Sensors are up.
Where's that stealth ship?
It's supposed to be here.
Subtitled by sharkykh
Daniel Abraham and I were lucky enough to write episode two.
And... include some scenes from the book
that are some of our favorites.
Including a massive space battle around a mystery station.
The thing that we love about that battle
is that it doesn't follow the normal
Sci-Fi movie physics.
One of the things that's really hard about doing space battles
is having to be interesting.
'Cause we've seen a lot of space battles and they all have
kind of the same grammar, and they all have
the same geography, because it's space
and there's nothing there.
We all love Star Wars
and Star Trek, but Star Wars feels like
World War 2 fighter planes zooming around and dog fighting,
and Star Trek feels like submarines, where ships just sort of park
and exchange fire with each other, until one of them blows up.
And we didn't want to do either of those.
So our battle is much more about changing velocity,
finding places to hide from enemy weapon fire.
It's much more strategic, and actually getting to put that
on camera and on film,
and of course largely in CGI effects.
There's at least one shot in there
when the Rocinante is inside the Spin Station,
and taking cover behind the walls of Thoth Station itself.
This [is] genuinely not something I've seen before.
It's not an idea I've seen explored with
space battles or with anything like this.
We're down a thruster.
If we don't get that thruster back, then we're all done.
I'm going.
The battle of Thoth sequence is a great example
of how you integrate live actor action with
the incredible visual effects situations that we have.
Because it involves zero-g on-board the ship,
because the battle takes place not under thrust.
We decided very early on in the show's run
that weren't gonna try to hide the from
flying people on wires and zero gravity
and space suits and helmets.
We were gonna embrace the idea
of space as a character in the show.
And in a way that is rarely, rarely done because it's difficult.
When Amos goes down in between the halls,
he's floating around in zero gravity.
He gets smacked around, and the only thing
that's keeping him on the halls is, he's got his mag-boots.
There are scenes when he's like, getting banged around,
up and down and thrown inside
as the ship's moving around him and slamming him into the walls.
What the hell was that?
Wes kinda loves getting banged around.
I mean, he was... he was in the navy,
and he really loves the physical side of things.
We had him up in that stage,
and he was on wires and he's getting slammed around.
There is a stuntman in there for some of the more
extreme stuff, but you can see it's Wes in there.
We didn't do any face replacement or any fancy stuff like that.
It's like, when you see his face, that is him.
Surprise, assholes!
Nice work, Alex! Well done!
Whoo-hoo!
At the beginning of season two,
Holden, having just come off of Eros with Miller,
they're the only two people in the solar system who had experienced
what the protomolecule does, and had experienced
essentially genocide, and they're looking
to find answers anyway they can.
In this season I think you start to see how Holden
becomes less of an idealist.
And what's amazing about it is that
the kind of lyrical arc between Holden and Miller.
Miller finds something to believe in, in Julie,
and starts to become more idealistic himself.
While Holden starts as an idealist,
and as he moves more into the real world,
becomes more gray, and more of a realist.
So, at a certain point, they kind of cross over,
and I think that really culminates with the execution of Dresden.
Because Miller feels it's the right thing to do,
and Holden has calculated that he needs him.
We have a really interesting history
in science fiction and genre fiction in general,
about the idea of redemptive violence.
The idea that
problems are solved and justice is served
by shooting the right guy in the head.
And this is kind of the acid test to that.
Holden just sees a man out for revenge.
And that they had sacrificed
a lot of people, and put themselves in harms way
for nothing, essentially. They're back to square one.
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