Gäst skådisar:
LeVar Burton som Captain Geordi LaForge
Christine Harnos som Tessa Omond

Inspirerade av historien med Dauntless och den slipstream drive den använde har dom på Voyager jobbat som sjutton för att få igång en egen slipstream drive. Och dom lyckas. Nästan, för den är lite stabil. Så Kim och Chakotay sätter sig i Delta Flyern och åker precis framför Voyager för att försöka göra denna slipstream resa hem lite stabil. Men det slutar i kaos och Voyager kraschar och totalförstörs på en isplanet. Men Delta Flyern, med Kim och Chakotay, kommer tillslut hem.
Nu är det 15 år senare.
Federationen har fått tag på en Borg temporal sändare. Denna snor Kim, och tillsammans med Chakotay och hans älskling Tessa ger dom sig av för att hitta Voyager. Vilket dom gör. Med hjälp av Doctors, vars program är intakt, lyckas dom använda denna sändare för att kontakta Seven för 15 år sedan och ge henne dom rättningarna som behövdes.

Brannon Braga :
"It was just a perfect episode."

Joe Menosky, om hur idén kom till :
"The way Brannon tells stories, often he starts out with just an image and we'll figure out a story around it. It this case, it was
Voyager buried under the ice."
"In some ways I think 'Timeless' captures perfectly the new style of Voyager. The entire teaser has almost no dialogue. Act One has almost no dialogue. When we were initially talking about it, we were trying to figure out a way to do it with no dialogue at all, and do the
teaser and Act One absolutely silent, which is pretty impossible to pull off. I think we did it as well as you could."

[hans favoritscen]
"My favorite moment of the year is almost like nothing. It's something we barely even scripted, when Voyager plunged out of space, down
through the atmosphere of this ice planet, and then does a belly flop on this glacier and crashed into the screen. When you script it's like
half a page, nothing. You see what these guys did with that. I couldn't stop watching it. I probably watched that sequence 50 times.
It was just like a nonstop, roller coaster rush for me."

[om hur idén med tidsresa kom till och används]
"This is an interesting little bit of history. Back when we were on TNG fourth season, Rick Berman gad basically said 'No time travel
stories'. He thought it was hokey, and he just didn't want to hear about it. Eventually, when you are doing hundreds of episodes, and you
are running out of ideas, time travel and mucking about with time finally got opened, and we went with it. On Voyager finally we've run
out of ways to tell a credible time travel story, because it's all been done. 'Timeless' is like a post-modern time travel story, the
twist and turns are all so known that there is almost no way to do it with any degree of suprise. As a result what I think made 'Timeless'
work was the imagery, the Doctor up in the Delta Flyer holding Seven's skull and the kind of mussed-up Kim. The mussed-up, tough, cynical Kim, things like this are the things that I think carried that episode."
"There is an interesting point that reveals the - I'd almost say - interactive and organic nature of doing work on a series. Basically, a
year ago, Brannon and I were as down on Kim's character as any character. We love Garrett, but Kim just never did it for us. If someone would have said to me, 'The 100th episode, next season, is going to feature Garrett and Ensign Kim', I just would have laughed.
It was just inconceivable." "When we did 'The Killing Game', who was the one character that didn't get to dress up in a World War II period
costume, and have an adventure? It was Kim. We stuck his ass on the bridge [han sade så!!!, stoffs anm], and we just didn't care. A really
interesting thing happened. We ended up being short in that episode. Because all the WWII sets had been struck, and it was elaborate
amounts of costume to do anything in the period anyway, we were stuck with a few minutes of scenes we had to write, and no one but Ensign Kim. Because he was messed up, because these guys had been smacking him around, and he was rebellious but he still had to knuckle under, we saw this other side of Kim. It was a tough side to him that we had never seen before, and we really liked. That takes everybody by surprise, no one more so than us. You see him in dailies, and you see him in the episode, and you go 'That's cool!'". In a funny way, the future Kim in 'Timeless' was directly inspired by the belted-around Kim and edgy Kim from 'The Killing Game'. In some ways, Garrett was the perfect person for that episode, and no other character could have been used in that way."

[sammanfattning]
"Garrett was great. I had a little tear in my eye at the end, and that was a very earned emotion. That little goodbye message from his future self was very interesting and evocative and emotional, without quite telling you what to think, which I think is a very cool thing to be
able to do."

Garrett Wang, om hur hans äldre karaktär skulle vara :
"When I originally spoke with Brannon Braga about the episode, I said 'What do you see out of the older Kim? Give me something from pop culture that will clue me in a little more'. He said 'I see him as the character from the original Lethal Weapon, the character that Mel
Gibson played, who doesn't care about what's going on, about his own life. He's kind of wacked out, that kind of cahracter. I see where he
is coming from, but I just made sure that what I brought to the older Kim was somebody who had been completely focused, or obsessed really, with saving the crew, changing the timeline. Through the years [he] has carried this burden of guilt that he has not been able to shed, to the point that he resigned Starfleet. The guilt is mixed in with a lot of bitterness and just not very happy feelings. He's been a tortured man for quite some time."

[om hur han spelade två karaktärer i ett avsnitt]
"That was a difficult time of my life. It was very creatively stimulating to be able to try to put on two convincing people - the
same person, but different time perios of his life. That was probably the most difficult, tryin to stay in character. All actors out there,
if they immerse themselves in their work, and they really prepare, and they are ready to do it, it doesn't just stop when the cameras stop
rolling. When you go home, it goes with you to some extent. [..] I was definitely not a joy to be around during those seven days of filming,
having to run through the gamut of emotions. [..] I centered in on my voice, changed the voice quality a little bit, and also slowed down
the movements. Kim is normally on fast tempo, compared to older Kim, who is between slow and medium tempo. I had to really keep in mind throughout the episode, being able to flip back and forth. You could just see the youthful energy in the younger Kim. I really tried, with the older Kim, to focus intensely upon the obsession of getting Voyager back, somebody who is very preoccupeid almost to the point of being absent-minded. He's really, really on the edge."
"[I was able to portray two Kim characters] with the help of LeVar Burton. I really like the way LeVar directs. He does his homework,
which is the first think that a director should do. Number two, he is very accommodating when it comes to thespian suggestions, and letting the actor do what the actor feels is natural or appropriate for the situation. Really, it's a collaborative process. Everybody has to have their two cents worth I think, and most definitely the actor, because the actor is the one who has to come up with the compelling
performance. If the actor doesn't really believe in what he's doing, then it's hard to come across on the screen."

[om hur han ville göra mer av detta avsnittet]
"It could have been a feature. The way it was shot, and just the whole idea, it definitely could have been a feature. I was hoping that it
was going to be a two-parter. They could have shown a lot of stuff that was left to exposition. Kim is talking about how they god medals,
and Admiral MacIntyre wanted him to marry his daughter [ursäkta, vilket århundrade var det i? stoffs anm.]. All these little things
that were spoken and not seen, you could have seen a montages of that. You could have seen all kinds of things, really. They could have
pumped that up into a two-parter, and I was ready to do it, too. Brannon's comment on that was that he wanted the episode to stand
alone, as if it was a 'City in the Edge of Forever' episode."

[om hur avnsittet klipttes ihop]
"I thought the transitions joined the way that you got to see the original accident happening when it happened for the second time, how
it skipped back and forth between present and past. I often tell people that the name of that episode, the way it was written at least,
should be called 'Seamless' instead of 'Timeless'. To me it was definitely just seamless transitions."

LeVar Burton :
"Brannon had called me and asked me to do the 100th episode, and I said 'I'd be happy to!'. I knew they felt excited about it. I knew
they felt there was an opportunity to see something special, but you never know. It all boils down to the script, and in the end, Brannon
wrote an incredible script. I thought the first draft was pretty good, and then with every set of revisions, it just got better and better,
and better. I had a great time shooting it. I don't think it was any harder than a normal episode, necessarily. There were some really
serious challenges, in terms of freezing some of the permanent sets, and then having to turn them around in the same episode and shoot them normal. That was harder on the art department and set dressing than anybody else."

[om hur hans karaktär kom in i avsnittet]
"That happened right before we started shooting. We had a draft, and then I got a call on sunday afternoon from Brannon, who said 'I'm
just kicking around an idea, but before I start running with this, I want to know how you would feel about making a cameo appreance as
Captain LaForge?'. I laughed and said 'I don't know. You write it and we'll talk'. It was fun. It was a nice little opportunity to put a
spacesuit on."

Mitch Suskin, f/x supervisor om hur denna "Voyager buried in ice" blev verklighet:
"The biggest problem with that ws a conceptual problem. The script said 'They see Voyager under tens of meters of ice'. There is no way
you'd see anything. If you have evern seen a glacier, there's no way you can see anything under a couple of meters. We talked to Brannon
Braga about it, and Steve Burg did sketches of the problems inherent with seeing Voyager under the ice. If you see it under the
ice, it starts to look more like water than ice. We did some concept art showing the Voyager halfway sticking out of the glacier, half
covered up. We thought it was really dramatic. But the image that Braga really wanted to see was Voyager under the ice."
"We had approached the crash sequence with particle animation [animering där allt, tom snöflingor är datorgenererad som individuella
partiklar med egenskaper som massa], with another group doing it first. They did a really good job, but in the end it didn't come up to
our standard. It just wasn't good enough. We decided to do the combination of CG crash, and actual filmed elements. To some degree,
that challenge is what made it so much fun."

[tillslut så blev det Eric Chauvin som fick göra en 'digital matte' med en Voyager begravd under massor snö och en glaciär som man bara
ser konturerna av och reg. nummret]

Rob Bonchune, CGI f/x, om att he med ett Galaxy-class skepp:
"It was fun because it just never happens on Voyager. You don't get to play with a lot of other Federation ships, because you are always in
the Delta Quadrant. I think it was built by ILM for background stuff [i "Generations, stoffs anm.], then it was given to Digital Muse and
they gave it to us. There were deficiencies in the red glow in the front of the engine, in the Bussards [collectors], and the deflector
dish was wrong. I guess far away in the background for a feature it was fine, but we had the thing come right by camera. Everyone started
to notice at Paramount that id din't look like the models, so the modifications were made, and I think it ended up looking pretty good,
like an actual photographic miniature. [..] [Producer] Peter Lauritson and Dan Curry had a lot of time to sit there and go 'Wrong, wrong,
wrong'. I'm glad they did that, because it gave me the chance to fix it."

[han ville oxå göra det till ett dubbellavsnitt]
"I almost with is was! I really thought they were going to film them stealing the shuttle in some sort of Federation dry-dock. That would
have been nice, to actually go through with them on Earth stealing the whole thing and getting away."

Skeppet som LaForge är kapten över är Challenger, Galaxy class. Döpt efter rymdskytteln med samma namn som exploderade strax efter starten på uppdrag 51-L. (http://www-pao.ksc.nasa.gov/kscpao/shuttle/missions/51-l/mission-51-l.html)
Christine Harnos kanske somliga känner igen, hon spelar Mark Greens f.d fru i "Cityakuten".
En sak jag borde förvarnat om är hur dom (både skådisarna och regisörren) lyckats göra ett nästan två minuter långt oklippt segment
i detta avsnitt. Från det att kameran zoomade in på Neelix råtta klippte dom inte på 2 minuter, vilket är väldigt ovanligt.
(tror "Mad About You"/"Galen I Dig" har världsrekordet på 26 minuter utan ett enda klipp (med reservation för kanaler som klipper i mitten
för reklam), fast den sekvensen hade bara Paul Reiser och Helen Hunt sittandes vid en dörr)

Vad både Garrett och Rob beskriver gjordes tillslut i sista avsnittet, med en plågad Janeway som bostavligen fick slå sig fri för att kunna
åka tebax i tiden.

"We're here to change history."
- Chakotay

[Janeway and Chakotay having dinner]
Janeway: "Speaking of risks... are you ready to try some homecooking?"
Chakotay: "I'll alert sickbay!"

Chakotay: "Shield generators?"
Kim: "On-line."
Chakotay: "Plasma flow?"
Kim: "Stable."
Chakotay: "Com-link?"
Kim: "Secure."
Chakotay: "Lunch?"
Kim: "Salami sandwiches."

Kim: "Am I making any sense?"
Janeway: "My advice about making sense of temporal paradoxes is simply - Don't even try!"