We are thrilled to welcome “Dr. Carolyn Lam” actress Lexa Doig to Dial the Gate to explore her career, filling the shoes of Stargate Command’s chief medical officer, and putting up with Dr. Daniel Jackson on a daily basis!

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Timecodes
0:00 – Splash Screen
0:06 – Opening Credits
0:34 – Welcome
1:06 – Guest Introduction
1:38 – Philippino Heritage
4:07 – The Acting Bug
5:58 – Lexa’s First TV Gig
7:41 – An Impactful Role
11:04 – Method Acting
14:26 – Playing a Living Person in Unspeakable
19:05 – Joining in Season Nine
24:26 – Becoming the SGC Doctor
31:17 – Did Mitchell and Lam Have a Relationship?
33:56 – Kim Lam and Family Ties
36:40 – No Lam in Continuum
39:32 – How Lexa Met Michael
42:34 – Humor in Marriage
47:59 – One Job For Life?
53:58 – Drawing From Personal Experience
55:48 – A Dreadful Day or Project
57:04 – Watching Old Material
58:47 – Differences from Stargate to Andromeda
1:00:52 – What Makes Science Fiction Work?
1:04:02 – Post-Interview Housekeeping
1:05:14 – End Credits

***

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TRANSCRIPT
Find an error? Submit it here.

David Read:
Welcome to Episode 295 of Dial the Gate. The Stargate Oral History Project. My name is David Read. I really appreciate you being with me here for this episode. This is one I am really excited about. Lexa Doig, who is Dr. Carolyn Lam in Stargate Atlantis. You may know her from a few other roles. We’re going to hopefully talk a little bit about all of them here. So, get your questions over to the mods and they will get them over to me. Lexa, welcome to Dial the Gate. Is it “DO-IG”? Did I pronounce it right?

Lexa Doig:
It’s actually “DOIG”. And I was on SG-1, not Atlantis.

David Read:
Did I say Atlantis?

Lexa Doig:
Yeah, but that’s OK. Jewel was on Atlantis, I think.

David Read:
I had Elyse Levesque from [Stargate] Universe on a few days ago and I said she was on SG-1. So, I’m really batting a thousand.

A:
But that’s ok. We’re all one big happy family.

David Read:
How are you?

Lexa Doig:
I’m well, thank you. How are you?

David Read:
I am well. Your mother is Filipina?

Lexa Doig:
That is correct.

David Read:
How much time did you spend on Philippines? Have you spent any?

Lexa Doig:
Technically yes, I have but I was like a year old when I went. So, I have no recollection of being there. Apparently, I got my ears pierced there. My mother told me it took six or seven nurses to hold me down. It’s a very cute family story that they had to hold me down to stab me with needles to put the earrings in. And funnily enough, [here’s a] side story. I remember when I was thinking about… When I waited for my daughter to ask to have her ears pierced. And only at this point I realized that it was kind of barbaric to have, like, a bunch of adult women holding down a toddler to pierce her ears. But that’s beside the point. So technically I’ve spent a couple of months there at least but I don’t remember any of it.

David Read:
I lived there for a year.

Lexa Doig:
Oh, fantastic! Where did you live?

David Read:
I lived in Makati, which is one of the suburbs in Manila. And I was out there for PayPal at the time, training Pinoys to be more Western in their, like, conversation. And it changed my life. The culture. The people. They’re the hardest working bunch of people that I have ever met. Makes us westerners look like chumps with how hard they work. But it was a transformative period of my life and just one of those things that I will carry with me forever.

Lexa Doig:
That’s wonderful. Did you learn to speak any Tagalog?

David Read:
Very badly. Tiwala Lang. Which means “trust me.”

Lexa Doig:
I learned that. It’s funny because my mother is actually from Visayas, so she speaks Bisayan. So, I don’t even speak Tagalog anyway. I don’t speak Bisayan. I only know when she’s really angry with me. She’s pissed.

David Read:
How much of that is Bisayan though, and how much of that is just rage?

Lexa Doig:
I think she just reverts to the language that she can speak her mind in. I won’t necessarily be as hurt because I don’t know what she’s saying.

David Read:
How old were you when you got the acting bug? Was it younger? Was it older?

Lexa Doig:
Young. I was, like… This is mildly embarrassing. I wrote and directed my very first play when I was six. Five or six. It was a Strawberry Shortcake play. My mother made some of the costumes. My then best friend Karena Ong played Strawberry Shortcake. I was Lemon Meringue.

David Read:
Wow, you guys were all in.

Lexa Doig:
Yeah, I was committed. And I think from that point I was just [in] any play I could be in, in school or church, because my parents were church goers. So, any play that I could do in that realm, I would try and do. But I didn’t actually think that was a valid career path.

David Read:
You didn’t or your folks didn’t?

Lexa Doig:
I didn’t. That was partially because I didn’t see anybody that looked like me on TV, so I’m, like, “OK, it’s for other people to do. But I might be able to theater.” Because theater seemed to have a lot more freedom in that regard. Tragically, I really told my parents I wanted to be an actor after seeing Porgy and Bess when I was eight. Because I wanted to be Porgi which to those who are unfamiliar with that particular musical, Porgy is a disable black man. I was never going to play Porgi. I mean, we’re all for inclusive casting.

David Read:
You were drawn to the material.

Lexa Doig:
I was, I really was. And the music in Porgy and Bess is amazing. I thought I would maybe go into theater. But I actually didn’t have the money to go to theater school but also started working as an actress, so I sort of learned on the job. My early work very much reflects that.

David Read:
How old were you when you started?

Lexa Doig:
My first on-camera job was a hosting job when I was 18 for a… There was… I think it still exists… There’s a youth network in Canada called YTV and they had a video and arcade… [They] did a game show called Video & Arcade Top 10. And I was actually on it with Gordon Woolvett who was with Andromeda with me. That’s how he and I met.

David Read:
Small world.

Lexa Doig:
Yeah, I know, [a] very small world. And it was a hosting gig, so I learned very much to read off a teleprompter.

David Read:
Gotta get the basics in. If you weren’t acting, what were you going to be doing? What was plan B?

Lexa Doig:
There wasn’t one. I was too chaotic as a teenager. It was, like, “No, this is it. This is what I wanna do.” Trust me, my parents tried valiantly for the plan B but I had, unbeknownst to me at the time, not mild case of undiagnosed ADHD so me in school… I got good grades when I could pay attention and apply myself. I was a gifted student. From a young age they pulled me out and put me in a different program due to high testing scores on something or other. And I just never could focus properly in school so being an actor was the only thing. So, I guess I had this little bit of desperation of having to make it work because I didn’t have a backup plan.

David Read:
Well, that will push you.

Lexa Doig:
It will. Or delusion also will do the same thing.

David Read:
You know, “po-tay-to, po-tah-to.”

Lexa Doig:
Six one, half dozen the other. Something like that.

David Read:
What role has pushed you in ways you didn’t expect? What role has tested the limits of your ability to grapple with the material? Is there anything that stands out that’s, like, “[sigh], this one did a number on me,” or “this was much more thoughtful that I expected,” or “the company that I worked with, or the troop, or the cast that I had to work with really pushed me in a direction that I didn’t think I would go?”

Lexa Doig:
It’s a really interesting question because I kind of look at all the roles that I played, and they’ve all done that to some degree. For different reasons, because of different points that I was at in my life. I think about… I know Continuum… I did a Canadian show called Continuum that was challenging because I disagreed with the character. Because she was basically a terrorist. And that’s not something that I think a lot… That’s not a headspace I think a lot of people would want to inhabit. And for me the challenge was to go back far enough. Because like I said I don’t have theater training which watching Michael’s and my daughter, Mia… [She] is in her second year, in the same acting program that Michael went to at UBC. I know, it’s kind of funny. And watching the sort of the ground up training that she’s getting in that space…

David Read:
And not easy to get into I’ve heard.

Lexa Doig:
That one? No, I don’t think so. But I don’t it’s as hard…

David Read:
I’m sorry to derail you.

Lexa Doig:
No, that’s OK. I don’t think it’s as hard as people think but again, we had no gauge because she got in. It’s interesting because to me I had to figure out the character of Sonya Valentine that I was playing. I had to go far enough back in her personal history to where she was a good person, in my mind, somebody I could relate to, and what happened to make her want to take the extreme steps that she’s taken. And so, for me, it was, like, “What would it take for me to take those extreme steps?” That’s not a place I like to visit because that involves horrible tragedy and trauma and that kind of experience of life is not one that I’ve had. I’m very grateful to not have had that experience. But I have a pretty active imagination. That one was challenging just from that perspective of trying to make it truthful. And also, not overthinking it. That’s another thing that actors can do sometimes… [It] is way overthinking things. Sometimes it’s, like, “No, just keep it simple stupid. Just allow yourself to enact out…” Because I actually had to get that point with Sonya Valentine, “Just allow yourself to act out all of your horrible impulses.”

David Read:
It’s easy to play like a comic book villain.

Lexa Doig:
[inaudible] There’s that small Walter Mitty part of your brain that imagines all the revenge you would get on people that piss you off. I don’t know.

David Read:
What’s your thoughts on method acting?

Lexa Doig:
I don’t know that it’s necessary. Whatever floats your boat. I’m kind of with… I think it was Sir Laurence Olivier who said that to Dustin Hoffman. There’s an apocryphal story. I don’t know if it’s actually true. When shooting Marathon Man, for those that don’t know, in a scene where Sir Laurence Olivier had to torture Dustin Hoffman, Dustin Hoffman stayed up all night. Like, [he] tortured himself, so he was exhausted, and besides himself, and ran like a crazy, like, literally was running all night apparently, and showed up to set exhausted and whatever for the scene, like, to get into the mood of the scene. And apparently Laurence Olivier looked at him and said, “You should try acting sometimes, Dustin.” But Dustin Hoffman was amazing, you know what I mean? So, it’s one of those things where I hear, [and] I don’t know him personally, that Daniel Day-Lewis is a very committed method actor, and you can’t argue with the results. He’s phenomenal. I think there are actors that use that as an excuse to behave poorly. That’s just a personal opinion. Whatever floats your boat. Whatever works for you. But I hope it actually works. Because there are times when I’ve seen actors, shall I say, make interesting choices, behaviorally, in the service of the character, and I don’t see it. I don’t see the truth to what they’re trying to bring in the character, so it’s kind of, like, “Mmhmm.”

David Read:
And in some case creeping other people out who are just in the way, and it’s, like, “Whoa. You did that for that? But what happened to that person over there? They think you’re a psycho.”

Lexa Doig:
I’ve heard some interesting stories about actors that have done that on set where like… Was it Jared Leto?

David Read:
That’s the one I’m always thinking of. You rang the bell.

Lexa Doig:
Yeah, who is, like, sending dead rats to Viola Davis? Like, are you no crack? What are you doing? Sorry.

David Read:
It’s all good. But it’s interesting. I’ve had a number of conversations with actors, as I do. And some of them won’t touch characters that they can’t relate to at all. And others are, like, “Well, it’s Cliff Simon. It’s Ba’al. There’s no position for me to kill billions of people so I’m just going to get on there and twirl my mustache a little bit.

Lexa Doig:
Yeah. That’s kind of it. There [are] certain times where you have to find the truth of the situation. But it’s always an emotional truth, right? And those emotions, whether the expression of those emotions is big, like, killing an entire group of people, or the expression is small, like, getting mad and doing the table sweep that you see people do all the time on television when they get mad. And I’ve never actually seen somebody in person do that. Just saying, “I’m so mad I swept my table.” Because at some point I would love the shot of them picking everything up afterwards. That’s all I wanna say about that. Because that’s where my brain goes. I think the truth is the emotionality of it. The manifestation of that truth is up to the writers. And the effects department.

David Read:
I’ve had the opportunity through Dial the Gate to get to know Rob[ert C.] Cooper very well in terms of his work. And we talked about Unspeakable. Michael is amazing.

Lexa Doig:
Yeah, he did great.

David Read:
And you have a hard role as well as, I believe, a prosecutor, if I’m not mistaken. How aware were you of that story in the 80s?

Lexa Doig:
I was very aware of it from… My mother was… So Unspeakable takes place in Toronto which is where I grew up and my mother was a nurse in the system in Toronto. In the hospital system in Toronto during that timeframe.

David Read:
So, she was dealing with it.

Lexa Doig:
She was. It was also [an] interesting thing too because the upside to all of that is that with the AIDS scare of the 80s, my mother had a really great handle on it, in the sense of being a science-based medical professional. She was, like, “No, you can’t get it through [this],” like, all of the, you know… Especially teenagers… I was in high school at the time so it’s, like, teenagers being, like, “You can sit on a toilet seat and get AIDS.” You can’t, by the way, for anyone who doesn’t know that which I would think by this point you would. You know what I mean, like, all of that kind of misinformation that gets spread through, at that time, word of mouth, and shared paranoia. My mother had a very blunt way of sort of being, like, “That’s rubbish. No, that’s not how it happens. You can only get it through… You can’t get it through kissing. You can’t get it from this.” She was very good at dispelling some of those stupid myths in regard to how AIDS is transmitted. Because of that, I was aware at the time of that tainted blood scandal because I remember my mom being kind of, like, “Let’s not get into an accident where you require blood transfusion.”

David Read:
That’s priority one.

Lexa Doig:
That’s kind of a main thing about it.

David Read:
And now being in in the throws of it in Cooper’s great piece of work, the miniseries that came… Did any of that come to life at all? Especially near the end of the story when it’s essentially a series of courtroom scenes. Very by the book.

Lexa Doig:
Not for me but what was interesting for me was that… Because Marlys Edwardh is a real person so I… And again, one of the challenges in playing an actual real-life person, particularly in Canada, is finding information on them. And I managed to find some because there was a Dropbox [that] Rob[ert C. Cooper] gave me access to which had a lot of their research material, if I wanted to go through any of it. And I actually added a couple of old… It’s not really [a] courtroom, I’m not sure what it was, but footage of Marlys when she was younger. A bit younger than she was in the show, in Unspeakable, sort of doing her thing. Because then I was able to find a little bit of mannerism and things like that. That was probably the most challenging part in terms of research, in that regard.

David Read:
You wanna honor the person. Is she still alive?

Lexa Doig:
She is. I don’t know her. But apparently Rob[ert C.] Coop[er] sent me… He passed on an email that he had gotten. I think it was an email from somebody who worked with Marlys Edwardh, and this is, like, the high point of my life, who said that I nailed her. And I was, like, “Oh my gosh. That’s so cool. I’m so happy.” The coolest thing about it though is when they first put the wig [on], because I was wearing a wig, before Brenda, who did hair on it, cut it, I looked like Justin Bieber. It was so funny. I looked like a cross between Justin Bieber and, because they aged me up in that show, like, they did some work to make me look older, and Coop[er] was so cute because he called me and he’s, like, “Are you OK if we do that a little bit?” And I’m, like, “Of course I am. I’m an actor. I love that shit.”

David Read:
“Let me disappear.”

Lexa Doig:
I sent a picture of myself to my brother, and I’m, like, “I’m turning into mom.” And he was, like, “Oh God! What is that?” And that’s no offense to my mother [but] it’s just nobody wants to look in the mirror and see their own parent when you’re not ready for it. Let’s just put it that way.

David Read:
And aging makeup will do that. It’s, like, “Oh my God. Here it comes. I’m getting a preview.”

Lexa Doig:
“And I’m not prepared for this.”

David Read:
Stargate SG-1. You’re joining a moving train in Season Nine. You’ve been with Michael for a little bit at this point. I’m sure he’s giving you an info dump on everything you’ve just accumulated over all this time. What gave you… You auditioned, right?

Lexa Doig:
Yeah.

David Read:
How did that feel to be joining his moving train?

Lexa Doig:
It actually felt really normal, just from the perspective of… I knew… As far as the cast goes, with the exception of Rick… No offense to Rick, it’s just [that] Michael and Amanda and Chris didn’t hang out with Rick, really, outside of work.

David Read:
Rick was gone.

Lexa Doig:
Yeah, and I knew the cast socially. I knew some of the crew socially as well. And because Andromeda had finished right before I went to join the SG-1 cast, some of the Andromeda crew had moved over to Stargate. So, I also knew quite a bit of a crew as well. So, it just felt kind of like, this somewhat natural transition. And even the auditioning process was relatively easy and kind of funny because Michael thought, based on the sides, that the character I was reading for was a potential love interest for Beau Bridges. And I was, like, “I don’t think so. I think this is his daughter.” And Michael was, like, “No. I’m pretty sure that’s like a love interest for Beau Bridges.” And I’m, like, “Nah. No.” And then I did the audition and Coop[er] literally said to me right after the audition, “I’m just trying to figure out how you would be Beau Bridges’ daughter.” I just went home and was, like, “I’m right!” to Michael. Because I don’t get to do that often. Don’t listen to him if he ever says otherwise. I actually don’t get to do that very often. So, I was really quite proud of the fact that I correctly clocked that Carolyn Lam was Beau Bridges’ daughter.

David Read:
And I love how they weaved it in. Vietnam veteran fell in love. My father’s a Vietnam vet. I get it, you know, that lovely dove tail at the end of the series. But working with Beau… Especially I’m thinking back on that scene in The Fourth Horseman where he’s in a gurney, and crying, and you… He’s a captive audience. He’s not going anywhere at this point. And you get the chance to tell him how he fell short as a dad. What was it like working with Beau?

Lexa Doig:
Working with Beau was amazing. That’s scene bugs me to this day.

David Read:
Why?

Lexa Doig:
Because if I could go back and do it again, I would just be better. It’s the curse of being an actor. You always look at the work that you’ve done and you’re, like, “Oh shit!” There’s not a single that I’ve ever done that I look back on and go “Yeah. Nailed it.”

David Read:
Nothing?

Lexa Doig:
No. Not a nanosecond. But that’s just being an actor. I’m actually a little bit of side eye to actors sometimes, that are, like, “No. Nailed it. I totally nailed it,” [and] I’m, like…

David Read:
“Did you though?”

Lexa Doig:
“Did you?” And I don’t mean that in an unkind way but it’s more, like, there’s always something else. It’s like… Who was it? I think it was Martha Graham. There’s a wonderful quote. I think it’s Martha Graham, [a] choreographer, who talks about divine dissatisfaction of being an artist. And it’s that. This sort of, like, “I’m never gonna be happy which… It’s much better to trust the director with your performance in some respects because otherwise you can just get lost in trying to make it perfect, and you lose the beautiful, organic, kind of natural interaction that you can get, and the discoveries that you can find. But [in] that scene in particular, I just felt I really muscled my way through it. But it was a lovely one to do. It was interesting because I think my choice of being angry about him, about him being sick, was a bit controversial to some people in that way. You know what I mean? Like, being angry that he’s dying. Not because I’m hurt and I’m going to miss my dad but it’s, like, “How dare you die? I still have shit to give you. You’re not allowed to die.” [It] was a little bit of a controversial choice. But that one I kind of stand by because I like those kinds of choices. Those ones that are a bit of center, or a bit unexpected in a sense of… Exploring the not necessarily nice parts of relationship is an interesting thing for me to do as an actor.

David Read:
You are stepping into the shoes of a beloved role in the show. Teryl played her character very mother hen. “These are my people. I am responsible for their health.” Don S. Davis and Teryl are kind of a mother-father role to SG-1 team. And you’re coming in there, and right on the page, this is a hard-edged character with a bit of an axe to grind. We don’t really know why at the beginning. We find that out. But you have to take the material as it is and play it within those boundaries. She’s not gonna be all lovey-dovey, and, you know, “These are my people.” She’s there to perform her job and probably stay away from her dad as much as she can.

Lexa Doig:
A little bit, yeah.

David Read:
Did you get any kind of… Maybe you don’t read any fan information, the fan responses. But were you, like, “Wow. She’s rough.” Or did you just, like, “That’s who this character is at this point in her life.”

Lexa Doig:
To me it was more the latter. Just from the standpoint of… Teryl is Teryl. She’s amazing, and there is no way… I knew going into it [that] maybe enough time had passed since Teryl’s character’s passing that it didn’t look like an immediate replacement. And thankfully they wrote a completely different character. They didn’t write Teryl 2.0 which was a relief for me. And I also thought, from my perspective, being put in a position of being the chief medical officer on a top-secret base, there’s certain things [that] have to give for you to be able to get to that place at the age that my character was at. And I thought one of the things to go was social skills.

David Read:
She’s gonna have to… She’s so young. She would have had to sacrifice something. She didn’t party a lot, I wouldn’t think.

Lexa Doig:
Probably friendships. Sacrificing friendships and relationships and things like that, so her social skills are not necessarily gonna be in the motherly way that Teryl’s were. But also, that there’s a defensiveness that comes with being young for your age but also being put in the position of responsibility.

David Read:
“I gotta prove myself.”

Lexa Doig:
Yeah. I think there was a little bit of chip on her shoulder in that way. And then finding out that she’s basically working for her dad.

David Read:
Can you imagine? I would have loved to see the look on her face when she got her assignment, and she read the headline of commanding officer. She would have been, like, “Oh shit!”.

Lexa Doig:
Like, “Are you f*** kidding me?” Although it was very funny because… I don’t know if you heard the story, but I’ve told it a couple times at conventions. Beau, before our first scene together, wanted to have that argument that Landry and his daughter would have had at some point. When they just laid into each other.

David Read:
Between the two of you?

Lexa Doig:
Yes. So, we improvised just off stage this whole screaming match. And then literally when they called rolling, Beau stopped talking, turned around and walked away, and I’m, like, “[panting].” He walked into the scene, and I’m, like, hot. I was still fuming from that interaction that we had. Not genuinely as Lexa but still bringing around that emotion. And that was hilarious because, I think it was Andy Mikita that was directing that came around afterwards, [and said,] “OK. You’re a little hot. Can we take it down a notch?” Because Beau, being the consummate professional, was fine. Just took that experience, filed it where he needed to file it, and then went into the scene playing his scene. Whereas I was still carrying around that rage.

David Read:
As she kind of would have to a degree but she would have had a night to sleep and think about it.

Lexa Doig:
It wouldn’t be as fresh. But it was useful. Working with Beau was an education I that regard too. Sort of, like, freedom because when you’re a Canadian actor in a service town like Vancouver, often the attitude when going to work is to try and figure out, or to give them what they want. They being the directors, the producers, whatever. One thing that I love working with a lot of American actors, [and] someone like Beau personifies this, is the commitment to being an artist which is “I’m gonna give you what I have, and we can work together.” Which is a terrific and a far more freeing… You become a better actor when you do that. But it is something that I think a lot of Canadian actors are afraid to do because they’re viewed often as this, like, “Just hit your mark and bark, and give us what we’re looking for,” as opposed to being an artist and bring what you have to the table in terms of the interpretation of your character. So that part was really freeing for me as well.

David Read:
I didn’t know that story. Thank you for sharing that. That’s really cool. And it makes a lot of sense though that that’s his kind of approach. This is a conversation that they probably would have had. If they didn’t have it before, they would have had it later, and we would have gotten a chance to see it. So, the implication is they’ve already had gotten it out of their system.

Lexa Doig:
Or it’s unresolved that they’ve had that argument.

David Read:
Did you get an impression that he requested her? Is that the impression that you got from it or was it just happenstance that they got assigned together?

Lexa Doig:
I think he requested her.

David Read:
Oh, no! So now she’s got that baggage to deal with. It’s, like, “Would I really have gotten here under my own merits?” Now I’ll never know.” It would piss me off.

Lexa Doig:
I think it’s a combination of things. I never actually talked about it with Beau, but I felt there was probably a list of doctors that opt for that particular job, and he approved Carolyn.

David Read:
Yeah, probably.

Lexa Doig:
I think she did get there to a large degree on her own merit. But I think he definitely was very happy to have her work there, to try and fix their relationship in some capacity. Because I do think that was the hardest thing. Because Beau is such a lovely human. To look at that sweet face of his when he was trying so hard to connect and for her to be, like, “F*** you.”

David Read:
“Go ahead. You yell at that face.” I was on set during the filming of the episode where you guys go to the other planet, and everyone is dying from the prior plague. And I saw [an] exchange between Mitchell and Landry. There was a great scene that did not make it into the final cut. And I’ve always wondered if Cameron and Carolyn had had a relationship prior to the show. Did you get that impression? Because it suggested that they were a thing for a little while at least and then came together on the base.

Lexa Doig:
I never got that impression. I got the impression that maybe they were angling Carolyn to be a love interest for Mitchell, eventually. It never happened. It was interesting because I know I’ve been asked if there’s anything more that I would have liked to see with Carolyn. Because she wasn’t in a ton in Season Ten. And I’m, like, “Well, there was, like, galactic annihilation, and the Ori, and all kinds of really big things that they needed to maybe wrap up that were possibly a little bit more important than my character.” Call me crazy. So, in the service of the overall story, I think Carolyn sat exactly where she needed to sit. It would have been interesting. That would have been hilarious to see Michael’s reaction if [I was] the love interest for Ben Browder. Although Ben is lovely, please don’t get me wrong, I think Michael might have had an objection or two.

David Read:
Some of the best Stargate photos are of Ben planting a smooch on Michael online.

Lexa Doig:
Oh my God, they’re hilarious. Never mind the fact that it gets even funnier when they’re at conventions sometimes, it’s, like, people will mistake them for each other.

David Read:
Yeah, it’s a real thing.

Lexa Doig:
It’s hilarious, to a point where I think Ben was… We just saw Ben recently…

David Read:
SpaceCon.

Lexa Doig:
In San Antonio. And he was talking about being at some conventions where they had provided the photos, and he was, like, “None of those are me.” They’re, like, “Yes, they are,” and he’s, like, “No, they’re Michael.”

David Read:
Guys, you haven’t watched the show. Oh no!

Lexa Doig:
I just thought it was hilarious. I can tell them apart, just to be clear.

David Read:
I’m glad. I love the scene near the end of the series in episode called Family Ties where… We haven’t had you for a while, and there was always a question in my mind, “How are they going to resolve this? Are they going to resolve this kind of family dynamic?” And the wonderful scene… The actress is named Lillianne [Dieuique-Lee]. I will butcher her last name [so] I’m not even gonna try it… Where you made it clear, “Mom’s in town. Try reaching out to her.” She’s obviously open-minded. It was a wonderful scene at this restaurant, just not to have any kind of finality but a little bit of hope for the future, “Yeah, he can have his cake and eat it too. He can have the command of his career and still have his family.” That was a great scene.

Lexa Doig:
I just remember drinking a lot in that scene. Unfortunately, to keep myself entertained, my instinct is always to kind of go for what I think is the funniest part of [the scene]. Especially if the scene is already kind of serious and awkward, to find the funny in something is just… So, I just remember taking my glass of fake wine or whatever and just chucking it back and I don’t think they kept it. I was, like, “I can’t handle this. I’m just gonna drink all of my fake grape juice.”

David Read:
But it would have made sense for the character. Her parents are together in the same space since God knows when. She’s gotta pull her ripcord.

Lexa Doig:
Exact. And she doesn’t know how to handle it either. Because this is, you know, that awkward thing of being a kid who’s… I don’t know experientially because my parents are still together. They’ve been married for, I have no idea, over 50 years now. They’ve been married for a long time. So, I don’t know what it feels like to be a child of divorce, but I can imagine that it’s, you know… The thing that you’ve always wanted is for your parents to be together, but you’ve lived this whole life with them being apart. How do you forget all of that and then have… There’s just a lot going on in your mind, and your emotions, so to then not know how to deal with any of it, it’s just… Grab your wine.

David Read:
We’ve all been at those awkward tables where our running dialogue in our head is, “Wow. This sucks.”

Lexa Doig:
“This is happening, and I don’t know what to do.”

David Read:
But they’ve got you on a technicality and you ain’t going anywhere. Because you’re the lubricant between these gears. And it was one of my favorite scenes from the show.

Lexa Doig:
It was fun to shoot.

David Read:
They wanted to have you back for Continuum for that opening sequence when they run through the whole SGC. I talked with you briefly. That’s last time I saw you, after the premiere of that, and you said, “We were gonna get you,” and timing just couldn’t’ make it work, I think.

Lexa Doig:
I can’t remember exactly what it was. I think there was something about that. Because there was also… Was that the one where they were frozen?

David Read:
They went to the Arctic.

Lexa Doig:
When they went to the Arctic. Because I think Michael couldn’t go to the Arctic. There was something… Because they had asked if I could go, and I really wanted to go to the Arctic and there was some reason why I couldn’t and I can’t remember what it was. Michael would probably remember because he’s got a better memory than I do. That one was… I remember being bombed.

David Read:
Absolutely. That was a remarkable experience for that team. That was just… And what a good movie. Claudia just acted her ass off.

Lexa Doig:
She is the best. Honestly, that’s another thing, too, is, the opportunity to work with and become friends with Claudia Black was so amazing because she’s one of probably the most underrated actors in terms of… I don’t know why she isn’t massively hugely famous because of the amount of talent and intelligence this woman has. She should have, like, Cate Blanchett career. Honest to God. She’s that good. She’s incredibly good. So, to get to work with her, more peripherally than anything else, but mostly just to be friends with her, was amazing. And I know Michael loved working with her because of that level of talent and commitment.

David Read:
They gave each other so much. I’m sure that there were days on set that could have been frustrating.

Lexa Doig:
I think they laughed a lot.

David Read:
She is his irritant that makes his oyster make that pearl. And it all paid off in Unending where we got to see an aspect of what could this have looked like had it continued? Had they been cornered into an existence where they had nothing else? “OK, fine, let’s let our guard down.” What an end to the show. Man, oh, man. What did you think of him in the makeup?

Lexa Doig:
I thought it was hilarious. I can’t help it. I thought it was hilarious. I just think it’s funny. And interestingly enough, not inaccurate.

David Read:
Seen the folks?

Lexa Doig:
Exactly.

David Read:
Can you briefly tell the story of meeting him?

Lexa Doig:
Yeah. We met on the set of Andromeda when he was hired to, interestingly enough, play love interest to my character. And I apparently, I guess, won him over when I told a joke. Andromeda was largely studio shot so we had our personal trailers, but we didn’t have, like, a hair and makeup trailer per se. Because we were in studios, so we had rooms that we called the trailers, but they were just basically… There was the makeup room, the hair room, and across the hall from the makeup room was the special effects makeup room so if somebody had to go and get certain bits and bobs put on, they would be in that room. And I was in the hallway in between the two telling a joke which I don’t know if I can share.

David Read:
Please share. If you’re willing.

Lexa Doig:
Can I do it? I think I can do it. Hang on. So, the joke is… And I have to see if I can do this, if it will work. The joke is… Sorry, you’re seeing me in my track pants because I didn’t expect to get up. But the joke is… Trigger warning. It’s not polite, it’s a grown-up joke. How do you jack off a dinosaur? Like this, [running around the room].

David Read:
Because they’re so big.

Lexa Doig:
Because they’re so big. So, I was doing this in the doorway, and apparently that joke won him over. We hadn’t actually met yet.

David Read:
That’s great. Oh man.

Lexa Doig:
But we met. It was kind of, like, we just kind of knew, which was a bit awkward because I had a boyfriend at the time, and I had to break up with him. But we’d been only dating for, like, a couple of months. Not to dismiss my ex-boyfriend because he was a lovely man. Still is a lovely man. But Michael and I kind of knew. Like, I used to meet people that would say, “When you know, you know,” and I would be, like, “Shut up. How did you know?”

David Read:
You know.

Lexa Doig:
But I actually kind of [inaudible] because the same thing happened with myself and Michael.

David Read:
21 years married. Congratulations. That’s great.

Lexa Doig:
Thank you.

David Read:
Is it the humor? So, was it the humor that chiefly did it? Sensibility. He’s, like… I’ve had the pleasure of knowing him for a while, professionally. But his intelligence, his sense of humor and timing, his perspective on humanity… Great guy.

Lexa Doig:
He’s a good one. It’s funny because you mentioned the humor, and quite literally there’s not… It’s kind of, like, I say the same thing about having kids. Not a day of my life goes by where there isn’t at least one hearty bell laugh, as a result of just… And he and I have very similar senses of humor, so we definitely play off of each other. Just because it’s entertaining. It’s just our way of communicating with each other. But hilarity is our kids have now inherited that which gets even funnier when it’s now, like, a multi-person kind of thing.

David Read:
Now you’re confronted with yourselves.

Lexa Doig:
It’s so funny. Our son is turning into Michael. It’s hilarious. To the point where I’m, like, “Dude, that is an unearned cynicism. You are 18 years old. You have not earned that cynicism.” And it’s hilarious because now he’s, like, “I kind of have… Mom, I’m looking around at the world, I’m seeing what’s going on.” And I’m, like, “OK. You’re still young to be that cynical.”

David Read:
But after COVID we all aged more years than we expected.

Lexa Doig:
I think so. I think COVID did a real number on some [of us], especially the younger generation.

David Read:
We’ve all been, like, “Well, you know, I did go through that horrible mess so give me a couple of bonus points please.”

Lexa Doig:
Yes, which they absolutely get. But my son’s very introverted so I don’t think he minded so much. He hated school. And he was online with his friends all the time playing video games.

David Read:
Is he a gamer?

Lexa Doig:
Yeah. So, he was online with his friends. So, it didn’t affect him in the same way as it affected our younger daughter who was in school, and a very social person, and couldn’t see her friends, that I think it affected her a little bit more in that way. But it was hilarious. Now I’m, like, to my son, because he’s taking a gap year, “Get out of the house. You need to get out of the house.”
David Read:
Absolutely. There is certain… I would be so nervous because I went straight from high school into college. I’d be so nervous that I wouldn’t go back. I thought about doing that, and I’m, like, “I’ve gotta get through it. Otherwise, I’m gonna get hooked into a job. I’m gonna find something that I love and I’m going to always be disappointed in myself to never having finished my schooling.” But I understand some kids who gotta do it.

Lexa Doig:
It’s funny because both of our daughters took, like… [Our] older daughter took a bunch of gap years because she was trying to figure out what she wanted to do. But our younger daughter took a gap year, changed her major. She was gonna go into social justice and human rights at Simon Fraser University. And in her [inaudible] decided to switch to acting. She was gonna be a human rights lawyer! But no, we’re very happy.

David Read:
“We’re very happy.”

Lexa Doig:
Just from the standpoint of, like, it would make us massive hypocrites [if we said,] “No. Don’t go into acting.”

David Read:
They’re gonna find their place.

Lexa Doig:
She’s an artist. She always has been. You can’t really see it but that painting back there, she painted that. Not that you can really see it. I just realized it’s kind of fuzzy. She’s always been an artist. She’s a musician. She’s already put out some music.

David Read:
Is this Mia? Are we talking [about] Mia?

Lexa Doig:
Yeah. Mia.

David Read:
I love her single. I have it. I play it all the time.

Lexa Doig:
She’s done another one now.

David Read:
Really?

Lexa Doig:
Yeah. She’s got another one out. Are you talking about Yesterday?

David Read:
Yesterday. I play it all the time.

Lexa Doig:
She’s got another one called The Sound of It so you can find that on Spotify.

David Read:
I will. I will check that out. I will add the link to the description below everyone. Yesterday is really good. It’s soft and then it just hits these bits. And it’s a great piece of music. They are talented, your kids.

Lexa Doig:
She’s a talented kid. And she’s self-taught. All of the… She has a producer named Trent who finishes the song for her, but she plays all of the instruments with the exception of the drums because she doesn’t actually play the drums. But she plays… Like, the guitar solo in The Sound of It is her. She taught herself that. Even Michael said it, “This kid has always been an artist.”

David Read:
Apple doesn’t fall far from the tree.

Lexa Doig:
The apple is much better than the tree. And both Michael and I will say, like, “She’s far superior in a lot of respects.” And Sam wants to… He’s already started writing scripts, and things like that. And he’s always been a storyteller, since he was a toddler, and had all of his stuffies that he would, like, have these wild storylines for all his stuffies. And he would be happily in his room by himself because he had this incredibly active imagination that would create these worlds. So, I don’t think… I think there’s a certain amount of not getting in the way of your kids when they realize what it is that is actually calling to them and when they find their passion. But also, there’s this fine line of supporting them without pushing them, and without making it more important to you than it is to them.

David Read:
I’m having flashbacks of, like, “Go to college. Get your degree. And then get one job that you’ll have for 50 years and you’re gonna be happy.”

Lexa Doig:
“For the rest of your life.”

David Read:
And it’s just not how… It didn’t work out that way.

Lexa Doig:
I don’t think it ever was necessary… By design, I think, it was in some way supposed to work that way, but it certainly doesn’t work that way now.

David Read:
No. We find what we want as we move through life. I think the generations have changed in terms of what we want. “If this doesn’t work out within a certain of time, let’s try something else.” But as long as you’re supporting yourself, who cares? If you’re not, then that’s a problem.

Lexa Doig:
That’s the thing. As long as whatever you choose to, you can find a way. If you’re not gonna monetize that, the thing that you love, fine. But make sure you have enough skills to be able to have a job that gives you enough income to support yourself. But if you can find a way to monetize the thing that you love and make an income out of it, great. What’s the old saying? “If you do what you love for a living, you’ll never work a day in your life.” You know what I mean. Which is partially true. I would say there are always aspects of everything, even the things that you love, that you don’t love.

David Read:
Not. They’re necessary means to an end.

Lexa Doig:
Most actors hate auditioning. And if you don’t do it, you don’t get the jobs.

David Read:
I’d like to tap into that for just a second. You were talking about how you were frustrated with the choice you that you made in The Fourth Horseman with that scene. Obviously, a seasoned actor go into tears so I think you hit the note.

Lexa Doig:
I think Beau did it on his own.

David Read:
You know what? I don’t want to know that Lexa. Now with Zoom, interviews and submitting on tape, you don’t get to take a note from a producer or a casting director. You get to look at the material and pick one and pray. How screwed up is that?

Lexa Doig:
It’s very screwed up. There are a lot of actors. It’s interesting because Michael and I are very fortunate in that we’re married to each other. We’re obviously actors. It’s not difficult if I have an audition or if he has an audition to say, “Hey, can you be my off-camera reader,” and to know that you’ve got a relatively decent performer off camera who can do that. We’re also night owls so it’s totally normal to have to put an audition down at 11 o’clock at night. We’re very fortunate to also have a home that has a space that we have dedicated [to] as a taping room.

David Read:
You go in there and you do it.

Lexa Doig:
But most actors don’t have that. So, the reality is that most actors have to either go to a studio and pay for the space, or they have, like, rearrange their living room to make a backdrop to set the thing. It’s not a simple process for them to self-tape. And it often comes at cost to the performer. So that aspect of it is very challenging for a lot of performers. But even those like Michael and I who actually really enjoy self-taping from the standpoint of, we look at it as an audition. We go [and] give ourselves, like, maybe half an hour max, absolute max, but about 15 minutes to get the audition down, and be, like, “OK. It is what is it,” and send it off.”

David Read:
So, you don’t spend 10 hours on it?

Lexa Doig:
No.

David Read:
OK. I know actors who do.

Lexa Doig:
Yes, but that also has turned into a bit of a problem, is that sometimes there are performers that spend 10 hours getting the perfect audition, they get hired from that tape, but they can’t reproduce it on set.

David Read:
Oh my God! Yeah.

Lexa Doig:
Because they’re not accustomed… You get three takes, you know what I mean? You don’t

David Read:
In the end, it’s gone.

Lexa Doig:
They only get three takes. I don’t wanna create that impression but for the most part in television, you don’t have 10 hours to shoot your coverage of the scene. It doesn’t work that way. You’ve gotta get through the entire day’s work. So that is proving to be a challenge to some producers and directors who are hiring actors. And kind of like what you said about sending this tape out into the void, you get no feedback. You don’t know [if it] was that good [or] was it bad. Or you get a redirect that comes from the producer [or] director to the casting director, to your agent, and your agent says, “They want you to retape. But play it more this way.” That’s another cost if the actor doesn’t have the facilities, you know, [and] capabilities within their own home to just do it whenever. So, there’s a lot of actual logistical problems with that. But artistically it is more challenging because you don’t have that interaction in the room where somebody can say, “Hey, can you try it a little bit more like this and can you try it a little bit more like that?” Sometimes the redirects in the room aren’t because they necessarily wanna see it in this way that they’re directing you. They just wanna see that you can take direction.

David Read:
Makes a lot of sense.

Lexa Doig:
And you don’t get to do that with the self-tape thing. So, it’s a challenging thing. There are pros and cons to it. And trying to address the cons that keep the pros is always a challenging thing.

David Read:
That’s also a great note that I’ve never considered. Don’t spend 10 hours on this. Spend a half an hour on it. Try to simulate a day on set so you get accustomed to the pacing so that when you do get it, you go to that set, and you’re not screwed.

Lexa Doig:
For any actors that might be watching this that are out there that have to do that, don’t wait for the perfect take. Do the best that you can in the time… Give yourself a time limit to get it done. That is a more honest reflection of your ability to work in television. Let’s just put it that way.

David Read:
Absolutely. I have a few fan questions if you have a little bit more time.

Lexa Doig:
Absolutely.

David Read:
Tracy, “Have you ever found yourself drawing from your personal experiences or emotions…?” We kind of answered this one but I’m curious to come back around to it.
“…through any of the characters you’ve played?” Or do you prefer to keep things separated from your personal experiences and, “OK. This is a character space. Let’s explore this space in its own silo?”

Lexa Doig:
For me personally, I don’t think there’s actually a way to separate it wholesale from the standpoint of, like… You do Stanislavski’s magic “if”, like, you do very much use your imagination to imagine a circumstance where you’re bringing truth to these imaginary circumstances. That’s essentially what acting is. And because of my life experiences, that’s the only lens… I can only view the world through my lens of my life experiences. So yes, I’m always bringing my experiences and perspectives on things to every character that I play. That’s me being an artist and using that through. But in terms of direct correlation, not really. Not anymore. I think I did a little bit more when I was younger… The concept of substitution. I think I used that a little bit more when I was younger when I didn’t have as much life experience. And I didn’t trust my life experiences which might sound off but as an actor that is something that you have to kind of go, “No. I know what I know.

David Read:
That’s your toolbox, though. I can’t remember which actor told me. I’ve gotta remember this because I’m always referencing it. “I’m a French horn. This is what I do. I’m not a fiddle. Those notes would sound differently for me. I am a French horn.” So, I think it’s a great way to look at it. Raj Luthra and Cameron Lorogue [want to know], was there ever a day on set or a project, [and] you don’t have to name the project, where it’s, like, “Oh my God. I can’t wait to get this done,” and where you were through, it’s, like, “I [hope I never] have to deal with that again.” And how… Is it pep talks? What do you give yourself to get through that? Because you’re a professional and you gotta do your job. You gotta get the day in.

Lexa Doig:
I go home and I bitch to Michael. I fume and I rage and Michael, God bless him, rages right along with me, and, like, “Do I need to come to set?”

David Read:
He’s upset for you.

Lexa Doig:
Yeah, it’s, like, “No. I just need you to hold the space for me to lose my mind.” And honestly, the knowledge that every job comes to an end is very useful knowledge.

David Read:
Did you ever have to talk him down from really wanting to go into set?

Lexa Doig:
Oh, yeah. There were times where I’ve absolutely had to, like, “No, no. Honey, no, I don’t… No.”

David Read:
It’s just not gonna make it better.

Lexa Doig:
No, that will not make it better. But I think it makes him feel better. The idea that he could go down there and protect his wife

David Read:
Yeah, sure, absolutely. The Time Prophet, “Lexa, how often do you go back and watch something that you’ve created?” Or do you not at all? All the time? Almost never?

Lexa Doig:
Not by choice. It either shows up on TV, and Michael be, like, “Hey, look, it’s Andromeda!” And I’d be, like, “Oh God!” But not often. Sometimes. I actually went down the YouTube rabbit hole of trying to find… Because I was trying to prove something about myself at a certain age to somebody else, and it was footage from Video & Arcade Top 10 which is not cute. But I wasn’t acting. In my defense, I was being a host. But at the same time, it wasn’t like… I think it was to show Mia and I looked alike around the same age.

David Read:
She’s beautiful.

Lexa Doig:
Some of the very questionable eyebrow and fashion choices of the early to mid-90s. It’s good times. But no, not by choice. Because I’d rather live in the delusion that I’m a good actor than see the proof that I’m not as good as I think I am. But I do actually have to see my stuff when I self-tape because I have to edit the themes together and send them off. But I kind of just watch them once to make sure I sound [good], like, for technical reasons, and then just send it off into the ether because I don’t wanna know.

David Read:
So, each of you do you your own editing?

Lexa Doig:
Yeah, you have to do all of it. You have to tape the scenes, and then edit them together with titles, and send them off.

David Read:
So, fancy now.

Lexa Doig:
It’s not that difficult. I’ve got it down to a fine science now on iMovie. I just do everything on my phone because it’s just so much easier.

David Read:
Absolutely. Dwayne Hasket, “Was there any unique differences from Stargate to Andromeda other then you were wearing cotton?”

Lexa Doig:
Yeah, that part. It was nice to be able to play a character who was grounded in a reality that I was familiar with.

David Read:
You played three roles in Andromeda, right? I’ve not seen it.

Lexa Doig:
Kind of.

David Read:
The ship, a hologram, and an android. Am I right?

Lexa Doig:
Yeah. I mean, they’re all the same entity because Andromeda is technically the artificial intelligence so that’s just how she manifests. I made the choice to kind of separate them into different aspects of her personality for my own sake, especially when I had to do scenes with myself. And the writing was kind of leaning that direction anyway. But when I started to really make that choice, they really started writing it that way.

David Read:
The ship talked with herself. That’s interesting.

Lexa Doig:
It was fun and a little hectic to shoot those scenes.

David Read:
I bet.

Lexa Doig:
It was definitely fun. There was what we called the Andromeda A.I. which showed up on screen. There was the hologram. And then there was Rommie the robot, who was the android, who was the most human-like of the three of them. The hologram was less emotional, and then the A.I. was completely unemotional. So, the closer to human presenting the more human she got.

David Read:
I’ve gotta watch this show. I’ve been meaning to for a long time.

Lexa Doig:
It’s an interesting show. It’s a little bit dated in terms of the… That’s what I appreciate about Stargate, is that it’s not really dated. I think it stands up. Andromeda doesn’t just from the visuals perspective. We didn’t have a lot of money on that show.

David Read:
But you made it work.

Lexa Doig:
The work that was done with the money that they had, I thought it was really good.

David Read:
Last question for you. Brain Pain asks, “What do you think is so unique about science fiction compared to some these other genres that you get to play with?”

Lexa Doig:
The thing that I love about science fiction is the allegorical aspect of it and the aspirational aspect of it. I grew up watching Star Trek: The Original Series. And I can’t remember [but] I’m sure there are some fans that could tell me what it is. There was an episode where there was…

David Read:
Let That Be Your Last Battlefield.

Lexa Doig:
Thank you. Where, like, one half of the face was black [and] the other was white, or this was black, and that was white. And they were fighting each other based on these differences and being from the outside, it’s, like, “I don’t get it.” The crew of the Enterprise was, like, “I don’t understand. What is…?” It was very allegorical to a lot of the challenges that we face today. So, that ability to tell a story that you can impose on current events and maybe open your mind to different perspectives is something that I think sci-fi and fantasy to a certain degree as well has… That is the power of storytelling. To change hearts and minds, and to expand your perspective. And that’s, I think, [is] the main thing. And the aspirational aspect too. To imagine a society that we could maybe become one day is also, again, a little bit rooted in Star Trek, but I think it’s true of a lot of different things. But it is interesting to see, sometimes, you know, dark sci-fi. Which I also love, make no mistake. Where you sort of see, “Oh, humans haven’t changed at all. This universe [inaudible]. Assholes are still gonna asshole.”

David Read:
But we’re capable of such beauty at the same time.

Lexa Doig:
I think we are.

David Read:
Ted Danson said about that episode, in particular, when they created [it] in the 60s, the idea went right over the network’s head. But the young people in the audience knew exactly what they were talking about. I have to thank that show, and [Gene] Roddenberry for Brad [Wright], and Jonathan [Glassner], and Robert [C. Cooper], and all the people who came after who created such stuff that we love. Lexa, this has been a treat. Thank you so much for coming on. This is great.

Lexa Doig:
My pleasure. Thank you for having me. I really appreciate this. This is a lot of fun.

David Read:
And we will have Michael soon. A little tidbit out there. I haven’t said anything yet. I think he’s gonna close out our season again.

Lexa Doig:
I will photobomb the back of his [inaudible].

David Read:
Please do.

Lexa Doig:
With cats.

David Read:
I’m gonna wrap up the show on this end but it was lovely to see you again, and you take care.

Lexa Doig:
Lovely to see you too. Thank you so much.

David Read:
Bye. Lexa Doig everyone. Carolyn Lam in Stargate SG-1. I got it right. I appreciate you all tuning in. We’ve got hell of a show to finish off the season with you. Thank you so much to Tracy and Antony, my moderating team. I couldn’t get through this show without them. They prop me up and make me look good. Jeremy, Marsha, Summer, you guys are the best. Frederick Marcoux at ConceptsWeb keeps dialthegate.com up and running. My producer, Linda GateGabber Fury. If you enjoyed this conversation and you wanna see more content like this on YouTube, please click Like button. It does make a difference with the show and will continue to help us grow our audience. Please also consider sharing this video with a Stargate friend, and, if you wanna get notified about future episodes, click Subscribe. And giving the bell icon a click will notify you the moment a new vide drops and you’ll get my notifications of any last-minute guest changes. And clips from this episode will be released over the course of the next few weeks on both the Dial the Gate and Gateworld.net YouTube channels. Keep it on dialthegate.com for all of the upcoming episodes. We’ve got two coming up on Thanksgiving Day, here in the United States. And we got a few more before we wind down the season. My name is David Read for Dial the Gate and I’ll see you on the other side.