that. [cackles]

Cass McPhee  5:22  

Just just left, left, left a moment there, you know, just to like, contemplate the moon, you know, like you do? 

D.J. Sylvis  5:29  

Exactly. That’s what that was for. 

Tina Case  5:30  

Yeah, yeah. Exactly!

Cass McPhee  5:31  

Well, I can give you the next question then. So this is another one from Peter XY– Zed. I don’t actually, so sorry, Peter, if you prefer XYZ x, y. Zed is what comes to, to my, to my mouth. Being a Canadian, I’m sorry. So how much science and engineering research did you do for the story that isn’t in the series?

D.J. Sylvis  5:57  

Oh, I couldn’t even tell you. I mean, it’s stuff that I like to read anyway. And so there’s a bunch of things that I would like, do nominal research to, in the middle of writing scripts. And I’ll talk a little bit in the next question about like, how I do my research. But there was a bunch of stuff that I would start researching for a script, and then just sort of like, keep reading and keep reading and keep reading. Because in part, it’s interesting. And in part, it means that I don’t have to write yet, because, “oh, no, really, I’m doing research, I swear.” And not just science and engineering, there was a lot of linguistics to research history, poetry, psychology, etc, etc, etc, etc. medical stuff for Medic Pacey and some of the other staff and Keegan. So yeah, I was never done doing research. And it’s always a wonderful distraction from actually trying to put words on paper.

Cass McPhee  6:48  


Tina Case  6:50  

Amazing. Okay, I’ll do this one. And this is from Peter XYZ. We’re gonna, we’re gonna – I’m gonna stick with the XYZ.

Cass McPhee  6:58  

Go for it. 

Tina Case  6:59  

 Again, Deej. How much background worldbuilding did you do that’s not in the series? 

D.J. Sylvis  7:06  

And despite what I just said, about research in general, world building– not a whole lot, actually. I tend to not –this was the first time I had written an ongoing series. And the first time that I’d written anything this extensive?  Like I’d mostly mostly written plays before this, particularly a lot of one act plays. And — so I wound up making a lot of decisions in the middle of writing, in this. So my world building would only extend to the curtains. There’s, there’s really nothing behind the scenes at all. But no, I made decisions, but I made decisions as I needed them, and then just sort of like, cut the next piece of the cloth to fit. So there’s not a ton of background world building. In fact, a lot of the things that people asked me– have asked me and like previous Q and A’s and even some of the stuff and this one, I had to figure out an answer at this point, because I hadn’t decided on it during the show.

Cass McPhee  8:01  

I love that.

Tina Case  8:03  

I — mmm  Oh, go ahead. I’ll wait.

Cass McPhee  8:05  

[laughs] That’s a little bit more– like I understand when people are like, you know, I’ve set up the entire world of [unsure]  I figured out how absolutely everything works and I’ve got models for the economy and for a social — all the things and, and then I will place my story within it and I will– It’s a 300 word short story. Then there’s this where it’s like, I’m just like reaching into the cupboards looking for things as as they’re happening, which I– you know, I like that. I don’t know that it works- works better for my brain I think

Tina Case  8:35  

I – um, and I’m so glad that it wasn’t me this go round because like, you know how Beka is like, all the questions and all the everything?? That is me.  Like with everything, I want to know all the things. [Deej and Cass laugh]  and I am the one who’s asking literally like all — like there was an -another podcast that I listened to. And funnily enough, like I play an RPG with him and his wife now, but I like literally I was like, whats this? What’s this?? What’s this story? What’s the story? And I’m like, theories based on this. And you could just tell it’s like, well, that literally doesn’t exist yet. But yeah, sure, you’re totally–. And it just, it’s so funny, because I’m like, I hadn’t thought until like relatively recently, like honestly like– that. Starting with that, and then moving more into the creative space that, that’s just – people don’t know, like, some people will do it. But it’s just like, okay, oh my god, well, what is this? And what do they do? And it’s like, I literally didn’t write it. So I don’t know what they did. Because it’s not a thing that exists on paper or in my head. And I’m just like,”But, but you just broke my brain because how do you not know, because I need to know?” . Yeah, yeah. So it’s very, I’m getting better. And I don’t think that I would be getting better if I didn’t like– in this space, but I still always I get twitchy because I want to ask and like I know that nobody knows or that they don’t necessarily but I’m like, I want to ask because.. I wanna know.

D.J. Sylvis  9:52  

But I – but I do think that a lot of it that got deeper as we got into the show too.  Like not necessarily, I still don’t think that I did a lot of world building that didn’t like wind up on the page because I still made decisions as we needed them. But like, you guys know, how much longer my descriptions got of things when I was, when I sat down with you before season three and before season four and said, Okay, this is what I gotta  tell you that you’re gonna need to know.

Tina Case  10:15  


Cass McPhee  10:16  

Yeah. That’s very true. 

D.J. Sylvis  10:17  

So like there is that too. And I think some of it too, to be fair,  comes out of me not having done this before, because I’ve definitely done a ton more world building for the new show, than I even considered for Moonbase. So..

Cass McPhee  10:31  

Mhm. And we’ll talk about that a little bit more later. Probably. [Tina and Deej laugh] Till then I’ll give you another question. This one is from Beka, you’re gonna get a few questions from Beka tonight.

D.J. Sylvis  10:41  

Oddly enough,

Cass McPhee  10:42  

Weird. So are there any stories or subplots that you didn’t get to share or that didn’t end up making the final cut for this final season? Not including bonuses that are still to come? I think all the bonuses are now out. 

D.J. Sylvis  10:54  

Yeah, I was gonna say we’re recording this on the day of release of the final bonus. So yeah, [Cass: Yup] but yeah, there’s some stuff. I mean, there are a couple of actual scripts, the script we did for the live show, The List, was never actually recorded. So I mean, it was –it was, it was recorded in the live show, but we never recorded it for the feed. So there’s that, there was supposed to be another like live show scr–. Actually, I still I have like a brief outline for what the live show script was gonna be before that, when it was gonna be focused on Wilder instead of Michell. Where where it was going to be a whole monologue where Wilder was stuck outside the airlock, not able to get back in. But as far as things that actually like were planned, or at least possibly planned for the final season and didn’t make it in, there’s just a few things, I did hope to get more into Base Alpha, but there just wasn’t going to be time in the plot. Like we had the plot points later in the second half of the season, where they’re trying to get to Base Alpha. And I think originally I had planned that they would get there. And maybe we would have some more discoveries about the megas there. But there just wasn’t time, it just wasn’t important enough compared to the other stuff going on.Ummm more of like behind the mega stuff in general. I think eventuall— originally, I was going to go more into like the people that Monica reports to, and how that happened and how they pulled her back in. And there just again, wasn’t timing, it wasn’t that important. And it was kind of fun just to have the reveal too, with no information for the audience at all. That just “Hey, Monica is back” 

Cass McPhee  12:27  


D.J. Sylvis  12:28  

Um, I kind of wanted to do more Elena stuff too, but just sort of get didn’t get around to it. Just sort of how then I tried to show it a little bit in like the appearances that we had, but my original idea was that Elena was really kind of messed up emotionally about Nessa dying and was just taking that out on like ,throwing yourself into this other pro- this new project and doing really reckless stuff, and there’s a little bit of back and forth between Elena and Nima where we like deal with get delve into that a little bit but I was hoping to do more. I would have loved to do more Addie stuff and delve deeper into Addie’s background and maybe if we’d had more time to do Monica we would have gotten into that. Um, I wanted to actually show the tardigrade races [laughs]

Cass McPhee  13:13  

[laughs] Oh, thank you for not doing that.

Tina Case  13:15  

[laughs] That would have been so cool!!

All  13:16  

[Overlapping protesting chaos]

D.J. Sylvis  13:16  

We talked about the tardigrade races and I wanted to actually do a scene with that but again, there just wasn’t time.

Cass McPhee  13:21  

How do you sound design a tardigrade race? Fun fact:  I- wwe’llnever find out because I’m not doing it.

Tina Case  13:27  

Okay, okay, but you have the tardigrade sounds and they’re just cheering and like everybody like, smack talking to each other like yeah, [Deej laughs, overlapping]

D.J. Sylvis  13:34  

See, that’s the thing it would have been fun, but it just really wasn’t. And the last thing– and I considered this for a minute too and it just would have been too weird in context. But I really kind of wanted to do Cas and Poll on the rocket too. Because we have the one we have — we have the one mini series episode The like surprise mini series episode from the first mini series where we have Cas and Pol actually like talking and so that consider doing that again with them on the rocket when they’re –they’re coming there in the epilogue, but I just didn’t think that that was I thought that was gonna like throw off the feel of the entire thing too much like there’s it’s okay to do it in like a standalone, like sort of bonus episode, but doing that in the middle of other stuff just sort of felt weird,

Cass McPhee  14:14  

Right??  It would need to be its own separate little episode or something.

D.J. Sylvis  14:18  

 Yeah. But who knows? 

Cass McPhee  14:22  

Who knows?

D.J. Sylvis  14:23  

Who knows what they talked about on that ride?

D.J. Sylvis  14:30  

Okay, I’m gonna start reading a few of the questions now too, because we have some stuff that is for everyone. And I’m going to toss it to you guys first. So we have our first question appearing from our friend AMC who does the best to clinic. Stay asking what is an element of MTO that you’re really excited about/ proud of you never got a chance to talk about?  I’m gonna get you two answer that first.

Cass McPhee  14:55  

The funny thing is, is there’s not a lot because I just talked about everything, like I I don’t think there’s anything I was like, “nah I can’t talk about this.”  I guess what I’ll point to because I had a lot of fun with it and I really wish I had been able to do more of this kind of stuff. But I just wound up getting overwhelmed and almost burned out on just trying to keep up with the sound design. It was the Pocketcast stuff when we started having the you know, when Barnett Bell switched over and was gone rogue and releasing a pocketcast, and so we had a whole network of pocket casts and I really enjoyed going in and like– I designed logos for all them and came up with dumb titles for the pocket casts, and i also did –I created like the that bumper sound like “This is the Rose of Jericho Pocketcast” 

Cass McPhee  15:49  

So you know, my voice is my voice is in this series in a bunch of different fun little ways. And I kind of love that.I guess that’s one thing I’ll talk about is I love that my voice is just in sneaky little places everywhere. I’m that voice, I’m one of the tardigrades from the the special. the Chris– there 

D.J. Sylvis  15:53  

 from Dr. Just, yeah.

Cass McPhee  16:03  

–the Dr. Just  special. I’m Weeble of course. And I’m also like every now and then — you need a cough? You need a sigh?  You need a — uh, you know, or whistling? I’m Addie whistling becaise- 

D.J. Sylvis  16:23  

Yeah, something an actor forgot to record.

Cass McPhee  16:24  

An actor didn’t record whistling; suddenly it’s like alright, well, I guess I know how to whistle. That’s me. So yeah. So you know, there’s a few times where it’s like, oh, that’s sneakily me, and then nobody will ever know. But now you’ll know haha.

Tina Case  16:37  

Yeah, I don’t know if I have a good answer for this. Because I feel like I don’t talk about the show a whole lot. But like when I do, it’s just like info dump. Like, it all just kind of comes out. But I think it’s kind of it’s kind of a toss up. There’s the fact that we have so many people like on cast like, I knew everybody on in the cast was good. But like when I started doing like the Wikipedia pages, because I was like, “We’re going to do this so we can have the bragging rights and have it on our pages.”  And I’m like, holy crap, we have so many super just talented people that have done so many things. And I think a lot of it is really, and this kind of goes hand in hand with that is there’s so much of it that we are really proud of that unless you’re talking to somebody who works in audio drama, or who knows other projects, or these things, like it’s not gonna mean anything. Or it’ll be like, “Oh, that’s cool.”  And you’re just like, you don’t understand what I’m saying. Like, I get that you think it’s cool. But it’s not clicking. It’s like if someone tried to talk to me about molecular biology, I’m not going to fully grasp it, like I can get to a point why they’re excited about it. But it’s not going to make the same sense as it would to somebody else working in their field. So like when I’m talking to like one of my theater friends, or like, there’s somebody that came up to us at this festival that we did that we got on, it was like a parent nudging a kid our director was like, and what else do you do? I was like, “I serve coffee?” And he goes, like, [looks]  “I voice act, right!!!”  And so I’m like telling this complete stranger about the show. Yeah. And it’s just, it’s completely different. Because like, you don’t talk about some of the things that you really want to talk about. Because you’re like, she’ll be like, “Okay, that’s nice.” But it’s not the same as if I were talking to like the two of you about a podcast or a show because like you get how the community works or how hard some things are to do, or you know what I mean? So I think that’s mainly it just, it’s not that I don’t get to talk about it. It’s just ,it wouldn’t, it would get lost in translation.

Tina Case  16:39  

Yeah, that’s fair. Well, I was thinking when you said that too, about how like something I’m reall– I’m still like, really in awe of is, like some of the people we’ve gotten to work with on the show. 

Tina Case  18:20  


Cass McPhee  18:29  


D.J. Sylvis  18:30  

Like just imagining some of the people that we’ve got to we got to bring in like, I mean, especially like Emma at the end, but I mean, just like getting to work with Sarah, getting to work with David Dear and getting to work with , like, Tau; I mean Tau, just forever I’ve been in awe of, so. 

D.J. Sylvis  18:58  

But I did want to mention in this as well, that the thing that I was really proud of that I never got have really have had a chance to like talk about or explain to anyone was bringing in the Palestine storyline in season four as well. And working on that with Serena Rahal, who plays Nima and did so much of the plotting for that storyline and so much of the sensitivity reading for that storyline and just like gave me resources to work from and everything. It was really important to me we had the NAC stuff referenced in several seasons before that. And I- like that was important as well. And I had reasons why I wanted to set like one of the like, biggest seats of the resistance there. But then in season four, so much to me was about the history of revolution, and finding ways to support each other through it, that there was nowhere that it seemed like more important to talk about then the oppression in Palestine. And just the idea that they continue to push back and to find ways to stand with other groups across the world. And of course, like, at the end of the show, we go even beyond that. 

D.J. Sylvis  20:15  

But yeah, so that storyline was really important to me. And I tried to make sure I was doing it justice and wrote it properly. And like made sure that, again, like Seren,a and Serena had other people that that they worked with as well. That helped us to to sort of craft it properly. And especially right now, that just seems really important. And I’m really glad that we managed to pull it off.

Cass McPhee  20:44  

Yeah, definitely –

D.J. Sylvis  20:46  


Cass McPhee  20:47  

Yeah, it’s especially just I don’t know, the timing of when our show came out. Just was kind of wrapping up, just kind of drove all that home, I think. 

D.J. Sylvis  20:58  


D.J. Sylvis  21:01  

Yeah, we’re still doing what we can right now on all of our social media to help spread the word about things. And we’re making donations and we’re doing everything we can to help out in the little ways that we can, because that’s really important in the very real world outside this show as well. 

Cass McPhee  21:17  

Yeah. Allright.

D.J. Sylvis  21:20  

Oh, our next question was,

All  21:21  

[Hesitant laughter.]

D.J. Sylvis  21:21  

Oh, I’ll do it. our next question is from AMC as well. And she asked if you could steal one character from another show and have them on Moonbase Theta, the place not just the show. Who would it be and why? And so apparently, that means that Moonbase Theta the place, means that you can only choose someone to have on Moonbase Theta. You can’t put them anywhere else in the show. So.

Cass McPhee  21:45  


Tina Case  21:45  

Oh okay, okay. Okay. Hm. Man.

D.J. Sylvis  21:49  

Again, I’ll let you two answer first.

Cass McPhee  21:54  

If you don’t have one, I’ve got one. I think.

Tina Case  21:56  

You can go first.

Cass McPhee  21:58  

I just, I want to have I want to have Olivia from Oz 9 hang out with Tumnus.

Tina Case  22:07  

That’d be fantastic. 

Cass McPhee  22:08  

I think it would be terrifying.

Tina Case  22:09  

I change my mind all the time. Why would it be terrifying? Oh but it’d be good.

D.J. Sylvis  22:11  


All  22:12  

[everyone talks over each other a bit – clearly this is a good idea and we should have done it bc chaos]

D.J. Sylvis  22:14  

It would it would be hard to be as funny as it was- to have like, her with Michell in the holiday special.

Cass McPhee  22:20  

Yeah. Oh, that was so fun,

Tina Case  22:21  

[knowing cackle] Yeah, so I mean, technically. [laughs all around] Although..

D.J. Sylvis  22:27  

Which is actually the start of my answer. I’ll give – I’ll give you some time to Tina. Um, which my answer is that I did most of mine in the holiday special.  Because most of the shows that I loved that I really wanted to cross over with, Pasithea Powder,  and Oz 9, and Sidequesting and stuff –I specifically like reached out and asked people and then put into there. But I did–I did also write down in my notes here that I would take just about anyone from Caravan and put them on the moon and see what happens, even though I can’t because Caravan actually exists as a piece of fiction in the world of the show. So .

Tina Case  23:00  

Yeah, that kind of makes it a little difficult. Um, I change my mind on this one all the time. But I think I’m gonna go with Jacobi from Wolf 359. I don’t – I think it would end terribly. But I think that he and Wilder would either get along or hate each other. But um, and you know what he maybe he could have fixed the problem– He likes to blow things up. He could have helped with, you know, the collapse and all of the bad stuff that happened. You never know. Or he could have–

D.J. Sylvis  23:31  

Or made it worse.

Tina Case  23:32  

Yeah, or he could have helped Ashwini or made it worse. Or you know, maybe it’s a bad idea, but you know.

D.J. Sylvis  23:44  

Hey, and we have a new questioner entering the chat, Captain Hodor and the first question from them is, is there anything you now with more experience would have wanted to do differently for season four? And again, I’ll throw that out to you guys before me.

Tina Case  24:04  

But I don’t know if anything that I would have wanted to do different for season four would have made a difference.  Because I feel like just, the process is going to be the process no matter how it goes. So I think every time I feel like “I’m gonna do this better I’m going to do a smarter. I’m gonna go at it a better way.” Something happens and it ends up the same as it did before and you’re like “Wait, what? I planned for this How am I– time loop?? what’s going on? “But yeah, so I don’t know that, I think– yeah, I I feel like there might not have been a major difference, other than, [smal laugh]  I’m not going to steal the answer that’s written down in the notes here, but I definitely, when we get to it– I think that’s gotta be it.

Cass McPhee  24:49  

Oh, yeah. I have a problem is I think I did what I- what I could do, I think– if we took –added to this, “and you don’t have to me maintain a nine to five job so that you can stay alice” 

D.J. Sylvis  25:03  

Yeah, seriously,

Tina Case  25:03  

Yeah.  yeah, 

Cass McPhee  25:04  

That’s the main thing, because I would have like what I really wanted to do with this season, what I kind of expected to do is that we would be bringing on a sound designer, and then I would be able to kind of really double down into, like I could have, as I was mentioning, in a previous answer, I could have really gone in on like marketing through those little Pocket Casts more; I could have, like, you know, done a lot more to try to spread the word about the show, like, I really wanted to try to dig into that, like, really give it a go. And then I just had to throw it all out the window, because I did not have any leftover juice at the end of the day. You know, I was scrambling to to to just kind of make sure that I could keep the momentum going on anything else. And luckily, I got good enough at it and figured out exactly all the corners that could be cut and still feel okay about the final product. So that I could like, get it done. But yeah, so that’s –I just wished that I had had, you know, the ability to, to do kind of what I had originally planned, which was just like, really try to get the show into more into more ears and into more eyeballs who are reading the transcript?

D.J. Sylvis  26:12  

Yeah. Well, I mean, and that sort of becomes like, my answer too, just with that the writing became so much that I didn’t have time, because I was always the one who was sort of primarily responsible for marketing stuff. And like putting everything out on social media, and so on and so on, & we had talked about other people doing it or branch breaking it up and stuff. And we all just got too busy. But my answer that I said putting down in the spreadsheet for this ahead of time was, is there anything we would, with more experience would have wanted to do differently, and I– I just put more time in capital.

Cass McPhee  26:46  

It’s unclear whether that means I wish we had taken more time to release the show, or I wish more time existed. I

D.J. Sylvis  26:53  

I just– I, I think that’s fair. I just wish there was more time in general. But no, because the whole– and I think this was fair, it was sort of applied to season three as well. But season three, we were throwing things to an outside sound designer more. But I feel like we got to a point where the momentum of the show was, it was- it had built so fast and had become so big, that we were just sort of like running along with it to try to keep the momentum going. And that’s how I felt the entire– like the entire fourth season went, like I wanted to have everything written ahead of ti- further ahead of time. I wanted to have like rehearsals further ahead of time, I wanted to have recording further ahead of time, so that everybody didn’t sort of get, like in the crunch for things, but it just, it was too big. And I felt like if we took bigger breaks than we had, that we’d start losing control of it. Yeah, like not just not just people like, I mean, you want- we want people to have- we want to have a regular schedule so that people know that they know when the next episode will be coming. And they keep listening. And there’s no drop off on that as far as that goes too. But I just sort of felt like we were all like, keeping up. And I feel like we put stuff out that was good quality. But I feel like we were keeping it up by just like pushing and pushing and pushing and pushing. And I felt like if we stopped, we might not find our way back to that place. 

D.J. Sylvis  26:53  


Tina Case  26:57  


D.J. Sylvis  27:08  

But now here we are. And all of us really need a nap. 

Cass McPhee  28:28  

[longing sigh]

Tina Case  28:28  

yeah. A nap would be good.

Cass McPhee  28:32  

But in lieu of a nap, I will ask you another question from Beka,  Deej. And that is what part of the season was hardest to write?

D.J. Sylvis  28:41  

And this is a pretty easy answer. And I think it’s what everyone would expect me to say. And it’s the end. I mean, the end of it was hardest, emotionally because it was the end. But it was hardest because of the way that I did sort of like plot things out and plan things out that- I was pulling a lot of it together by the seat of my pants, and everything was just piling up at the end. And I kept having to go back through and be like, “Okay, did we tie up all the loose ends? Did we resolve the important storylines?” so that was really hard. And then the emotional punch of it was just a lot too, and especially the bonus episodes, because each of the bonus episodes is just like me picking another huge, hard thing to try to write about. Like trying to get deeper into Ashwini’s background and Jaxon’s background, telling Ahnung’s story and trying to be like, honor that experience that isn’t mine, and then writing my bonus episode, which I really didn’t expect. And I’m still gonna, you know, quietly like, get Sarah for choosing that. 

All  29:47  


D.J. Sylvis  29:47  

But um, writing mine and then deciding the only thing I could really think of to do with him at that point was to try to explore the one thing I never got to talked about in the show, which was restorative justice. And I still don’t know like, how well I did with it. But the idea of how do you find some way to recover someone who did terrible things and maybe doesn’t want to recover from them? 

Cass McPhee  30:12  


Tina Case  30:12  


D.J. Sylvis  30:13  

 So yeah, all of that stuff was probably the hardest, right? The easiestto write was always, you know, Ashwini and Tumnus 

Cass McPhee  30:20  


Tina & Deej  30:20  


Tina Case  30:25  

Okay, I can do this Deej question. This is from Marissa. And since we only really see the beginnings of it, what was Nessa’s full plan for moon colonization? And what did she have in mind for defenses?

D.J. Sylvis  30:40  

Okay. So I think as far as Nessa’s full plan, it’s just sort of more of what we saw Jaxon working on and implementing, that there were all of these different areas that needed to sort of be resolved to make things self sustainable. That’s sort of fixing the things about like human bodies that make it impossible to live forever on the moon, making food supplies self sustainable, like water and things like that. Making things like psychologically self sustainable. And so yeah, I think it was just extending all of those, to the point where it would be possible for them to stay up there forever. And as far as defenses, I think she just didn’t even consider it. I think it’s not that she’s naive about that kind of thing. But I think it’s just something that nessa would be completely, like, unable to consider, that she would just assume someone else was going to figure that out.

D.J. Sylvis  30:49  

Yeah, that makes sense to me. 

Tina Case  31:07  


Cass McPhee  31:34  

I’ve got one from we’ve got another nother questioner.  We’ve got J Chrest or Chrest –my apologies if I should not be pronouncing ch crest. 

Tina Case  32:04  

[interuppting] Chrest. It’s Chrest. Yeah.

Cass McPhee  32:05  

 So did all of Kasam Paul’s puppies get adopted at the freehold? What happened to them? I think we we’ve got a hint of what happened to them. I don’t know if it was ever really said in the show fully. So yeah. What happened to the puppies?

Tina Case  32:16  

Yeah– I had [unclear]

D.J. Sylvis  32:17  

Well, if we go back, if we go back to season two, episode nine

All  32:21  


Tina Case  32:23  

Oh no. 

D.J. Sylvis  32:24  

Yeah. And the monologue there, I think that I did– I resolved it enough for me, where he says that the Santos –The Santos’ were their neighbors in Rio, Sao Paulo, that the Santos kids took all the puppies. um,  the line says “The Santos kids took all the puppies. Every goddamn one. The parents have a plan, they’re a bit more secure in the current situation than I can be, but the puppies are safe.”

D.J. Sylvis  32:52  

 And I think that that’s as far as I gotten my planning too, is that their neighbors took them and their neighbors had more of a plan sort of for getting out. And so my assumption was, they’re on a farm now they’re on a farm out in the country, running and chasing rabbits.

Cass McPhee  33:13  

And every single one of them has a cute name that got figured out during our first Kickstarter or whatever the hell that it was campaign. [editor aside: Seed & Spark, I believe]

D.J. Sylvis  33:20  

That’s true too.

Tina Case  33:21  

Yeah, I’m pretty sure she named one of them, actually now that I think about it.

D.J. Sylvis  33:26  


Cass McPhee  33:27  

Yeah, they’re fine.

Tina Case  33:36  

Do you want me to do this one? 

Cass McPhee  33:37  


D.J. Sylvis  33:37  


Tina Case  33:38  

Okay. It’s Marissa again. Why was the Enclave officer so particular towards that specific reception bot?

All  33:48  

[knowing laughs]

D.J. Sylvis  33:51  

This is where I have to explain a little bit of a behind the scenes joke. Marissa is one of my partners, and the entire like, lifetime of the show. They have been teasing me about all of the little references that Reception Bot, particularly that the Enclave officer calls it darlin the entire time. And whether or not there’s a certain, you know, predilection implied there?

All  34:14  


Tina Case  34:15  

Yeah, I mean, we all thought it we just were too polite to ask.

Cass McPhee  34:20  


D.J. Sylvis  34:20  

[laughs] And I think that, um, I think it’s more sort of, at least in my head, it was more sort of just the idea that he likes having something that’s subservient toward him? But I don’t have a problem with people making other assumptions about that. 

All  34:41  

[cackles and laughs]

D.J. Sylvis  34:46  

And another thing that Marissa added that isn’t really a question, but I’m sure that everyone will agree with was also Roger and Alex had better lived the rest of their lives peacefully on the moon or else. 

Cass McPhee  34:56  

[LOUD laughs]

Tina Case  34:58  

Yeah, I mean…

Cass McPhee  34:58  

There’s no question there. that is a statement.

D.J. Sylvis  35:01  

No, that was in their list of questions, but it is not a question. It is a statement. 

Tina Case  35:04  

Now….. Look at who’s left on the moon, though. Do we really think that it was peaceful, per se?

Cass McPhee  35:12  


Tina Case  35:12  

 I mean–

Cass McPhee  35:13  

I don’t know, Wilder left. [laughs]

Tina Case  35:16  

Ah!! Yeah, You’re right. You’re right. She did. She did. So- so  it could be it’s definitely going to be good, but I feel like peaceful. They’re, they’re crazy.  In the best way like, [unclear]

D.J. Sylvis  35:27  

[laughs] Well, I mean, the megas are still up there. And the like, idea is that there are probably going to be further conflicts in the future. But I like to think that whatever happens, that Roger and Alex are no longer going to be as as much at the center of it. 

Tina Case  35:44  


Cass McPhee  35:44  


D.J. Sylvis  35:44  

And they can sort of have time to just be themselves and be together.

Cass McPhee  35:48  

Soft retirement.

D.J. Sylvis  35:49  

 Yeah, so we’re gonna assume that. 

Tina Case  35:52  

I like it. 

D.J. Sylvis  35:54  

And we’re moving to another question from AMC now saying this may have been answered before, I don’t think it ever has been. But what is your go to olfactory scent??

Tina Case  36:02  


Cass McPhee  36:05  

It would depend so much on my mood.

Tina Case  36:09  

Okay, I’m going to take this one, because I’m just going to be predictable. Good quality, just ground coffee beans.

Cass McPhee  36:16  


D.J. Sylvis  36:16  


Tina Case  36:17  

 like this? Because that’s like any scents, there’s so– there’s such a variant and a variable and like, is it going to be like, the fake, this scent is going to actually sme– just, just ground coffee beans, that’s a constant, it’s fine. Even crappy coffee smells really good when you like, [unclear] make it.  

D.J. Sylvis  36:35  

That’s true, that’s a nice one. 

Tina Case  36:36  

So, you know. 

D.J. Sylvis  36:38  

That’s a nice one, I’m on board with that one, I don’t need an answer. 

Cass McPhee  36:40  


Tina Case  36:41  


Cass McPhee  36:42  

What– if I was looking for something comforting? It would probably be like fresh baked chocolate chip cookies. Um, but if I wanted something refreshing, it would probably be like the smell of a crisp fall day. I don’t know how you get that an olfactory. But that’s what I want.

D.J. Sylvis  37:00  

Well, I like to think that the ways that we’ve sort of talked about it a little bit in different scenes, that there are like these great olfactory designers who spend all of their time like creating these symphonies of scent. Oh, I think the next question is for me, so one of you two is gonna have to do it.. 

Tina Case  37:19  

Okay, I got it. It’s from Beka. And it is did the message that Tumnus tried to send in the season three bonus ever make its way to Jen Ponton? And what about the message from Season Four, Episode Four where she composes lyrics?

D.J. Sylvis  37:35  

This is an easy one. I don’t think- I don’t think that anything made its way to Jen Ponton before the epilogue.  I don’t think it can because Jen obviously is not expecting this call or Tumnus’s existence. So I have to say that no, those messages didn’t get there. But I’m sure that now that they’re together in the end of the epilogue, that Tumnus is babbling about all of it as fast as you can get the words out.

Tina Case  37:59  


Cass McPhee  37:59  


D.J. Sylvis  37:59  

 So like that would have been fun to I had to like,  Cass, you were the one who said the epilogue was sort of my victory lap anyway. But I really had to stop myself from just like spending pages and pages and pages just like lingering in some of those conversations. 

Cass McPhee  38:17  


D.J. Sylvis  38:20  

I’ll jump to the next one, which is also Beka. We’ve got a lot of questions in a row from Becca here. 

Cass McPhee  38:25  


Tina Case  38:25  

Oh yeah. 

D.J. Sylvis  38:25  

And this one is for Tina, I —

Tina Case  38:26  

AHH, [squeal in undecided] [laugh]

D.J. Sylvis  38:27  

threw this one to Tina — it was technically for anyone. And it is what pocket cast did Wilder and Tumnus listen to together after season four episode two before Wilder leaves for the North Pole. There’s a specific moment where Tumnus and Wilder have the scene where Tumnus is really still upset about Wilder getting ready to leave. And Wilder is like, “I’m gonna go listen to pocketcasts. wanna come with me?”  And so Beka wants to know what they listened to. So Tina, that is up to you.

Tina Case  38:54  

Yeah. Because I, you know, I really, I wanna deflect and just let the writer of the show answer but I can’t. I’ve been– I’ve been thinking about it trying to figure out what that she would have listened to. And there’s so many good possibilities. And I think– I think I’m gonna have it– it would have been sees that the first episode starting Season One of the Black Tapes podcast.

D.J. Sylvis  39:19  


Tina Case  39:19  

 Cause like — and just not tell like, because for anyone who’s listening that has not listened to the Black Tapes: when it started, they presented it as a real thing. Like they they didn’t present it as a fiction podcast. And like, it confused a lot of people at first because like it was it was my first podcast besides Welcome to Night Vale. So like, I was just like, “It’s fake, right? Like, maybe–“

Deej & Cass  39:45  


Tina Case  39:45  

It took me a little bit then you know, I figured it out and whatever. And so I feel like she would have presented that to Tumnus without comment. 

D.J. Sylvis  39:52  


Tina Case  39:52  

And I mean, of course, Tumnus is like, you know, an artificial consciousness, she would have figured it out. But you know, like, just like play it for and Let her wonder and then- with- with the thought process that she would finish that series like while Wilder was gone, and have her opinions and thoughts on it when Wilder got home, but. Yeah, I feel like it would have just been dropped without comment, explanation context anything and be like yeah, you should listen to this with me. And then left it at that.

D.J. Sylvis  40:21  

It is sort of the podcast version of The Blair Witch Project.

Tina Case  40:23  

Yeah, there’s so many good answers for that. Like, I was like, Oh, Wilder would have listened to this. She also would have listened to this. i Yeah, it’s been all day like, what would it be? What would it be? What would it be? Whatwoulditbe ? 

Tina Case  40:35  

What do you guys think? What would you think that it would have been?

Cass McPhee  40:42  


Tina Case  40:42  

[cackles in vindication]

Cass McPhee  40:42  

I don’t know. For some reason, I wanted to think of something. Something that was like, it’s funny. It’s like I don’t actually know a lot of like, most people think about podcasts and they don’t realize that fiction podcasts are a thing. And then –and so they know all these other podcasts. I can — I have a hard time thinking about nonfiction podcasts. But for some reason, I imagined that she would be into those, you know? She’d be like, I just want to hear people talking about something.

D.J. Sylvis  41:09  

Yeah, it didn’t specify even though like most of our references inside the show were two other fiction podcasts just because it was kind of fun to throw those in there. Like Wilder doesn’t say that. She just says pocketcast. 

Cass McPhee  41:20  


D.J. Sylvis  41:20  

Could have been anything. 

Tina Case  41:22  

I really, really wanted to find and pick the most like, not Wilder like, dudebro, how we joke about white guys around a microphone podcast. Like I wanted to do that. I’m like, I don’t know any. Yeah, but I’m like, I could see it being something tactile, something handy. Just because she’s so much of a “I fix things. I do things”. You know, maybe it’s one of those. “Do you remember when?”  that podcast?

D.J. Sylvis  41:45  


Tina Case  41:45  

Different things just because she’s so on the memes and the internet history and all of that stuff. So maybe something like that?

Cass McPhee  41:52  

Wilder should start a podcast, hot take.

Tina Case  41:54  

[horrified anguished] No!!!  Can you imagine?  oh my god.

Tina Case  41:57  

Yeah, a Wilder fix-it podcast? It would be so rambley and wonderful.

D.J. Sylvis  42:00  


Tina Case  42:00  

[cackles] Oh my gosh, you know, if we– if the show wasn’t over, then we could make it a Patreon exclusive. 

Cass McPhee  42:07  


Tina Case  42:07  

but the show is over and we have no more work to do on it. So darn. We can’t do it. [laughs]

D.J. Sylvis  42:11  

Ever. Ever again.

Cass McPhee  42:13  

I’ll throw a couple of at you Deej I think what I was going to be fairly fast. But they’re both Beka questions. First one is Val. Did Val ever recover [dramatic]  the coin?

D.J. Sylvis  42:23  

And this goes back to the second mini series to the introduction of Val in,  Epsilon right. I don’t remember any more.  In- in the base that she lived on,

Cass McPhee  42:33  


D.J. Sylvis  42:33  

– episode. And the coin that she – that she was looking for the entire time. I don’t think she has found it yet. I think she is still in the process of inventorying every one of the supply stashes because she only got that information at the very end of the show. And so I think she’s definitely on the case now, but I don’t think that she’s found it yet.

Cass McPhee  42:59  

And I’ll throw you another one.. 

D.J. Sylvis  43:01  

it’s funny because like, that was in like, in my head and in the original plotting for the season that was going to be the the locator that allowed Michell to find the stash that Wilder was stuck in. 

Tina Case  43:18  


D.J. Sylvis  43:18  

So I was originally going to use that. But then it was just so much funnier when I thought –

Cass McPhee  43:23  

[laughs in Michell]

D.J. Sylvis  43:23  

–Wait, he still has the locator on that he set up in season two. 

Cass McPhee  43:27  

Yeah.For some– that must have gotten turned back on at some point, because obviously like, 

Tina Case  43:32  

[overlapping Cass] [laughs in did we plot hole] Yeah, yeah!! 

Cass McPhee  43:32  

it says in season 3 [unclear, bc Tina [me] is loud, sorry yall] turn it off. Because it would have been annoying. 

D.J. Sylvis  43:37  


Tina Case  43:37  

Can you imagine?

Cass McPhee  43:38  

But yeah. But I love that. I loved that callback. That was fun.

Tina Case  43:43  

Yeah, I read that and cackled.

Cass McPhee  43:44  

[laughs] I got to cackle as Michell, so that was fun. [laughs]

Tina Case  43:44  


Cass McPhee  43:51  

So yeah, I’ll throw you the next one, which is what happens to the Enclave officers bots after the rocket crash? Were they all destroyed? Or were some able to perform their tasks? Or is , you know, one of them, um,  is one of them what made the tracks that Wilder saw maybe?

D.J. Sylvis  44:07  

Nope. None of those bots made it through. My assumption was always that the tracks Wilder saw would have come from the bots that, like Val was in the course of sending out in her mini series episode, which weren’t like her responsibility at all. But that was sort of the Enclave officer. Well, I mean, technically those are the Enclave officers bots too, because he was the one sending stuff out to the stashes. But it wasn’t one of the bots that was coming on the rocket with Payload and Alex and Addie. That one just crashed.

Cass McPhee  44:40  

You wanna take the next couple Beka questions, Tina?

Tina Case  44:44  

All right. Not a question. But apparently, the Enclave Officer interviewed himself. I would love to hear or read that.

D.J. Sylvis  44:53  

Oh, yeah. That was like a throwaway reference near–I mean earlier in the season. When he’s settling into the Air Force Base and sort of this. I think Slipstream says that “We heard you– we all heard you interview yourself.” and that was sort of his way of introducing himself to the base.

Cass McPhee  45:11  


Tina Case  45:11  


D.J. Sylvis  45:11  

But, I am sure no one needs to hear that,  and that will never be written or recorded, so .

Tina Case  45:17  

I mean, fan fiction exists, so somebody could make it happen.

D.J. Sylvis  45:20  

That’s true I have no control over fanfiction. Although, now I can read it!! 

Tina Case  45:24  

Yeah. Oh my God!

D.J. Sylvis  45:25  

I can actually read fanfiction now. So you guys should all go and write some because I’m actually able to read it now that the shows over, and no one can accuse me of stealing their ideas.

Cass McPhee  45:32  

Write all your Enclave Officer x Reception Bot fic.

Tina Case  45:37  

[cackle]  Yes! Yes!!

D.J. Sylvis  45:38  

No, no. 

Tina Case  45:39  

Cass and I support and love you, you should do it. 

Cass McPhee  45:42  


D.J. Sylvis  45:44  


Tina Case  45:45  

You know, you like you love them, too. You just–

D.J. Sylvis  45:48  


Tina Case  45:48  

 –don’t love that idea. Um..  you want another question? Or should we …stay on this topic?

Cass McPhee  45:54  

[stammers in please lets not] Throw the next question in, yeah.

Tina Case  45:57  

Nessa. How is her family doing? Are the kids all right? And are they planting their own gardens? Maybe? And that’s another Beka question.

D.J. Sylvis  46:05  

Yeah. Umm. Like, I mean, the kids are obviously well cared for and well loved. They have their other parents. But of course, everyone misses her terribly. I’m sure. I like to think that Elena, like part of the reason why Elena went to the moon, was to like gather stories and gather like people’s, like, experiences with her to take back to her family. So I’m sure that that happens afterwards, as well. And I’m sure that at least someone in that huge family is planting gardens as well. And Elena is probably working with them as well, because she had the bots that were sort of cultivating everything. But yeah, no, I’m– I think that would have been nice to like, revisit at some point too. But again, there just wasn’t time to like go to go home with everybody after the show.

D.J. Sylvis  47:04  

But then, [with mirth] Beka ended this list of questions with-

Tina Case  47:08  

[cackles knowingly]

D.J. Sylvis  47:08  

Something we all still want. 

Cass McPhee  47:10  


Tina Case  47:11  


D.J. Sylvis  47:12  

Episode or  scene entirely voiced by Cass when???

Cass McPhee  47:15  

Aw, oops, darn. I’ve done all my sound design, will never happen.

D.J. Sylvis  47:19  

And for those of you who aren’t inhabiting our Discord and might not know the inside joke there, that is that Cass, when we did rehearsals, or when we were like doing like scratch recordings and stuff, just reworking out the kinks in the scripts. Cass would quite often do the voices of whoever wasn’t available at the moment. So if we’re doing a scene and Wilder is in it, and only got like, 10 lines or something and Tina wasn’t there, then Cass would do his Wilder voice, he does a very good Elio voice. So we always wanted him to just do, like, pick a scene and just do all of the voices all like, right after each other.

Cass McPhee  47:19  

It’s funny, because I just, I can’t not, like when I see them, when I’ve heard what the person who does the line sounds like, and then I see that that character saying that line, it just doesn’t feel right to me to not at least try to evoke that character, the way that it exists in my brain. That is how my brain works for reasons. I do not understand.

D.J. Sylvis  48:04  


Tina Case  48:04  

Theater kid, maybe?

Cass McPhee  48:05  

I mean, I do it too like, I didn’t read for people as often, but particularly like Tumnus, or Ashwini when I would read for them. 

Cass McPhee  48:30  

Oh, yeah, your Ashwini is way better than mine. 

Tina Case  48:33  

[overlapping again] Oh yeah, you definitely did. Yeah, yeah yeah.

D.J. Sylvis  48:36  

I would sometimes fall into their intonation.

Tina Case  48:38  

So since you guys do the voices like that, I feel like I know Cass’s. And I mean you i guess  by default as well. Deej What was your favorite one to do?

D.J. Sylvis  48:48  

Oh, I would read Ashwini forever. [laughs]

Tina Case  48:50  


D.J. Sylvis  48:51  

There’s no question. I mean, Ashwini was,  it’s it’s unf- It’s a little unfair to have favorites as blatantly as my favorites to write for and direct and record was Ashwini, but I can’t I can’t help it. And so- 

Cass McPhee  49:08  

For me, it’s probably so a toss up. It’s it’s between Wilder and Tumnus probably. 

Tina Case  49:14  

[gasp] Ohhh. I am completely wrong. I’m sitting here. Like, “He’s gonna say, Elio.”

Cass McPhee  49:19  

Elios- [cut off]

Tina Case  49:20  

I dont know why, yeah!!!

D.J. Sylvis  49:21  

I think everyone liked Elio just because of the accent, but I never thought Cass enjoyed doing it.

Cass McPhee  49:26  

[laughs] [unclear] I like doing it, but-

Tina Case  49:26  

I feel like maybe that’s what that conversation was, was that we all liked it. And not that it was a favorite. 

Cass McPhee  49:31  

I like doing it. I just, it doesn’t like,  it — for Tumnus, it was just really fun to do. And Jen’s kind of approach to the character. Just just I could hear it in my head quite quite well. So I just really enjoyed that. But, but yeah, I don’t know. Honestly, Roger. I really liked doing Roger’s because Leeman’s voice again, as Roger, really embedded itself into my brain and I really started to like his cadence, and I’m probably going to steal it and use it in my — elsewhere you can’t ha ha You can’t stop me Leeman come get me.

Tina & Deej  50:04  


D.J. Sylvis  50:06  

That’s great. 

Tina Case  50:06  

Oh, no. Oh, no.

D.J. Sylvis  50:10  

Well, I think we’re at least halfway through the list of questions right now. Did we want to take a break?

Cass McPhee  50:14  

That sounds good to me. So we’ll we’ll take a quick break and then we’ll be back into an answer more questions.

Tina Case  50:20  


D.J. Sylvis  0:00  

And we’re back. We all took a little break there, went and you know, got some more water, did other things that might need to be done. Cass actually switched over to his laptop mic–

Cass McPhee  0:11  

Yup yup!

D.J. Sylvis  0:11  

-but we’re back. We’re all good now. And we’re gonna go back into our questions. We’ve still got a nice little list here. And the next two sort of go together. So whichever one of you is going to read them can just do both of them at the same time.

Cass McPhee  0:24  

I’ll take them, why not. [laughs]

Tina Case  0:25  

I’ll– [overlapping]  Go fot it!

Cass McPhee  0:27  

We’re both gonna go for it. Finally we both were like,  

Tina Case  0:29  

[overlapping] Yeah, we’re like, we got this!

Cass McPhee  0:30  

[overlapping] I will read the thing!

D.J. Sylvis  0:30  

[overlapping]  Yes, read both of those questions simultaneously. 

Cass McPhee  0:33  

Oh God, no.

Tina Case  0:34  

 Ooh, yeah. 

Cass McPhee  0:35  

Especially with okay, if we were in person, sure. But on Discord, no, no, no. 

Tina Case  0:38  

[laughs in Cass is  right voice] Yeah, no. 

Cass McPhee  0:39  

All right. So this is another one from Captain Hodor. When in the writing process, did you know that the best way to tie up the story was with aliens? [laughs] For some reason I– [unclear bc interupption] Aliens.

Tina Case  0:52  

I LOVE that it’s capitalized. 

Cass McPhee  0:54  

And how  would the story have–

D.J. Sylvis  0:55  

I like, like that aliens is capitalized, too. 

Cass McPhee  0:57  


D.J. Sylvis  0:58  

So we’re going we’re going to assume the aliens are actually you know, the face hugger variety?

All  1:02  

Aliens. Aliens. [in rounds]

Cass McPhee  1:03  

And how would the story have looked without them?

D.J. Sylvis  1:05  

[pause] Sorry, I had a cat puking in the background..

Cass McPhee  1:10  

Oh no!

Tina Case  1:11  


D.J. Sylvis  1:11  

 You know, I’m gonna pretend that didn’t happen until the end of the —

Tina Case  1:14  

Good plan. 

D.J. Sylvis  1:15  

But okay, actually answering the question. 

All  1:18  


D.J. Sylvis  1:20  

Getting back into this unanswered question. We may or may not edit that out. [ we did not] Um, if you can, if you can actually hear Mochi in the background we might. 

Cass McPhee  1:27  

I didn’t hear anything, , I think we’re good.

Tina Case  1:30  

Yeah, I didnt hear anything.

D.J. Sylvis  1:30  

But yeah. When did I decide on Aliens? And did I know the series ending before writing it. Yes. Otherwise, like, I mean, I did sort of tailor the entire, like, final season to try to, like bring it to that point in subtle ways. But yeah, I think I decided, close to the end of season three. And I don’t mean, close to the end of writing season three, I mean, close to end of producing season three, because that was when I started plotting things out for what we had decided was going to be the final season. And– or I guess I decided it was going to be the final season. And um, starting to think about what the ending of the show would be like. And I sort of went through a bunch of things in my head and ways that we could tie things up and the themes that I wanted to explore. And it came down to the idea that I really wanted the final season to be about how revolution becomes sustainable, how this sort of like pushing back against the system, is how you can continue it like for year after year, generation after generation, knowing that it might take like, centuries to make any movement on these things and looking at like people and groups that have done it for obviously a lot longer than I’ve been alive. And what it always seems to come down to is cooperation. And like, having, like the support of other people in similar situations. Like we were talking a little bit about Palestine, and it’s — right now, like the biggest support that I’m seeing for the Palestinian citizens is from like other oppressed groups is from, indigenous groups in America and Canada, and from blac- Black Lives Matter groups and Black rights groups in the States and in Canada, and places like that. And, um, I feel like that’s such a huge thing. And of course, Palestinians have always like stood up for them as well. And I feel like, so much of what makes -makes it possible for you to keep like, living that struggle year after year is knowing that other people have your back in it. And so I wanted to try to find ways to explore that, and I thought, like we did the things on Earth, and we did the– did the things where we started exploring the other bases and waking them up and starting like other mini revolutions on on the Moon. But I wanted to take that a little bit of a step further to and I wanted to sort of go back to like, we’ve had the like through line the whole time that Ashwini’s whole purpose is sending these messages into space. And I thought that it would be a nice way to sort of like take the whole thing into macrocosm. If there were eventually aliens that heard that. And it sort of answers the question too, of what Ashwini was sending out all this time, because we find out that ze wasn’t sending out the messages of the Roger was writing. [laughs]

Cass McPhee  1:46  


Tina Case  2:11  


D.J. Sylvis  2:18  

— and was sending out stuff of his own. And so I think that that’s what ze was doing was sending out reports about what the situation was on earth and on the moon. And like, what their struggle was. And so I just liked the idea that they found like a similar resistance group out in space as well. And it wasn’t something where like they could swoop in and save us. And that tied back to some stuff we had said earlier in the show as well, that they couldn’t swoop in and save us. They couldn’t– they weren’t going to come in and [unclear] of course, take the corporation side, they were on our side. But all they could do is offer us their voice and their support. And I don’t want to say all they could do because I mean, that’s a really big thing. But I wanted to play with those ideas and see whether or not I could weave that into something that felt hopeful, but realistic in the end of our sort of story of revolution here. 

D.J. Sylvis  5:33  

As for how would the story have looked without them? I’m not really sure, [laughs] because like I said, I sort of made that decision and was working toward it the entire final season. But I think if I had decided that aliens just felt way too out there, it probably would have been a similar arc, but focusing more on Roger as well. And like using Roger’s voice and using Roger’s popularity amongst people down on Earth to try to pull everyone together. But I think that’s part of why I didn’t go that way as well. Because first of all, like I think Roger is like too messed up to really be the hero of the– of everything. 

Cass McPhee  6:19  


D.J. Sylvis  6:19  

But I didn’t want it to come down to one person I didn’t want to c- I didn’t want it to come down to like one voice saving everyone. I wanted it to be another coalition, another like group of people banding together. So–

Cass McPhee  6:32  

Mhm.  I think the next question from Peter X, Y Zed–

All  6:40  


Cass McPhee  6:40  

–kind of ties into that, but you might have sort of answered it already, which is Did you know the series ending before writing it? I think the answer is kiiiiind of no.

D.J. Sylvis  6:49  

Yeah, no, I think that’s the same thing is that I, I had-I had to make the decision. Like, I mean, there are obviously a lot of things that changed. And it would be hard for me to even track those down now, because so many things change while I write this, write this stuff, where ideas that I have will all of a sudden not work in a scene and then then that sort of ripples down further, and I have to change stuff. And I have to change how things are happening. But like the main ending, the idea that the aliens show up, or the aliens send a message, and we’re able to tie that into Roger sort of sharing that with the world. And I think even the baby ACs weren’t necessarily in it when I first came up with that idea, but the baby AC’s tying into it as well. And then Tumnus’, whole thing, like coming up-coming to fruition. And that, that I think all of that was really necessary to understand before I started writing the entire season, so … [pause] so there.

Cass McPhee  7:53  

All right. What do we have…. I think the next one was for

D.J. Sylvis  7:57  

Oh, yeah, um, is from Peter X, Y Zed as well. 

Cass McPhee  8:01  

Canadians: We win!

Tina Case  8:04  

Yay! [is not Canadian, so shes confused but has the spirit]

D.J. Sylvis  8:02  

– asking, did you intend for such a large cast? Or did it grow organically? And I guess technically, this would be a question for me as the write/ director of the show, but I am going to let you two answer it because you know this as well as I do.. [ dissolving into laughs]

D.J. Sylvis  8:10  

Ohhhh, oh, so we have to answer it truthfully. Okay. Okay. Okay. 

D.J. Sylvis  8:20  


Cass McPhee  8:21  


D.J. Sylvis  8:21  

I mean, you can answer any way you want, I guess. 

Tina Case  8:22  


Tina Case  8:22  

[long pause]  No. [end of statement]

Deej & Cass  8:27  


Tina Case  8:28  

That’s it, that’s it. That’s the question, right?

D.J. Sylvis  8:30  

Did D.J. have control over the show? No,

Tina Case  8:33  


Tina Case  8:35  

Yeah, that -cause I mean, your plan was just you and Leeman to begin with, right? Like just to do the thing. And then it’s like, oh, we’ll, let’s hear– there’s these bonus things. Let’s bring Tina & David in and, and oh, oh!  now– Okay, so now we’re gonna actually do this thing. Well, we need everybody that’s on the base. And then oh, my god, we’re gonna wake like everybody up?? . Okay, well, now we need da da da da da. And I really think you just wanted to put everybody that you like working with in the show. 

Cass McPhee  9:01  

[laughs in person Deej likes]

D.J. Sylvis  9:02  

I mean, that’s fair.

Tina Case  9:03  

 I mean… [laughs in knows its fair]

D.J. Sylvis  9:04  

— that is, that is, to a great extent, fair. And I think that I’d like to make it sound more noble than that and be like, Oh, well, to write a story about revolution, and about people coming together. There have to be a lot of people doing it. But, I do think a lot of it was just that I was so excited about like, getting to work with more actors, and getting to tell the bigger story as it started expanding and it got a little out of hand…

Cass McPhee  9:28  

[laughs in i know]

Tina Case  9:29  


Tina Case  9:31  

Now, here’s the thing, if you had to do it again, would you do it the exact same way? Or would you keep it on a smaller scale? Like find a different way to tell the story? 

D.J. Sylvis  9:40  

That’s a good question. Because I because I told you guys when when things started feeling really out of control in the final season, and I was still had like five or six episodes to write? I was going– I was going to go back to like, okay, so Rogers just going to tell you the rest of the story. Everyone else is gonna be done. But I think it probably would have happened a lot the same way. because some of it too was just like you said, like wanting to connect with all these people and wanting to bring people in and like, write parts for them and enjoy playing in this universe with them. So I don’t think I could have resente– res– ugh I can’t talk. I don’t think I could have resisted that in the long run.

Tina Case  10:18  

That makes sense.

D.J. Sylvis  10:21  

All right. And now we’ve got a bunch of questions for you to we’re going to start out with a couple questions for Cass.

Cass McPhee  10:27  

Oh, good.

D.J. Sylvis  10:27  

 Christie. Christie asked How hard was it to teach yourself sound design? And what went into that process? And how do you form a library of effects? 

Cass McPhee  10:35  

Well, what you do is you, you decide that you want to do a thing, and then you commit to doing it, and then you go, “Oh, no.”

D.J. Sylvis  10:45  


Tina Case  10:45  


Cass McPhee  10:45  

 And then you start doing the thing. And so I I’ve done a little bit of just kind of mini sound design. Throughout the years, I’ve used Audacity to do the odd thing here or there, but like, had really never delved into it more deeply. And then we started needing, like, I think, when I really started to kind of play with it more was when, in season two, we were kind of getting ready to launch and, and I was like, oh, it’d be fun to kind of cut together trailer from, like, you know, little bits of lines that people have. And so I started doin-, that’s kind of why I wound up helping to produce the thing, because I was just like, keen to, like, do stuff like that. And so I started just goofing around in Audacity, just trying to figure out how to throw things together. And then what you realize after a — when you start trying to do full episodes of things in Audacity, I think, well, I did an episode of Monkey Tales with my first kind of like, Hey, I’m going to actually try to do a sound design. And I, I’m actually pretty happy with how that turned out. But it was, I learned that sound designing in Audacity was tough, because it’s– there’s probably ways if you’re smart, to do non destructive editing, but I don’t know if that’s true. Either way, it’s not very intuitively so. 

Cass McPhee  10:47  

So I realized as soon as I had done that, and then I did a few of the bonus episodes for All Your Base. And I realized, okay, if I want to do this, this is fun, I enjoy kind of playing with sounds and effects and trying to make everything kind of, you know, feel like it’s all in the same space. But I really need a way to be able to move stuff around more easily. So I -that’s when I made the switch from Audacity to Reaper. Because Reaper is , it’s free to use for quite a long time, it’s at least 30 days, you can just use the whole thing for free. And then after that, it just politely asks you to pay for it every time, but it doesn’t like restrict your ability to use it. 

D.J. Sylvis  12:32  

[laughs] Yeah. 

Tina Case  12:32  


Cass McPhee  12:32  

So I was like, okay, you know what, I’m gonna keep using this and make sure that I can use it and that it’ll work. And then as soon as I know, yes,–

D.J. Sylvis  12:40  


Cass McPhee  12:40  

–this, like, I can use this then,  well, then I will buy the license, and I’m happy to buy the license. And so I -so that was my, kind of my, the carrot on the stick that got me to go over to Reaper. Oh, and it’s so much better. Oh, it’s so easy to move stuff around. And, you know, if you decide later on that you want to scooch one piece of dialogue, it’s so much easier.

Cass McPhee  13:05  

 So yeah, mostly it was me just kind of deciding that I had a good enough ear for what sounded good that I could kind of make it up as I went along and essentially look up YouTube tutorials. Whenever I was like, Okay, I want to do this thing, surely there’s a way to do something like this. And then at least being able to figure out how to find the right search term to get, you know, the feature that I wanted. And there were some things I didn’t realize early on, that would have been so much easier, like, my big test for myself was the prologue–prologue two of Season Four, which had a scene of everybody in the rocket. And it had a lot of effects that I needed to source and a lot of effects that I needed to create. And I figured if I can do that, it turned out honestly, that was the most difficult piece of sound design in the entire series, probably. But I was able to do it in a way that I didn’t hate the results. And I think it worked fairly well. And so I was like, okay, I can do this. But yeah, as far as for how to build a library of effects, what I did is I went to freesound and I turned on Creative Commons zero, 

D.J. Sylvis  14:27  


Cass McPhee  14:27  

-so that it would only look for stuff that that I didn’t have to do attribution for because that was just too messy and I didn’t want to worry about it.

D.J. Sylvis  14:35  

Same. [laughs]

Cass McPhee  14:35  

 And then I would just search for stuff and now I have a huge library of sounds that I will never use again because of course, you know a lot of them are ones that you reuse, like the [unclear] I’ve got the chimes, I’ve got these are things that we’ve been you know–

D.J. Sylvis  14:49  

The door, yeah.

Cass McPhee  14:49  

–I’ve had to keep using, the door opening and closing the knock that is used. 

D.J. Sylvis  14:54  


Cass McPhee  14:55  

But -But I think yeah, I had to create sounds for you know, what’s Weebles voice gonna sound like-

Tina Case  15:00  


Cass McPhee  15:00  

-and what’s the track gonna sound like that he’s traveling on and and you know playing around with like what’s what’s Wilder’s arm sound like- when Wilder’s arm was a little messed up for a little bit after she fell in the hole. I brought in just a little hint of kind of what she had sounded like in Season Two just to sort of like, Oh, she’s she’s having some trouble.

All  15:11  


Cass McPhee  15:12  

Oh, we should. Yeah, let’s not talk about the process I went through sound designing Seaon Two.

Tina Case  15:30  

[laughs] Her poor arm.

Cass McPhee  15:30  

 I’m like–  I can’t even Yeah, yeah, no, do– And I honestly, all your backgrounds that you created were a godsend to me because I use them through-, oh, here’s a fun thing about sound design, I, the different Bases have a different pitch of their hum. And I think it’s consistent. You can check and if it’s wrong, sorry, but I’m pretty sure Gamma was consistently one pitch. Epsilon was a slightly different pitch, I think I’d made it quite low for when they were on Eta, that one or two times-

D.J. Sylvis  15:59  

That’s hilarious.

Cass McPhee  15:59  

– it just sounded a little more menacing. But yeah, I wanted them to be like, it’s the same file. It’s literally just pitch shifted a little bit so that it’s like, their air conditioning is tuned slightly differently because they’re on a different base. And would anybody have ever known? Probably not, but I liked to– I liked that. I did that. And I’m happy.

Tina Case  16:20  

You notice that stuff [unclear]

D.J. Sylvis  16:21  

Allright, I have to let a cat out –If you can ask yourselves the next few questions, I’ll be back in a second. 

Cass McPhee  16:25  

Okay, we can do that. 

Tina Case  16:26  

 Oh okay. All right. Cass, kind of in line with the other one. What was it like taking over the sound design for this season? Do you have a favorite sound effect that you used? And what was the most difficult part?

Cass McPhee  16:39  

I covered some of that? What’s your favorite sound effect? I don’t know. I’ve got some, some staples that I- that I used. So we– finding good footsteps is hard and I used a lot of the same footsteps and I’m sorry if that got grating, but you know, you want things to sound somewhat consistent.

Tina Case  16:59  

Oh, footsteps. Such a hot button topic. 

Cass McPhee  17:01  

And my my excuse is, here’s here’s I’ll give you my mental image. Everybody on Moonbase Theta except for I think Michell, I usually gave him clunkier sounding shoes, especially if, if he was just coming in like out of the the airlock or something and anybody was coming out of an airlock would have, you know, more kind of heavy boots sounds because you’re clearly wearing a spacesuit. But for everybody who was working in, in Moonbase Theta and you know, was- had a position where you had like, you know, we were you were working on one of the Moonbases you had  standard issue boots, and in my mind, they look like the boots from from the original Star Trek from the 60s. And so, everybody is wearing those boots. That’s my excuse. You’re welcome.

Cass McPhee  17:01  

Beautiful. I love it. 

Cass McPhee  17:03  

Yep. So –

Tina Case  17:36  


D.J. Sylvis  17:43  

Footsteps are one of the hardest thing is like I mean, I did the sound design this on for a bunch of the Monkey Tales stuff. And for Season Two of Moonbase, of course. And yeah, footsteps are always like one of the like, hardest things to get just right.

Tina Case  18:05  

Yeah, like to a point– isn’t there like some holy grail piece of either equipment or software that everybody’s like, “Guys, I found it. It costs a bunch of money, but buy it because oh my god, I hate footsteps.” Like I’ve never done sound –okay, I’ve put sound effects in spaces for that Patreon thing, but we don’t talk about that.

D.J. Sylvis  18:23  


Tina Case  18:23  

 But like seeing everybody go nuts about footsteps and what you use and what you use and what he uses and what they use and what she uses.

Cass McPhee  18:30  


Tina Case  18:31  

And it’s just so interesting to watch from someone who’s never had to mess with it. And then like the people that are like, “Man, I listened to this show,” not ours, but like just a generic this show “and the footsteps were crazy. But they were in space. Why would they even have footsteps? I know that didn’t have gravity” and it was just like shhhh, enjoy the footsteps.

Cass McPhee  18:51  

Yeah, I think the favorite thing that I did and it was quite a quite a while ago, there’s there’s two one very subtle thing and one bigger thing. So I talked about the the spaceship I had to do sound design the rocket having problems and sounded convincingly like, you know, “oh, no, we’re in space and having a problem that is bad ” and the alarms going off and air hiss and stuff. And all those were written into the script. Like I didn’t, there’s not like I came up with all that sound design that was all like given to me and I just had to figure out how to make it go.

Cass McPhee  19:23  

 But the for certain like, stuff is breaking apart sounds I was like– I had to this is how you have to think when you’re doing sound design. You can’t think I need to look up that sound. Sometimes you can sometimes you can’t. Sometimes you have to think to yourself, what sounds like what I want this to sound like? For instance sometimes like Wilder had keys we wanted keys jangling I couldn’t find good jangling keys, but sometimes I would find like – um this is somebody’s got to –or sorry Wilder has a tool belt –can’t find tools. I can find keys and kind of play around with it,  and then that sounds right. 

Cass McPhee  19:57  

So for the the ship breaking apart sounds, I was like, I want something that sounds like it’s cracking apart. What about trees falling? So that’s what I wanted to looking up is like, so a lot of those sound effects are manipulated trees, you know, kind of cracking and falling that I’ve like slowed down and added some sort of EQ to, to kind of take away a lot of the, you know, the sounds of like branches and things, but just try to get that kind of cer-crack. So yeah, that was that was part of my- the fun stuff. The more subtle one, we had one line, I can’t remember where it was, we need a– Roger was in the stasis pod room. We needed a sigh from Roger so that we could hear that he was there. And Leeman had not recorded a sigh because it was just, you know, it was lost in the – i think it was just– that sometimes happens. An actor just doesn’t see that they needed to make a sound. That’s fine. 

D.J. Sylvis  20:51  


Cass McPhee  20:51  

But we needed that sigh. And I was like, I just don’t think– I don’t think a random sigh is going to work. I think it needs to be him. I think his- I think it’s going to have a little bit too much vocalization to kind of get away with a generic sigh. Can I manufacture a sigh?

Cass McPhee  21:06  

And so I listened and found a couple of places where he was breathing in a way it was like, you know, that sounds like the start of a sigh. And then later on, that sounds like the end of a sigh and I managed to put them together 

Tina & Deej  21:18  

[laughs in Cass genius]

Cass McPhee  21:19  

-into a sigh from Roger. I was like “I create!  i-  I’m powerful! Ahahah” 

Tina Case  21:28  

So I have to go listen to that now, because I don’t I think I remember seeing y’all talk about that. But I don’t– I don’t remember clocking it. So I have to go find it.

Cass McPhee  21:35  

Yeah, I’m not even sure which episode was in, but I’ll have to have to look it up, anyway. So yeah, that’s that’s enough from me. But that’s, the most difficult part was, was just trying to make something out of nothing. And then it’s just trying to– it’s that lateral thought process.

D.J. Sylvis  21:50  

Yeah, tying back to the “wish we had more time” part of the conversation, there were a bunch of places, especially in the second half of the season, where we were cutting things close enough that we would find out that an actor hadn’t recorded something little like that, like a sigh or a laugh or something. And I would be scrambling back through scripts, trying to find a previous scene where I’d made them to Yes, in in previous episodes.  

Cass McPhee  22:13  

I’m trying to like, crowd source, its like okay, I remember there was a scene where somebody was doing this and like, I can’t remember what episode it is. And then like, just hoping that if I trigger your memory, you might be able to like, ah, yeah, anyway, but we –if you didn’t notice any, then we got there.

Tina Case  22:30  

I mean, we totally, it was all perfect. Everybody was perfect. The actors were perfect. the production  was perfect. Nothing was wrong. Ever. No panic. Yeah.

Cass McPhee  22:36  

[overlapping] Yeah. Mhm. No panic happening ever.

D.J. Sylvis  22:39  

Everything’s fine here. Um, next question is from Beka, and this is specifically for Tina. Tina, what was it like being one of the producers of the season? Was there anything that you didn’t expect about the role?

Tina Case  22:51  

I want to piggyback off the last question, just go, There was panic, lots of panic? 

Cass McPhee  22:51  

Uh-huh. [laughs]

Tina Case  22:54  

No, um, it was. I want to say that oh, my God, it was so–  da da da da. Like, I’m equal parts: It was not at all what I expected– And:  “I’ve been doing this forever. What are you talking about?” Like, every time it comes up? I’m like, “Yeah, seasons three and four”. And everybody’s like, “season four”. Like, “yeah, season three and f–”  “No. Season Four.” “Really?” And [I] go look, check the date,. And like, yeah, season four. What am I thinking? 

Cass McPhee  23:18  

This season has been going on for a while. 

Tina Case  23:19  

It kind of all? It all blends together? Yeah. And I– as far as, I don’t know. I don’t –didn’t really have expectations other than like what we talked about, cause- because what had happened was, I didn’t actually intend, I was just like, I’m going to ask about that. Because it got posted, like in the discord. And I think it was in like the production channel, maybe? And it was like, Hey, we’re thinking of bringing on a co-producer just to kind of like help out and do little things and da da da– I’m like, I could do that. I’m already working on the show. Maybe, maybe I can –maybe I can do that. And so I like I sent a message. And I thought it would be funny, I pulled it back up like, Deej, your reply about what it would entail. Yeah. And so I was just curious to kind of like volley this to you guys to see if it’s– if it’s what we ended up doing.

Deej & Cass  24:04  


Tina Case  24:04  

I was, you know, asked for information. And “It would probably be mostly helping to sort out scheduling, whether it’s doodle polls or something else. And then going into rehearsals, recording, following up with people to make sure that they show up and turn in lines, and it’s going to be a big cash this time around.”

Tina Case  24:21  

 Yes, it was, Oh, my goodness. “And checking in with everyone will be a lot.”  And yes, it was my apologies to everybody who had emails from me all the time, I felt, I felt terrible. I’m like, I have to email them again. I know, they know. And they know that I know that they know that I know. But I have to email them again. And it was just like so like typing and going. I’m sorry, I know I know. Let’s see what was there something else da da da , ust more details about, like the scheduling and stuff like that, and that was about it. That’s what got — and maybe like helping with signing contracts and organizing those and do we think that’s about how it went or did it kind of um, Like, what’s your take on that?

D.J. Sylvis  25:01  

I think that was the biggest part. And I think that was the biggest part that we saw, like needing help with when Cass, and I talked about it. Because like, I did most of that stuff in Season Three, and then sort of like, gave the harder st– gave hard stuff or stuff that I needed help with to Cass.  And Cass was doing more like social media stuff. But I was like, I can’t schedule things anymore.

D.J. Sylvis  25:02  

[laughs] Yeah.

D.J. Sylvis  25:03  

No, I think it was just that I saw, like, I saw the writing –because this was before we knew that Cass was gonna be doing sound design too. But I saw the writing becoming so overwhelming for the final season that I just couldn’t, like, handle all of that stuff, too. And so I think that was the biggest idea from the beginning was that you would like help with a bunch of that stuff. And you definitely did. 

Tina Case  25:50  

I feel like I expected to be, and this is gonna sound awful, expected to be more of the equivalent of “I’m going on a coffee run, do y’all need anything?” And it ended up being not that like, in a good way. But the fact that there would be so much …not free reign but “Oh, yeah, you’re, you’re a producer too. You can say that.”  Like there was stuff would come up in the Fable and Folly, like discord? And I’m like, “Can I answer that? I don’t think I can answer that.”

Cass McPhee  26:14  

 Yeah, you can.

Cass McPhee  26:16  

Yeah!!  Both of you guys. You’re just like, “Uh… yeah…. 

Cass McPhee  26:19  

In fact, please do.

Tina Case  26:21  

…do the thing. It’s fine.” And the, I guess, the hard part about it was talking to people that in- I don’t even want to say in my head because they aren’t– like, these are people that are crazy talented, they’ve done so much work, whether it’s in the podcast space, or other spaces, and like, not talking down to them, but like talking as like, I’m a person in this authority. And I need you to do this by this date. I was like, this is not gonna go well. This is like, how is this gonna– And everybody was really nice and really sweet and all of that stuff. And nobody was just like– I expected to be like, I’m sorry, who are you? And why are you talking to me like this? Which people would never do? Because I mean, they’re even if they’re not super, super nice, they’re very professional. And, you know, nobody’s gonna be like, shoot themselves in the foot or, you know, do you-know-what, where they eat? But like, just I did not. I didn’t know how to approach that. And like running rehearsals and things like that. I’m like, I immediately have regrets. But I –got used to it. And when I first started, I was like, “Um.. okay, I guess you can start and we’re just gonna read through it, and it’s fine.” And then like, by the end, I’m not gonna say like, I was an expert at running rehearsals, but I definitely felt competent and coherent, was just like, “Yeah, we’re gonna do this, and we’re gonna do that. And, yeah, I was just like, “I’m gonna be doing things and not talking to people.” And that is not how it panned out.

D.J. Sylvis  26:21  

Yeah, that was something that I split, I wound up having splitting off more this season to both of you than I had really expected to, which was sort of like directing some of your own scenes. And I’m just interested in like, whether or not you hated me for that too.

Tina Case  28:02  

[laughs] Nah. 

Cass McPhee  28:04  

Yeah, I didn’t do as much of that. 

D.J. Sylvis  28:06  

You both sort of became assistant directors, as well as producer — co producers. Um, the next couple of questions are specifically like voice actor questions. And so I’m going to stay out of them and throw them to the both of you. Because I think that both of you are more actors than I am these days. So the first one is from Christie. And it says, Is this type of work challenging because you’re recording your lines alone and don’t have the other actors in front of you to play off of?

Cass McPhee  28:34  


Tina Case  28:35  


Cass McPhee  28:36  

That’s half the fun of acting is playing with somebody else. And that’s why the rehearsal process was so great to like, especially me, I am the luckiest man in the world, I got to play against friggin Cat Blackard-

D.J. Sylvis  28:49  

I was gonna say – 

Tina Case  28:49  


Cass McPhee  28:50  

–and that was just like, oh my god talk about bringing 612% of the energy to everything and like, I could not s– I couldn’t step to that. I was really glad that it was really more about Maria. So we kind of got through most of Michell’s stuff on his own. So then all the stuff with Maria was kind of figuring her I was like, Oh, good. It’s all right. If I’m not like, you know, kind of the standout actor in this scene, cause I can’t step to this.

Tina Case  29:17  

I like, Man, I– why I got into voice acting is because I didn’t have to act with people. I could do it by myself. 

Deej & Cass  29:25  


Tina Case  29:25  

No one would hear me mess up. And yeah, like, oh my god, I keep going back to —

D.J. Sylvis  29:30  

You still spend a lot of this season?– [laughs] 

Tina Case  29:32  

Yeah! I was. I was thankful for that. But like the with ba ba ba words are really hard. I get paid to do this for a living. 

Tina Case  29:41  


Tina Case  29:42  

Not for a living. That’s really funny. That’s a joke. Um, when the Michell finds Wilder, like we actually recorded some of that together, and I’m so glad we did because it would have been not the same at all. Like very– How much did you use of the like, the other takes versus what we did together?

Cass McPhee  29:59  

I think I used I think for yours, I think I used more stuff of the one that we recorded together. I think for mine, I used, like, I use bits and pieces of both. I’m not sure if it was more one of the other.

Tina Case  30:12  

Yeah, it’s just it’s so funny because like, I’m in the same camp of you guys now.  I’m like, oh my god, it’s so much better when you have people to play off of that. I’m just, I would have died. Had you asked me like, during season two like to, practice and record with people? And um, No! No, like, I don’t do that Yeah, my first, sitting down with Deej to talk about the character and they’re like, “Okay, so let’s hear it. ” And I’m like, “I’m sorry, what?”

Cass McPhee  30:36  

[laughs] No, I’m sorry. No, here’s – [unclear]

Tina Case  30:39  

Yeah and [unclear] read the thing. And I, I just, I just, I wish I had recorded it. Because it was so bad. I just sat there. I just sat there for the longest time before I actually read the thing. And oh, it was not great. Like, I bet they’ve got some buyer’s remorse right now. But that’s okay. It worked out. 

All  30:56  


D.J. Sylvis  30:57  

It did work out. Um, and it’s interesting, sort of spinning that off a little bit. To you, Cass: Because for most of your stuff, especially later in the season, you were technically playing off other because you recording while you did the mix. 

Cass McPhee  31:13  

Yeah, yeah. There was definitely– it was kind of because I just had so much sound design to do. And there would be like, if there’s an episode that Michell isn’t in, and that episode is coming out, like way before the one we’re where I needed to record my lines. I’m like, “Well, I know where I live, I can come after myself. So I’m just going to work. Work on what needs to come up first.” And so, l – you know, that’s how my brain was just like, No, you have to do this. So then I would be sitting there with literally everybody’s lines pulled into the episode. And I’m like, All right, I’m literally just starting up a Reaper track and recording into this. And so I’ve listened to, you know, the other, the other actors kind of playing their parts in the scene. And I’m like, alright, well, I’ve got that. I know how, where they’re coming from here. Here’s me. Yeah.

D.J. Sylvis  32:00  

Yeah, and I will sort of add to that too that, I would have loved to record with everyone. But it was just scheduling was so hard. I mean, scheduling is hard at the best of times, like I mean, scheduling was hard when I did theater. It’s not– It’s never easy. But with the number of actors that we had, and the number of actors we had, and some of the scenes like you’d have scenes where sometimes there were like 13 or 14 separate people, and then it was impossible to get them all into one session. So we just never even tried. The other sort of acting related question we had is last one on our list from Peter x y Zed. I’m gonna keep hitting that.

Cass McPhee  32:40  

 Thanks Peter! 

D.J. Sylvis  32:40  

 — asking, What are your red flags or green lights for considering roles in audio fiction?

Tina Case  32:49  

Oh, geez. 

Cass McPhee  32:50  

Yeah, let’s

Tina Case  32:51  


Cass McPhee  32:51  

That’s tough,

D.J. Sylvis  32:52  

What makes you even want to audition for something? I guess? Because I mean, I think I think all of us are still in the position where if someone offers us a role . we’re gonna take it.[laughs]

Tina Case  33:00  


Cass McPhee  33:00  


Tina Case  33:01  


D.J. Sylvis  33:02  

But.. Like, what makes you decide whether or not you’re even going to audition for a role?

Tina Case  33:08  

If it’s somebody I know, or a story that I know, like, yeah, for sure. But oh, God, I don’t know. I feel like– hmm.. some of the like, some of the stuff that I’ve seen has had, like, here and there, you’ll see something that has no audition lines, and they’re like, Just say what you think would fit? 

Cass McPhee  33:29  

[distraught] aah! 

Tina Case  33:29  

Or it’s like, well, this is an in–. Okay. I’m gonna preface this by saying I have no issues doing unpaid roles, especially if it’s audio drama, and it’s –

D.J. Sylvis  33:37  

Oh, yeah, for sure. 

Tina Case  33:38  

We all pass the same $20 around. 

D.J. Sylvis  33:39  


Tina Case  33:40  

But if it’s like this is an unpaid role. But if they word it a certain way, like, Well, I’m just da da da , so I can’t pay any of you guys, but it’s gonna–. But they make it sound like it’s going to be this huge project. And they have all this criteria. Like you have to have fancy gear, youknow, just all of this stuff. And I’m like, You just said you don’t have the money to pay everybody. But yet, you’re saying that you want somebody to have 1000s of dollars and qualifications like, or if it’s you can tell sometimes by looking at the sides that it’s going to be like, not inclusive, or like there’s been some that I’ve read and I’m like, I understand that you have to write villains and bad people a certain way, but just kind of … ick? 

Cass McPhee  34:21  


D.J. Sylvis  34:21  


Tina Case  34:22  

 Yeah, I’m trying to I don’t know that I have that many more like neg– Green lights are usually it’s like people that I know or that looks fun, or I’ve never played a part like that. Or, like when you read something, you’re like, Oh my God, I don’t have to actually force it. It flows really nicely this sounds like  something that I would actually say or, like, you look at whoever’s making it and go, I want to work with them. Can I work with them? I’m gonna try.

D.J. Sylvis  34:42  

That’s fair. 

Cass McPhee  34:43  

Yeah, I think yeah, red flags for me are you know, if I don’t get the sense– if you don’t have a line in there saying, We were happy to have people from all all different gender identities and you know, especially as a trans dude whose voice is not, is not, has not been lowered by testosterone, it is a higher voice. I like how it sounds and that’s how I sound and people like me exist. And if if you don’t have a line about, about people, you know, if you don’t create a space for me by kind of just putting a little a little something in your, in your kind of you know how to audition for this page, then I’m not going to bother auditioning for you. I’m not going to give you my time or energy. 

Tina Case  35:34  

Ooh yeah.

D.J. Sylvis  35:34  

Yeah, that’s fair.

Cass McPhee  35:35  

 But as for green lights, yeah, it’s just just cool interesting meaty stuff that is given to somebody who isn’t just a cool, you know, cool white dude voice.  We all love the –we all love the cool white dude voice but also, can we have maybe different conceptions of what an evil character or what a funny character or what you know– what those stereotypes that we all love to play in. But like that, but let me be it please. Thank you. 

Tina Case  36:09  


D.J. Sylvis  36:11  

Obviously, your green lights are if I wrote it, so .

Tina Case  36:14  

Ha! Man, I forgot that one.

Cass McPhee  36:15  

if you’re like, Cass, record this, and I want you to do it in your Elio voice, and I’ll be like, alright.

Tina & Deej  36:20  


D.J. Sylvis  36:23  

Our next question is our last AMC question of the– of the list, because we’re getting towards the end here.

Cass McPhee  36:28  

Thanks, AMC!

D.J. Sylvis  36:29  

 And– yes, and it says, What is your favorite poem of the entire series and why? And I’m throwing this to everyone. So

Tina Case  36:37  

I’m gonna go first, because I’m easy. You can’t ask me my favorite of anything, because I genuinely am bad at judging that.  Like, I think they’re all very pretty, and I’m not well versed in poetry. So I’ve just been like, Oh my God, that’s nice. Oh my gosh, that’s so nice. What– that’s so cool. That sounds so pretty. And that’s as far as it goes.

Tina Case  36:39  

Cass, did you have anything for us?

Cass McPhee  36:58  

There’s so many good ones. I really love the one from Episode 12. The– the one by Faiz – Prison Evening.

D.J. Sylvis  37:08  

Oh, yeah.

Cass McPhee  37:09  

Oh man, that’s really good. There’s something about you know, the, the thoughts that keep consoling you like you know, tyrants may command that lamps be smashed. But you know, that they cannot, like they cannot turn to snuff out the moon. Like, I’m like, this is such a. It’s such a simple, but kind of poignant thought, like, you know, it was just exactly perfect for this show. So I just loved that one. And I loved how, how Leeman did it, how he really kind of- as you really wanted it to be– made that into a moment of kind of Roger buying his own hype, where he had spent a little bit of time earlier in the episode trying to kind of explain why the revolution was happening to the AC’s. And then he’s sort of like, by the end of that poem, he’s kind of bought in, and I thought that was really cool. And that great use of that poem and what a great friggin poem.

D.J. Sylvis  38:07  

No, that’s fair. And I tried, I spent a lot of time. Like, I mean, in earlier seasons, I would be like, Oh, let me look for an interesting poem that mentions the moon or something like that. But I spent a lot of time reading poetry and looking for appropriate pieces that were specifically poetry of revolution, this season. We had that, we have somewhere there’s a Darwish poem in there that I really liked, too. So those were really important. My if I had to go with my favorite poem of the series, it’s sort of a tie. I’m gonna first go with the De Moraes poem that I said that Roger and Alex used at their wedding.   Which, and we mentioned, being read a couple of times– the sonnet on fidelity, just because like hearing them read it together, at the end of the show, just like break–just like I just melted. Like I wrote the damn, I didn’t write the poem, but I wrote the scene. So there’s that. And there’s the– And then there’s the fact that like, my favorite part of the show, and possibly my favorite performance, is still Season one, Episode 20. And it’s just Roger just like, just completely losing it by himself and just going through lines from Rhyme of the Ancient Mariner.     And that has been like just one of my favorite pieces of poetry my entire life. And just getting to use it and how appropriate it felt to where he was and what he was going through, and just how well Leeman read the damn thing. Like, I just can’t, I can’t not love that scene as well. 

D.J. Sylvis  39:48  

[Let] me see, we’re getting down to the last– we have the like three questions left. We have a couple of Beka questions in a row here. The first one is any head cannons that you have about the characters that weren’t relevant to the show.

Tina Case  40:00  

Hmm. I feel like I should but they all just went out the window.

D.J. Sylvis  40:04  

I have a few things written down, but you two– yeah, I want you two to have something first.

Tina Case  40:08  

I have some for the next one. But trying to think of I have any about characters that were not–

D.J. Sylvis  40:15  

Yeah, just anything that you sort of assumed that wasn’t like, 

Tina Case  40:18  


D.J. Sylvis  40:18  

Technically from the show that you just sort of like thought?

Tina Case  40:23  

While I think- do you have any, Cass?

Cass McPhee  40:24  

Oh goodness, I’ve been trying to think about this one. It’s funny because like, I have a similar approach to, to performing a character as you do to writing them, Deej,, where it’s, it’s sort of like, I’m gonna play with all of the available, kind of, you know, feelings that I know are there, but I don’t, I don’t need to kind of, you know, write a huge, huge story. Like, I don’t, I don’t need to sit around and write my character’s backstory, like, I’m just going to pull those feelings from my feelings. And so I really don’t have have any like big head canons, like about Michell, for instance, I’m trying to think if there’s any other charaters..

D.J. Sylvis  41:04  

Yeah, we’re going to get to Michell, that’s the next question.

Tina Case  41:05  


Cass McPhee  41:06  

Yeah. Uh..

Tina Case  41:07  

Or? [generic confused thing? idk what I was saying]

Cass McPhee  41:09  

Yeah, like any of the characters that… yeah, I don’t know, I, [stammer]  it all just kind of feels like it’s in there. I’ll try to think about it while  somebody else talks. 

Tina Case  41:18  


D.J. Sylvis  41:19  

Allright, well, I’ll go through my few things. I have like three or four listed here. That — and I tried not to pick things that are actually in there because there’s a bunch of stuff that I like referenced once or twice, or like really, like vaguely talked about the fact — but it’s still actually in there. But one of the big things to me is that– I think on top of all the other ways that Roger was sort of messed up with PTSD and stuff like that, that I think that he’s fairly agoraphobic. 

Cass McPhee  41:48  


D.J. Sylvis  41:49  

And some of that came from the just the little reference in the Cas and Pol like mini episode where they’re calling him inside Dad?

Tina Case  41:58  

[laughs, overlapping.]

Cass McPhee  41:59  


D.J. Sylvis  42:00  

 I just liked this idea that Roger just doesn’t like going outside at all. 

Cass McPhee  42:05  


D.J. Sylvis  42:05  

And like in-and there’s mentioned like a few times in the show too about him not wanting to go up to the surface. And so I just kind of like the- this idea that Roger is bothered by big open spaces. 

Tina Case  42:17  

[aside] So he goes to space. THAT makes sense…

D.J. Sylvis  42:19  

So that was one um, this doesn’t enter into anything anywhere. But I had the idea in my head that Medic Pacey is like, a novelist on the side. And just like sits there in, in medbay or whatever, whatever I called it, it’s not medbay, but sits there in the infirmary and just like, writes all the time, in zir spare time. Um, I like the idea that I mention once and never really talk about it much again that Nessa is a true crime buff. And so I liked the idea that if I had had more time to play with her– boy, oh, boy, I wonder why I didn’t have more time to explore her character. 

Cass McPhee  43:03  

Somebody did something to her I don’t know.

D.J. Sylvis  43:04  

[laughs] But I like the idea that she was like sort of an amateur sleuth to that she was like one of those people like like there are people now online, who like get on like true crime forums and stuff. And like track down like details and documents or like do research for like years to try to like catch serial killers and stuff like that. And I like to think that Nessa sort of did that in her spare time.

D.J. Sylvis  43:11  

I like that.

Tina Case  43:23  

Mhm, mhm. 

D.J. Sylvis  43:29  

And the last one that I wrote down is –and this isn’t something I’ve decided about, it’s just something I always had a question about is – WEEBLE –  whether or not WEEBLE is like a completely automatic robot, like Reception Bot was, or whether or not WEEBLE has a little bit of AI in them. Because we sort of like gave them more personality. And so I kind of like thinking about that too, like whether or not  WEEBLE actually like had any idea was going on

Cass McPhee  43:57  

I like the idea –okay, well this will be my- my answer for this and the next question then. I like the idea that WEEBLE does have like some nascent AI -ness and therefore would realize that that they were created to, to like put people out of work, but would join the workers in their union. 

Tina Case  44:16  

Aw, Yes!  I love that so much. 

D.J. Sylvis  44:20  

That is fair. 

Tina Case  44:21  

Yeah. I don’t know that I have any generic, like headcanons about everyone-  I feel like, I need to re listen to the show now that we’re not working on it and see what pops up.  Just because like- I did, I listened to all of Season One. I -yeah, I had my misguided Moon theory. I thought I knew what was going on. And I was very, very, very, very, very wrong. 

Cass McPhee  44:41  

[laughs] Mhm.

Tina Case  44:42  

But, uh, yeah, I need to just listen to it not stressed, I think .

Deej & Cass  44:45  


Tina Case  44:45  

and not trying to do all the things and just listen just to listen not to critique or hear how something turned out or yada yada yada. So you know, in a couple months hit me up and I’ll have had cannons and it’s Beka, I can message her 100% and she’ll be happy about it, I’m sure. Be like, yeah, lets talk about it.

D.J. Sylvis  45:02  

I will before we move on to the next question, which is sort of tied to this, but I will mention someone else’s head cannon that was kind of important to the show, which was Jen Ponton’s. When we created all the baby AC’s. 

Tina Case  45:14  

[cackles in loving it]

D.J. Sylvis  45:17  

Jen decided that the baby AC’s’s had learned their like voices and sort of slash personalities by like examining communications from people on Base Theta. So there is a specific baby AC that sounds very much like Wilder. [laughs]

Tina Case  45:34  

Of course!

D.J. Sylvis  45:34  

Who spent a lot of time reviewing Wilder, 

Cass McPhee  45:38  

I love–

D.J. Sylvis  45:38  

And one  is sort of, and one is sort of based more on Ashwini.  And I think one is more sort of based on Roger. But yeah, that was sort of like how she gave them individual personalities while still voicing them all.

Cass McPhee  45:52  

Yeah, it’s –she did the heavy lifting on the the AC’s, and all I had to do was just find what sounded kind of good for just a slightly — I wanted something that sounded like a downgrade from- from Tumnus 1.0. 

D.J. Sylvis  46:08  


Cass McPhee  46:08  

Because that’s kind of where they are in their development. And so I found like, a way of doing just a little bit of a pitch shift. And I did a slightly different, like a slight shift pitch up for, I think it was –who was the first one, Epsie was the first one?

D.J. Sylvis  46:24  

 I believe so. Yeah.

Cass McPhee  46:25  

 And then for whichever one was the Ashwini voice, it was a slight pitch shift down and then for… was it Batie? 

D.J. Sylvis  46:38  

Batie is the one that was-  that was Wilder. Yeah. 

Cass McPhee  46:41  

For that one, I included I think a little bit of an up and down so that it sounds [weird voice]  just a little bit more weird. 

Tina & Deej  46:48  


Cass McPhee  46:48  

Which I thought worked fairly well. I think I used that same one for, um. For Gammie, uh. In the end, because- because it was such a different voice. Like because it was a literal different actor. Oh, [unclear]

D.J. Sylvis  47:01  

Yeah. Because  yeah, because Gammie is actually a different voice actor.

Cass McPhee  47:04  

Yeah, exactly. So I can get away with the same effect. And have it. But I thought yeah, that’s –and it was, it was fun to like, finally apply that effect to Gammie And be like, yeah, there she is. [laughs]

D.J. Sylvis  47:15  

Although Robin and I spent like a decent amount of time looking at that, too. When when they were building the voice for Gammie.

Cass McPhee  47:22  


D.J. Sylvis  47:23  

 And making making that switch so that you immediately know, like that something has changed from the Reception Bot voice.

Cass McPhee  47:28  

 Yeah, even if I hadn’t done anything, —

D.J. Sylvis  47:30  


Cass McPhee  47:31  

It would have– you would have still read, but just to add that little bit in was just like yeah, oh, we’re, we’re switching gears now– have fun.

Tina & Deej  47:37  


D.J. Sylvis  47:40  

And the question that sort of following up on this from Beka, the last thing we have from Beka, Cass and Tina, similarly, any headcanons about your characters that weren’t in the script. 

Cass McPhee  47:49  

Yeah. WEEBLE is my character. And that was my answer.

Tina Case  47:54  

Thank you, Beka, for all the questions. I don’t have many- I have two. And one of them. I, I’m a little. [hesitant to say, because of how she approaches things] We’ve established that. Like, if you listen to the show, Wilder is not the best with things that she can’t perceive. Like, there’s some friction and she doesn’t quite understand Jaxon and you know, their behaviors and stuff like that. But I swear,  like that girl undiagnosed autism. [I say this as someone whose autistic, and she reminds me of my Dad, who I’d almost bet was as well, it just shows differently than usual?] My liners, I can’t talk, [invisalign]  I think she’s undiagnosed, like she’s got special interests, and — I’m like, she’s some sort of neurodivergent but I can’t quite pinpoint exactly what I think. But there’s she’s got so many like, things all over the place. I don’t feel like she would understand it very well and probably is not ever going to go get it checked out. Because she’s just like,”Eh, I’m just weird. That’s how I am.”   

Tina Case  48:43  

And I think that she–  early on, I don’t know why I latched on to this. I don’t think Wilder — I don’t think that she’s religious. But I think at some point, because everybody talks about like Greek mythology and things like that, and you learn about all the things. I think she likes Hephaestus  because she’s like, the tinkering with stuff and fixing things and yada yada yada. So while I don’t think that she actually believes in that, or really any religion, she definitely like has a thing for Hephaestus and how people like will swear things in jokingly like, oh my god, really. I think she might jokingly like, set a cup of coffee out or something and be like, if you helped me fix this, I swear blah blah  something ridiculous. And so very, very casually, like I don’t believe in it. But also like maybe just don’t drink that cup of coffee. I left over there because everything is working today. And if you drink it, then it might piss him off and my thing might break, so we’re not going to do that.

D.J. Sylvis  49:34  


Cass McPhee  49:34  


Cass McPhee  49:34  

Yeah, for Michell, I guess that there was a– there was an idea I had before I kind of knew exactly what his like, you know, full life had looked like up until now. That something that might have interested him would be like learning how to cook. Maybe even working in kitchens. So I don’t know, my head canon- , I don’t think he wants to stay on the moon forever. And I can see a world in which he and Maria are  finally like, alright, you know what we’re done with this with this- ball, 

D.J. Sylvis  50:03  

Oh, yeah, 

Cass McPhee  50:04  

-and we’re going to Earth. And I think- I think he would like to learn to work with like , cause you knowm he loves olfactory and loves food. But you don’t get a lot of interesting food on the moon while it’s probably better now honestly than was. It was all Ensoyment all the way down. 

Tina Case  50:21  

 Yeah. Blech!

Cass McPhee  50:21  

So I’ll –

D.J. Sylvis  50:22  

Well, see. And then Maria had worked in a bakery, so they could like sort of, you know, start something of their own down there.

Tina Case  50:27  


Cass McPhee  50:27  

Yeah, yeah. So that –that would be kind of kind of interesting you know, La L’Anglois, The L’Anglois  cafe? [laughs]

D.J. Sylvis  50:35  


Tina Case  50:35  


D.J. Sylvis  50:38  

Okay, we’ve got one last question. I saved this for the end, because it’s really sort of a like, sweet and interesting way to end the discussion.

Tina Case  50:46  

Ooo. If I have questions. Should I ask them first so we can end on– ,

D.J. Sylvis  50:49  

No, that’s okay. 

Tina Case  50:50  


D.J. Sylvis  50:50  

Because yours is,  yours is not on the approved list. So –

Tina Case  50:54  

Right, right, right. 

D.J. Sylvis  50:55  

We’re gonna lecture you before we do that, but.

Tina Case  50:56  


D.J. Sylvis  50:57  

But no, but no, Christy, you gave us a really nice question here. It says, We all love MTO for highlighting a queer leftist perspective. And I think Tina has mentioned sharing the podcast with a broader base of friends and family members. For those of you who have shared the podcast in that way. Did you encounter any pushback and/or did it stimulate political discussions? 

Tina Case  51:19  


D.J. Sylvis  51:19  

I just think it’s interesting. And you can sort of like expand that a little bit, too, if you want and just sort of be like, what reaction have you gotten from friends and family members about the show?

Cass McPhee  51:29  

From family members, mostly, they’re just like, Oh, you’re doing a thing. Like, the problem is with family, it’s hard to get them to actually, like, get- get into anything. And like, you know, they’ll try and been they’ll be supportive, but I don’t know if they like kind of really kind of get locked in on it. But I haven’t encountered anybody who I’ve told that it’s, you know, that it’s a very queer focused podcast, nobody has been like, how awful, how that sounds horrible.  Why would you — 

Cass McPhee  51:54  


Cass McPhee  51:55  

You know, so that’s alright. I find because of the type of friends that I tend to have, like, I- it would be hard for me to promote something that I that I didn’t really fully believe in. But I fully believe in this. And also, I fully believe that it’s, it’s something that that a lot of people who are like me would kind of really enjoy, so it’s easy for me to be like, Hey, do you , have- do you want, do you want a sci fi story that’s just like, just chock full of queers?? Well, listen, I got the podcast for you. I’m making finger gun type motions with my hands right now. You probably can hear  it in my voice.

D.J. Sylvis  52:27  


Tina Case  52:27  


Cass McPhee  52:27  

 But uh,  and I’ve gotten some good –no.  Because people I think appreciate that it’s like hey, you’re clearly not trying to sell me something, you’re just telling me this because because you can see that I’m also hungry for media that has people like me and they don’t, you know, so yeah.  I found it’s –I  get more people saying hey, I’m gonna check that out, that sounds really cool because- because of that,because it’s got the that representation that you were starting to see more but it’s just still not nearly where it needs to be

D.J. Sylvis  52:59  

Tina..? You were after all name checked in the question. 

Cass McPhee  53:03  


Tina Case  53:04  

I have actually shared– I was so afraid too at first, I didn’t think anybody was gonna like it. And there’s, you know, the running meme of like, your friends and family- they’re gonna be like, Oh, good job- but they’re not gonna listen to it. Strangers on the internet are gonna listen to it. But um, I have lucked out and there may be more that haven’t told me, because I know some people are like, well, I don’t want to tell you that I listen to your thing. Because then it’s gonna be– you make it, make you feel self conscious or whatever. But I’ve had a decent chunk of like, my really close like family friends or friends that are essentially family, not family friends, Y’all follow. 

D.J. Sylvis  53:34  

Yeah. Yeah. 

Tina Case  53:34  

-listen to it. And most of them are finished with the show. Like they caught up with it. And I, a couple of them like, I told them just because I knew it would be like a selling point. But they’ve loved the show. They talked about it. One of my friends chose to tell me that she listened to it because I was being a smart aleck. And she just looks at me. She goes, “Okay, Wilder. “

D.J. Sylvis  53:55  


Tina Case  53:55  

OH! Okay, cool. But like as far as –the only thing that I’ve really done is, I have had some people that I don’t know. And then I just leave off the queer leftist aspects of it, because I feel like it is such like a character piece that if even if that’s not really their thing, if it’s not their thing, they’re gonna stop listening. 

Cass McPhee  54:15  


D.J. Sylvis  54:15  


Tina Case  54:15  

I mean, that’s what it’s gonna be. 

Cass McPhee  54:18  


Tina Case  54:18  

 But if they liked the characters, and they liked the story, like I’ve watched things that I don’t necessarily agree with, like all of the politics or anything like that, but if I like the characters enough, I’ll watch it. And so I just assume the same thing is going to happen. And if it’s someone that I think will like react, React just abhorrently, then I’m not going to be telling them about the show anyway. And kind of piggybacking– the one thing I did get pushback on– and not really pushback, but more of a “Oh my god, why didn’t you tell me?  I can’t, I’m trying to re listen and I just can’t do it.”  Were the Dipsea ads .

Deej & Cass  54:49  


D.J. Sylvis  54:51  

That’s fair,

Tina Case  54:51  

Yeah, I had a friend from high school that listened and she was messaging me and she was listening through like on her second time, like she liked the show. She enjoyed the show. And she messaged me and I’m not gonna pull up the exact message. So if you’re listening and I butcher what you said, I do apologize. [Hi Hillary!]  But she was just like, “I’m trying to re listen. And I just, I hear you and I hear you talking about all of this stuff. And all I can think of is yeah, this is Tina talking about sexy times.” And I’m like, No, no, it’s not –it is a fictional character. I– oooh, Okay.”

D.J. Sylvis  55:19  

[laughs] I don’t think– I don’t think any of those should be running by now. Thank goodness.

Tina Case  55:23  

There’s still one. apparently.  Somebody was telling me that the other day and I’m like, I’m sorry, what?? I thought they were all gone. And I’ve been recommended this [unclear] right and left. And so, theater friends, if any of y’all are listening and made it this far, I’m really sorry. I didn’t know. 

Deej & Cass  55:35  


Tina Case  55:37  

Yeah, but no, that’s been the only thing that I have heard some sort of an “oh my god, why didn’t you tell me??”  as opposed to “Why didn’t you tell me there were non straight people?” Or why didn’t you? You know, so, which, you know, I –kind of like Cass, like, I just have people, the people that I would tell about it are going to be at least okay, or indifferent at be- at worst. So I just don’t have anybody that I would recommend that would hate it, you know?

D.J. Sylvis  56:00  

Yeah, no, that’s fair. And I mean, like, I’m not that close to my family for a bunch of reasons. And so most of them, my, my one sister has listened to some of it. And that’s cool. But mostly, it’s been my friends. And, like, it’s more me like begging and begging and begging until they listen to it. But there have been a few people who have particularly like, as we got closer to the end of the show, have come back and said some really nice things about it, I got a message from someone a week or two ago, that was really more of a friend of a friend, we were only sort of like, associated more through common people than anything else, who wrote me a really nice message about how much the show had meant to them, and how much Jaxon in particular had meant to them. And it’s just, was really a lovely thing. And I’ve had people like, come back and tell them how have– tell me how much the show has meant to them. As far as that, as far as like the queer representation, as far as the revolutionary aspect of it. And some, like more, talking about the political stuff, and particularly the final season as well, and how much that meant to them, because it’s stuff that no one else is really, I mean, the queer stuff. There are a lot of queer podcasts. But I think particularly, the way that we dealt with revolution is something that hasn’t been in a lot of other shows yet, so.

D.J. Sylvis  57:22  

So yeah, those are all of the written questions. I know that Tina has a few unregistered questions to ask, and we’ll try to-

Tina Case  57:29  

Someone else does too! There’s something– some ghosts typed in something in the spreadsheet.

Cass McPhee  57:34  


D.J. Sylvis  57:34  

I have one other thing that I just thought of. 

Tina Case  57:36  


D.J. Sylvis  57:37  

But I’m going to wait until you do yours. 

Tina Case  57:38  


D.J. Sylvis  57:38  

Because I’m gonna answer these pretty quickly.

Tina Case  57:40  

Yeah, you probably can and the answer is going to be nothing. Okay, so in episode one, it’s mentioned because Roger is talking about all of the things that they have and the food rations and he says, okay, blah, blah, blah, X number of people and what, five are vegan or something like that? 

Cass McPhee  57:55  


D.J. Sylvis  57:56  

Three, and I think that’s wrong now?

Tina Case  57:58  

 Is it?

D.J. Sylvis  57:58  

 I think it’s -I think it was? Well, I think it was four of the six.

Cass McPhee  58:01  

It was three.

D.J. Sylvis  58:01  

Because it was something

All  58:02  

[overlapping chaos]

D.J. Sylvis  58:03  

We’re fighting over the drumsticks, and three- 

D.J. Sylvis  58:04  

Three I can live with.

Tina Case  58:05  

Yeah, yeah. 

Cass McPhee  58:06  

–there’s only five of us fighting over the drumsticks, and three are vegan

D.J. Sylvis  58:08  

Three I can live with.

Tina Case  58:09  

 Who are – who are the three,

D.J. Sylvis  58:11  

Because I think it was probably Wilder,  Nessa and Ashwini. 

Tina Case  58:13  


D.J. Sylvis  58:14  

But I don’t think Ashwili really is , I think Ashwini just sort of like says ze is whatever. [unclear] at the time.

Tina Case  58:20  

No!![laughs] I- I know, some people like that.

Tina Case  58:22  

Okay, now was that–

Cass McPhee  58:24  

[laughs] Michell definitely not.

D.J. Sylvis  58:26  

No, not Michell, not Roger, 

Tina Case  58:29  

Was that off the top of you head — 

D.J. Sylvis  58:29  

We know not Roger, because Roger, Roger and Alex talk about like, the barbecues and stuff. So-

Tina Case  58:34  

Well, I kept trying to like eyeball it as we’re like, going through the episodes and stuff. And then I’m like, Well, we are on the moon and how far into the future? So literally, like, you know, food technology could have gone so far that, you know, we could explain away almost anything be like, did I say Turkey? It was, you know, made Turkey like printed turkey? I don’t know.

D.J. Sylvis  58:53  

Well, that’s the thing, too, is that I sort of got away with it a little bit in my head because I decided- and I know that this is a decision- discussion that’s only starting to become like a bigger part of vegan discourse now. But like, I assume that like the meat they’re using is mostly cultured meat. Which I know that there are like vegans who are okay with that and vegans who definitely aren’t. So I think that that’s probably something that’s a bigger thing by that point too.

Tina Case  59:17  

Yeah, it’s– it’s it’s a debate that I have opinions on, that I tried to stay out of. I like that, that might be a thing that exists. I feel like it’s like the Beyond and the Impossible. Like the stuff that tastes like hyper realistic, like, maybe not for me [me being the generic me. I love it tbh] and not great, but like it’s marketed towards people who eat meat anyway, so like, 

D.J. Sylvis  59:34  


D.J. Sylvis  59:35  


Tina Case  59:35  

-kudos. Like, they’re gonna eat meat anyway, so why not?

Cass McPhee  59:38  


D.J. Sylvis  59:39  


Tina Case  59:40  

Yeah, debates are always not fun. And the other one– the other one —

D.J. Sylvis  59:43  

And your other question?

Tina Case  59:44  

[pointed] You’re not going to answer it, but okay, So–Wilder,

D.J. Sylvis  59:48  

I am gonna answer it. 

Tina Case  59:49  

Okay. What is her full legal name?

D.J. Sylvis  59:53  


Tina Case  59:54  

That’s it. That’s it by choice or by –

D.J. Sylvis  59:56  

Yep, yup. Wilder– Wilder was always intended to only have one name Jaxon too.

Tina Case  59:57  

Was that her choice though, or was it what her family decided? Like,

D.J. Sylvis  1:00:04  


Tina Case  1:00:05  

Or is it like a Madonna thing?

D.J. Sylvis  1:00:06  

I think- I think in her case, it was probably her choice. I think for Jaxon, it was probably more of a like family thing. Like maybe it was a tradition or something. But I think with Wilder, I’ve always assumed Wilder didn’t have the best childhood because, like all of her relationship issues with her partners. 

All  1:00:23  


D.J. Sylvis  1:00:24  

I think, like some of that has to started a lot earlier.

Cass McPhee  1:00:27  


Tina Case  1:00:29  

Yeah, so now,

D.J. Sylvis  1:00:30  

But yeah – I think Wilders just — Wilder’s is probably by choice.

Tina Case  1:00:33  

Okay, so headcanon ish was Wilder one of her original, like part of her birth name? Or did she just say screw it all, I’m gonna go with this as a name. And we’re just gonna throw the whole thing in the trash. 

D.J. Sylvis  1:00:43  

Let’s assume without -without trying to come up with a like, really embarrassing, like, original name on the spot. 

Tina Case  1:00:50  

Oh, yeah. Don’t.

D.J. Sylvis  1:00:50  

But let’s assume, let’s assume that she made it all made up completely. 

Tina Case  1:00:54  

That would track actually. Like I could see that-

D.J. Sylvis  1:00:56  

I think that’s good.

Tina Case  1:00:57  

– just being like having nothing to do with her actual name name.

Cass McPhee  1:01:01  


D.J. Sylvis  1:01:02  

So I had one final question for the two of you. That sort of like came into my head while I was listening to you both answering that last question that Christy asked. But I wanted to ask both the both of you and I’m really curious about the answer, because I find myself oddly not knowing. But I want to ask, What do you think each of you is going to take with you from this huge roller coaster ride experience we’ve been on on the show?

Tina Case  1:01:33  

Mine is easy, literally everything. Like this was the first thing that I did, really, to this as– like, first real acting, like learning how to like- learning how to do it. Like, I mean, I’ve taken classes and like, and stuff now and actually, like, tried to be proactive and go out and learn, but everything else has just been learning, like as I went. So like, literally like any sort of like ability that I have, confidence talking to people, this whole thing like –that. It’s it’s a cop out answer. But like, I 100% am not the same person personally, or, like talent and ability wise as I was when I started working on the show, and it would not be that way otherwise. So like, literally everything.

Cass McPhee  1:02:18  

I guess, just to – give a different type of answer. I’ll answer more on the like, what will I take from the story side, which is, I think there’s some things that I’m really going to actually take with me about how to think about making the world a better place, and how to think about, you know, what you do when you feel like there’s nothing you can do in the system that you’re in and and just, you know, just some some stuff about how it’s important to communicate to one another and kind of, to be open with one another and to work on things. And maybe you’re not going to get it right the first time. And maybe you’re going to have to work on it again. And again, like, Wilder’s and Michell’s friendship kind of coming out of, you know, all that, all that horrible stuff that -that was him self destructing in a lot of ways and taking other people down with him. And how do you fix that? And the answer is like, you know, when he’s saying, like, I’ve said, I’m sorry, I’ve never stopped saying I’m sorry. But has he really said I’m sorry? Or, you know, is? Is that enough? And what else do you have to do? And like, you know, it’s not something you can just –, you can just fix. So I think a lot of that hit home, and was important to me. 

Tina Case  1:03:49  

Love that.

D.J. Sylvis  1:03:51  

Yeah, I only thought it was fair. If I was going to askyou both- 

Tina Case  1:03:54  


D.J. Sylvis  1:03:54  

-a question like that, that I answered, as well. And I don’t want to talk about like, I don’t feel like the technical aspects of production. Even though this was a new space for me, or next is necessarily that much different from theater that it was a huge new experience for me, or something that I feel like changed my life, as far as that goes. The writing certainly too, like was new for me. Writing something this long. For five years, I basically was constantly writing or plotting this show, but not really like necessarily–that’s again, just sort of like a different aspect of things that I had done before in theater. But I think what I will take with me that I got completely from this experience is the depth of connection with people, and the depth of collaboration. Because it’s so different from writing a play and being maybe in a few rehearsals, not really spending much time with the actors otherwise- or even directing a play, where you’re like, usually working with a script that was completely written and polished, and you’re done with it in a few weeks, I’ve never worked on a play that really ran longer than a few weeks. So that–  it’s might be something similar to like a really long running theatrical production too. But just the idea of spending this much time with people and getting to share with them and getting their input into the story. And the way that they change it, both of you probably more than anything. I mean, Cass– You and I were like, four vague friends before this–

Cass McPhee  1:05:35  


D.J. Sylvis  1:05:35  

– who had never really spent much time together. Tina, obviously, I didn’t know you at all [laughs] until this happened.

Tina Case  1:05:40  

Nope! [laughs] 

D.J. Sylvis  1:05:41  

 And now, we talk practically daily about like one thing or another. And- I’m going to be working at least with Tina on the next thing, hopefully I’ll sucker Cass in at some point, in some way involved in it, but just everyone else too- like even people who just came in for a little bit or were involved in a little bit.  I got to work with so many people who– I just couldn’t have imagined working with.  I got to work with Sarah Werner, who’s like the -was like literally the first voice I heard in audio fiction. I got to work with Tau, I’ve gotten to work with like, and I mean, it got the– it got me back to connecting with Leeman too, because Leeman had moved away from Toronto and we had sort of like fallen out of connecting with, after after we weren’t doing theater together anymore. But I knew he was gonna be the perfect voice for this and just getting to work with him was such a gift. And just everyone who entered into it and became part of it and threw so much of themselves into it. Every actor in every role, getting to work with again, Serena on this final season crafting the storyline for the Palestine stuff. And like getting to work with some somewhat so closely to with it, but to it discovering becoming close friends with Jen Ponton, who is probably one of my best friends in the universe now. And we didn’t really know each other before this, bringing people into it like Shereen Younes, who Shereen, I listened to on her podcast, Ethnically Ambigous. And I just liked her so much and liked her like point of view on things so much that I wrote a role for her and then begged her to do it. Just just the connections with people, I just couldn’t have imagined it would be like this and the connections with the audience too. Like, again, like I’ve done theater, and I’ve had good experiences with audiences. And there’s something about like, actually being live, there back behind the curtains, listening to them react, that is amazing. But just having this wider reach. And seeing people like, making comments, random comments on like Twitter or Tumblr or somewhere, like having no idea who they are, knowing that they’ll never know who I am. But we managed to touch them. And we managed to do something that was important to them. Whatever else I create from here, I think part of the reason why I did this, and part of the reason why I wanted to move into this space was because I felt like producing a play, you do it for a few weeks, and it’s gone. But this is something we created that no matter what happens from here, it’s going to be out there and people are going to be able to find it and people are going to be able to connect with it again. And that’s something I couldn’t have imagined how important that was going to be to me.

Cass McPhee  1:08:20  


Tina Case  1:08:25  

I love that. That’s awesome.

D.J. Sylvis  1:08:27  

And I mean, that sort of takes us to some of the like post questions part of this, which I have a couple of little like announcement things to make too. But I wanted to start out by just saying and if you folks have stuff you want to throw in here, too, but just saying thank you to everyone who’s listening to this right now, everyone who’s listened to the show, who’s been a part of it, whether you found it at the beginning, or you just found it, whether like, you think it’s okay, or you love it and you write like head cannons and like notebooks and you have a spreadsheet full of questions for us .

Tina & Cass  1:09:00  


D.J. Sylvis  1:09:02  

 Just any of you just thank you so much for being a part of this for sharing it for telling other people about it for like following us everywhere for supporting us on Patreon or crowdfunding accounts of crowdfunding campaigns just every way that like we connected with you as well. Just thank you so much for being a part of this

D.J. Sylvis  1:09:28  

I don’t know if either if you wanted to add anything to the I

Cass McPhee  1:09:30  

I feel like you’ve covered it really good, honestly.

Tina Case  1:09:34  

Yeah, thats a [unclear], you know.

D.J. Sylvis  1:09:35  

So we did have a couple of –Yeah, we had a couple of quick things to jump to at the very end. So yeah, Moonbase is over, but we are not done producing audio fiction. We are already into pre production and casting a few roles and I’m trying desperately to write despite the world being on fire, for our next show, which is called Waiting For October. And you’re going to be starting to see more about that on our social media accounts. And eventually, when we have something to share, whether it be a teaser, or an announcement of crowd funding and things like that, you’ll still be able to find it in this -find information about it in this feed, because I’m sure we’ll share it here. Tina, is one of the leads in the new show. The other is Robin Regalado, who played Ahnung on Moonbase. And you’ve just heard in a really amazing bonus episode. So they are going to be the leads in it. It is a sort of paranormal fantasy type thing about a monster world, and about the act of writing fiction in general. So it’s going to be interesting and exciting. And it’s a new journey that we’re all getting ready for. And you’re definitely going to hear other voices that you recognize in that. So stick around and get ready for that- you’ll probably start hearing things, first quarter of next year, we’re hoping to do crowdfunding in like March or so. So keep an eye out for that. And the other thing, the I promised a big announcement at the end of the q&a, and I do kind of have one.

Tina Case  1:11:16  


D.J. Sylvis  1:11:17  


Tina Case  1:11:17  

 I said You mean, that wasn’t the big announcement??

D.J. Sylvis  1:11:20  

That was a big announcement. And that’s really important.

Tina Case  1:11:23  


D.J. Sylvis  1:11:23  

But… all this time I have been telling you this is the end of Moonbase. And technically, that’s not completely true. 

Cass McPhee  1:11:33  


Tina Case  1:11:34  


D.J. Sylvis  1:11:37  

-because I wanted to for all the support we’ve been given over this five years. And because there’s going to be a significant gap before we can really like, start sharing stuff about the new show. Um, I wanted to find a way to keep giving people little pieces, maybe filling in a few gaps, and a few backstories for Moonbase. And so– to all of our Patreon supporters every month of 2024, I am going to post a –I’m calling it micro fiction, a short short story set in the Moonbase world. So it’ll be– so I’m thinking like a page or two. But it’s going to be like maybe expanding on the backstory of a character or telling you a little something about a character. We never got around to maybe some of these head canons we talked about earlier. I actually have Beka, who is one of our biggest fans, in addition to as– asking a lot of questions about this, helping me sort of compile a list of interesting things that we could talk about. 

Cass McPhee  1:12:35  


D.J. Sylvis  1:12:37  

And yeah, so the idea is that just to partially say thank you to the people who’ve supported us through all of this, and partially to sort of like, keep everyone’s interest, I guess. While, we can’t say much about the new show yet. We’re going to be publishing little pieces of written fiction on our patreon account, which is, you can join us for any amount, literally any amount, we don’t care. Everyone gets every bonus, every perk that we provide to our Patreon backers goes to everyone no matter what they donate. So you can foll- you can support us for $1 a month and you get everything, get early access to every episode we release of anything, get every like behind the scenes, like report and peek at what’s going on as we start getting into the new show. They’ll -they’re finding out a lot of stuff before anyone else does. And you’re going to get these little pieces of microfiction every month. So that is our big post Moonbase announcement– that you’re still going to be able to find out more things about those characters.

Tina Case  1:13:37  

I’m excited!

Cass McPhee  1:13:37  

Little bit of moon base, still waiting!

All  1:13:41  


Cass McPhee  1:13:42  

 I have a question for you. Deej.

D.J. Sylvis  1:13:44  


Cass McPhee  1:13:45  

it’s how dare you?

Tina Case  1:13:49  

Ah! I love that- It’s just that open ended. [unclear] –all of it.

Cass McPhee  1:13:52  

I feel like- I feel like the people want to know how dare you. [giggle]

D.J. Sylvis  1:13:55  

I have been asked that question so many times. 

Cass McPhee  1:13:59  

[laughs] What’s the answer?

Tina Case  1:13:59  

Do you have an answer yet? 

D.J. Sylvis  1:14:01  

What is the answer? I don’t know. 

Cass McPhee  1:14:04  

No one stopped you yet. 

D.J. Sylvis  1:14:05  

Yeah, that’s the big thing, isn’t it? No one stopped me. This is a -this is an area of like, media where there aren’t enough bars to entry at this point. I guess. 

Tina Case  1:14:15  

I mean, that’s true.

D.J. Sylvis  1:14:17  

[laughs] But no, it has been an absolute delight. Not just working with the two of you and having this conversation. But being involved in this whole show and everything that came from it. So just sort of ending again with thank you so much. And I hope you’ll stick around for whatever we create next.

Cass McPhee  1:14:42  

Thanks, everybody.

D.J. Sylvis  1:14:43  

And I hope Cass’ll be there.

Cass McPhee  1:14:44  

[tired[ Uh.. I’ll try..

D.J. Sylvis  1:14:46  

He’s gonna be there, he [unclear, but was something that was am attempt at being helpful but still getting Cass a nap] [laughs]

Cass McPhee  1:14:45  

[laughs, overlapping everyone]

D.J. Sylvis  1:14:45  

Because it’s the one that hasn’t signed on for anything for the new show yet. Tina is definitely in it. But Cass is – Cass, like has refused to like answer me every time that I’ve asked about anything that happens after the end of Moonbase.

Cass McPhee  1:14:56  

I know every time it’s like, haha and then I just like the sunglasses come down and like the finger guns come out and suddenly I’m just like backing up and running away. 

Tina Case  1:15:06  

He’s just trying to make it dramatic.

D.J. Sylvis  1:15:08  

He just sort of like fades into the shrubbery like Homer Simpson.

Cass McPhee  1:15:16  


Tina Case  1:15:17  

Like the day before, he’ll be like, you know what?

Cass McPhee  1:15:18  


Tina Case  1:15:18  

 I will do “this” and that’s all. 

Cass McPhee  1:15:19  

Yeah, no, I I think– I just need to not commit to anything for a little while so I can figure out what -what reserves I have to commit.

Tina Case  1:15:24  

Yeah, do that! Because I don’t do that and I regret it. So you do that?

Cass McPhee  1:15:28  

Okay! I’ll see how that actually works.

D.J. Sylvis  1:15:31  

And I’m really just teasing you, but you know that anything I create you have a– You can write your own ticket pretty much.

Cass McPhee  1:15:38  

Thank you. 

D.J. Sylvis  1:15:39  

But yeah. Thank you very much, everyone.

Tina Case  1:15:42  

Thank you. This has been fantastic.

Cass McPhee  1:15:46  

Wistful sigh.

D.J. Sylvis  1:15:46  

And, you know, keep watching the moon – 

Tina Case  1:15:48  

GOOD!! [no impulse control]

D.J. Sylvis  1:15:49  

you never know what might happen up there.

Tina Case  1:15:50  

I was about to be like you have to say it. [They did not on one of the bonuses, and Discord let us know, it was sad.]

D.J. Sylvis  1:15:54  

I did. 

Cass McPhee  1:15:54  

[laughs] They did. We’re clear. [laughs] 

Tina Case  1:15:57  

Okay,. good.

Cass McPhee  1:15:57  

All right. See if- let’s see you later, everybody.

D.J. Sylvis  1:16:00  


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