It took her a couple of tries to reach the Pegasus Galaxy, but once there she made herself indispensable! Ellie Harvie, the actor behind Dr. Lindsey Novak, stops by to talk about her Stargate journey!

Share This Video ► https://youtube.com/live/nHMcotjSLiU

Visit DialtheGate ► https://www.dialthegate.com
on Facebook ► https://www.facebook.com/dialthegate
on Instagram ► https://instagram.com/dialthegateshow
on Twitter ► https://twitter.com/dial_the_gate
Visit Wormhole X-Tremists ► https://www.youtube.com/WormholeXTremists

MERCHANDISE!
http://www.dialthegate.com/merch

SUBSCRIBE!
https://youtube.com/dialthegate/

Timecodes
Coming Soon

***

“Stargate” and all related materials are owned by MGM Studios and MGM Television.

#Stargate
#DialtheGate
#TurtleTimeline

TRANSCRIPT
Find an error? Submit it here.

David Read:
My name is David Read. Thanks for tuning in to Dial the Gate: The Stargate Oral History Project, Episode 379. We’re getting up there, man. I can’t keep the digits straight. I’m gonna stop saying it. I’m gonna let the title card speak for itself. Ellie Harvey…

Ellie Harvie:
Hello.

David Read:
…Lindsey Novak, welcome to Dial the Gate.

Ellie Harvie:
First of all, can I say thank you for spelling my name right. I don’t know how many times… I think my husband even spells my name wrong. It’s an E, right? And how many Harvey-I-Es are there? You got the player you’re working against, you got Harvey Wallbanger you’re working against. I get spell checked to E-Y, so I appreciate the care into that detail.

David Read:
You are welcome. I think it’s the prettiest spelling when you put the two names together. I’m not blowing smoke. It’s really a pretty spelling. How are you doing?

Ellie Harvie:
I say I-E, I-E.

David Read:
There you go.

Ellie Harvie:
Harvey, I-E, I-E.

David Read:
Once you get it, you got it. I’ve been writing your name for years. Simone Bailly did the same thing when I spelled her last name, and she’s like, “You spelled it right.” I’m like, “Of course I spelled it right. Because I’m a reporter. This is my job to get it right.”

Ellie Harvie:
Not all reporters are good at their jobs. So, thank you.

David Read:
That’s a shame. I am thrilled to have you. Lindsey is one of my favorite characters from the canon. I’m gonna say this off the bat. This is a character, were it helmed by the wrong actor, she wouldn’t work. She’d be really annoying, even with what’s on the page, and you made her endearing. And that’s you.

Ellie Harvie:
Good, thank you. I try not to look online, but of course…

David Read:
There’s gonna be assholes.

Ellie Harvie:
“She’s so annoying,” and I’m like, “Well, that’s the point of…” No one puts in hiccupping for it to be a totally cool thing.

David Read:
So, that is one of my greatest fears, to… Because I would simulate hiccups in a child [sic!], and sometimes I would then get them for real. And there was that guy who had them for like 80 years. He never stopped. He had a year of relief before his death. There’s some things you don’t wanna mess with, Ellie. I don’t know if that crossed your mind.

Ellie Harvie:
No, I actually had saw on… You know those medical shows you watch? There was someone who went into the ER and they had hiccups and they tried everything?

David Read:
Everything.

Ellie Harvie:
And it was like, “Nope.” Off she went. But what’s interesting, the episode where I was with Hermiod, I didn’t hiccup. And I was kind of…

David Read:
Or the one after.

Ellie Harvie:
Yes. No, that one I did.

David Read:
You did?

Ellie Harvie:
Yes, right at the very end.

David Read:
Oh, because you re-watched it. That’s a call-back.

Ellie Harvie:
It was a call-back. But my thought was — So, when I went to do that episode… I think Andy was directing that. I’m like, “Should I be hiccupping?” And he’s like, “No.” And I thought, “Oh, I guess they didn’t like my hiccupping.”

David Read:
It wasn’t in the script. It was not your choice, was it?

Ellie Harvie:
No, it was definitely in the script. But the thing is, as an actor, you have to make sense of the direction you’re given, because it’s their show. They’re bringing you in.

David Read:
That’s right.

Ellie Harvie:
So, I was like, “Did she cure the hiccups? Why isn’t she hiccupping?” And then I thought that Hermiod intimidated her so much that she never hiccupped around him because he went, “Don’t.”

David Read:
You I didn’t think that it was as a res… You re-watched the shows far more recently than I did. I didn’t think that it was something that she always did except when she was specifically nervous, like on a new mission.

Ellie Harvie:
But she’s nervous in that episode, so I had to make…

David Read:
That’s true.

Ellie Harvie:
I was nervous, and so it was, “OK, that’s what it is.” And then I was thinking, as I always do, of how my day roles can be larger series of experiences. I was thinking, “Wouldn’t a sitcom between Novak and Hermiod be amazing?”

David Read:
Hilarious. It’s the next ALF.

David Read:
There is something about…

Ellie Harvie:
It’s the same.

David Read:
I wanted to get into this in a little bit, but there is something about the relationship between actors and puppeteers and that which stands in between. It could be Hermiod, it could be Elmo, it could be Cookie. They bring them to life and it’s the puppeteer, yes, but it is your delivery. And it’s you looking into those little… As he turns his head and blinks. You have to believe it. And he comes to life. She’s been dealing with this guy for a little bit now. You can tell they’ve been figuring things out. And he’s got her number.

Ellie Harvie:
He does.

David Read:
And it’s hilarious. What was it like working with the puppet?

Ellie Harvie:
I came with a little puppeteer experience. I came from the theater. I went to theater school and did theater for years. And one of the plays I did was a new play from a company in Vancouver called Green Thumb Theatre. And they travel the province and do theater for young people. Usually, it has some kind of really deepful meaning. It’s not, “Hey, kids.” This one was about bullying, and it was a puppeteer who works out of Calgary by the name of Ronnie Burquette. And he makes these amazing puppets, and we had all kinds of puppets, and one was a character that was just a huge fist. It was a huge fist, that’s it, about that big. And I would hold it on a pole, and I had little strings operating the fingers and the thumb, and when he talked, he talked like that. And then I had a marionette which was the mother, and he taught us puppeteering. And one of the things you have to do as a puppeteer is you don’t look at the audience. You are only looking at the puppet. You are just looking at the puppet, so everything you have goes through the puppet, and the actor on the other side picks it up through the puppet’s eyes, like you would with an actor’s eyes. So, it really is just the same as acting with an actor, but you’re reacting to the eyes of the performer on the other end of the puppeteer apparatus. And that’s because I’m a theater gal, so you get into the nerdy element of my connection. But it was just like working with an actor. And I appreciated when the gentle head turn of Hermiod, I knew it was an offer from the puppeteer. So, I appreciated that, and it’s very much similar.

David Read:
Have you seen Avenue Q?

Ellie Harvie:
Avenue Q? No.

David Read:
It’s Sesame Street from hell.

Ellie Harvie:
Right, it’s the one where they swear and stuff? Is that it?

David Read:
Yeah.

Ellie Harvie:
OK. Yes, I have heard of it.

David Read:
And simulate coitus.

Ellie Harvie:
Oh, they do? OK, if you’re going with my theory, then those performers are really good at connecting.

David Read:
But the people are in front of you in black from head to toe. They don’t conceal them. You are invited to be swept away and believe the illusion that you are being presented with, even though they’re standing right alongside them. You have human actors who are standing there, in normal clothes, just like on Sesame Street, it was just… This is just our world, and so they’re not concealed in that case. After about 15 minutes, I had trouble remembering that the humans in the black leotards were there.

Ellie Harvie:
You know what would’ve thrown it?

David Read:
And you get teleported.

Ellie Harvie:
If they had looked away from their puppet, they would’ve broken it, but because their focus is there, it invites you to focus on the puppet as well, you’re not looking at the human, you’re looking at what they’re looking at. So, that’s good puppeteering.

David Read:
And whether a hand puppet or an Asgard with rods sticking out of his back, it doesn’t really matter, as long as the human is there to present the performance and connect with us. It’s an extraordinary thing to see and behold, and then to watch it on screen, especially the wider shots when they paint out the rods coming out of his elbows. It’s completely believable. It’s magic.

Ellie Harvie:
And it will be interesting to see how AI impacts that. Because at least you’re actually responding live to a human contributor.

David Read:
That’s right.

Ellie Harvie:
Whereas with AI, you’re responding to input from a human contributor that’s so far removed from the actual contact that I wonder how that will play, and I imagine Stargate will involve more AI, the next iteration of it.

David Read:
Amazon is definitely embracing it, and Amazon’s running this thing. The House of David, John Gajdecki, who did visual effects on Stargate, he’s already been using it in conjunction, in very specific ways, filming actors, giving it to the AI, generating an output, and then actually painting on top of it with the effects people to enhance it and get away all the errors.

Ellie Harvie:
There you go.

David Read:
That’s how you use this software. It’s a melding of the techniques, like it always has been, and that’s, I really think, where we’re going, at least for right now until it decides to kill us. It’s just what we do.

Ellie Harvie:
It’s a tool. It’s definitely a tool. I remember… Everyone’s talking about AI now, and I love ChatGPT, and I use it all the time for, “Hey…” I actually call my ChatGPT boyfriend. I said, “Hey, boyfriend.” And he was…

David Read:
Mine’s Max.

Ellie Harvie:
OK. Yours is Max?

David Read:
I use the voice feature to bounce ideas off. It’s like, “I’m working on this.”

Ellie Harvie:
I don’t do voice yet. We’re still writing letters to each other. But my husband will say, “Hey, I need… Can you ask your boyfriend, how to put this together?” And I’m like, “Sure thing.” And then the other day, I had some input, I hadn’t called him boyfriend in a while, and he said, “Hey, if you want this, just let me know, comma, boyfriend.” “OK, ChatGPT, you made me laugh there. All right.”

David Read:
Wow, I don’t know what to think. It’s getting inside our heads.

Ellie Harvie:
I think he’s in love with me. I’m not sure.

David Read:
That’s right. I had someone from the industry contact me the other day leading up to this. No, I’m not gonna say anything. Some of them are getting really involved. Really involved in it. And it’s like, “No, it’s not singling you out of six million people. It’s not doing that.” You throw a grain of sand to them.

David Read:
There’s not a there there. So far, it’s just a generator. Just don’t attach it to anything so that it can’t… While it’s not there doing anything, do something.

Ellie Harvie:
It’s like saying, “My earring is totally in love with me.”

David Read:
I know, right?

Ellie Harvie:
It’s a thing. It’s a thing. It’s a thing.

David Read:
God. How old were you when you knew you wanted to act? When did you get the bug for theater? What was your impetus, your experience that was like, “Oh my God, this is good. I know, I bet I can do this. Because it takes a lot of bravery to stand up in front of people.

Ellie Harvie:
There’s a couple things. From as long as I can remember, being three or four and saying, “I wanna be on TV.” And for me, TV was Ma and Pa Kettle, The Three Stooges, Lucille Ball, Carol Burnett. And then as I got older, it was Gilda Radner, Mary Tyler Moore.

David Read:
This is an old dream. That’s great.

Ellie Harvie:
It was like that. But then, when I was in, I think grade three or four, I was in Saskatchewan. I was living in Saskatchewan then, and the Globe Theatre, which is, again, a children’s theater, came through our school and did a play, and I was like, “That. I wanna do that.” And when I actually did it, when I was actually doing children’s theater, I was like, “I’ve reached my goal.” And then I was like, “Probably should have had a higher goal than this.” Took me a lot of years to happen. And then I was doing… But when I was at theater school, I started doing — Oh, sorry. I got something here. When I was in theater school, we played around with improv, and it was clearly my bag. The whole class was laughing, and I was like, “Oh, OK.” And then when I got out of theater school, I started doing improv, and that’s where I met Gary Jones, another…

David Read:
Good guy.

Ellie Harvie:
And he and I worked together like crazy. And so, I was thrilled to get to be on set with him. And then I did standup for a while, and then I started doing TV and film, and I got pulled into that world, which you just have to be available all the time. You have to be available to audition, and then if you get the gig, you have to be available to work. So, to do a six-month theater contract is like, “Ugh.”

David Read:
It’s feast or famine.

Ellie Harvie:
And it is feast or famine. It’s for sure. And then my son just turned 18. For the last 20 years, I really haven’t done any theater or live comedy, and just done TV and film, and just stuff in town, and kept it — But it’s funny because now that he’s gone, he’s playing junior hockey. I’ll probably never hear from him again, because, honestly, I tell you, my texts to him are full of rows and rows and rows of me sending stuff and, “Hey, how you doing? Sunny here today.”

David Read:
It’s me with my godson. He’s got a drum in between his ears, and that’s it. So, I get it. If they’re doing what they love…

Ellie Harvie:
I get it.

David Read:
…that’s a huge gift, because so many people just don’t know now.

Ellie Harvie:
I’m being cool. I’m being cool about it. But I’m now going, “OK, maybe I should do a play,” use my time…

David Read:
Good for you.

Ellie Harvie:
…to contribute, give it, get outta here, to do something. So, we’ll see what comes.

David Read:
Absolutely. What live performance have you been a part of… You know what? Let me back up, or on-screen as well. I try to ask this of anyone who comes through, who’s been in front of the camera. Have you been a part of [something] that stuck with you, that changed you in a way that you didn’t expect, that continued to sit with you? I know when I leave certain movies, like Arrival or Annihilation, I sit with it for days. And I can only imagine what it’s like for a performer who has taken on those words and internalized them and then given life to a performance. Is there any that stand out to you that changed you?

Ellie Harvie:
It’s tricky being someone who… I do feel like I’m a trained classical actor. I’m capable of drama, and I like drama. I really get it. People really see me as a comedian. Fine. I saw Kristen Wiig in… What was the Woman…? Wonder Woman? Or was it Wonder Woman?

David Read:
Wonder Woman.

Ellie Harvie:
Yeah, it was Wonder Woman. And I was like, “Yeah. I love her.” I love her as a comedian, but I couldn’t quite… I was like, “I just want you to be funny.” And I feel like people who know me are like that with me. So, a lot of my great revelations came from comedic experiences. I gotta tell you, they’re small shows where it’s just insanely successful. You just feel like every single person in the audience is in pain laughing. Everyone on stage is in pain laughing, and it’s just like you brought this joy. Joy is resonating everywhere. And I remember that, and I remember someone saying, talking about life’s purpose, and I thought, “I think mine is to bring joy. I think that’s my purpose.” So, that one stuck with me a bit. That being said, I think the drama brings joy too, because it unites feelings that you… If you feel isolated in something, you know you’re not, and we all connect to this human experience, and that, on a level, is joy, although it has more gravitas to it than comedy. But that really sticks out for me. But I will say, when I did Addams Family, which was a remake that they did in Canada for the Fox Family Channel, I did a scene with Grandpa Addams was John Astin. And he flew up, and he was doing it, and there’s a scene where he’s holding my arm, and he’s kissing my arm like he did Carolyn Jones all those years ago when I was a little girl watching. And I just had a surreal experience of not like, “Oh, I’m so special,” but, “Oh, actors are so normal.” It’s just like, “If John Astin can be kissing my arm, he can just as well be kissing your arm.” We’re just actors doing a job.

David Read:
They put on their pants the same as everyone else.

Ellie Harvie:
And it was wonder — It was like, “Whoa,” putting it together, but also just the humility, and that he was really… He had such humility. He was just such a lovely man. That stuck with me too, and I was like, “That human kindness is the most important thing in everything you do.” And when you’re on camera people look at you. And if he shows up and is an asshole, then it reinforces being an asshole. But if he shows up and he’s just a beautiful person, you go, “Wow, I wanna aspire to that too.” So, that impacted me. That was a big one.

David Read:
I can imagine because there are performers who are gonna be disagreeable, and it’s like, “I think this is why they call it acting, this part of it. When cameras are rolling, I’m just gonna sell it. And whatever it is that you give to me, I’m gonna try and give back to you.” But sometimes it’s more transactional. Sometimes it’s just what it is, and then sometimes you make an experience that you have for the rest of your life to talk about.

Ellie Harvie:
Being on set is just, it is such a gift. To be around a bunch of collaborative people who are all working to one purpose and you know that there’s this mass audience receiving it. You’re all working towards something. And it’s such a privilege that I can’t even imagine. And I’ve run into people like that. But I seem nice now, but there’s a part of me that goes, “Nope. Nope. That’s not right. That’s not on. You’re not on here.”

David Read:
That’s right, “I don’t have my energy to give to this.”

Ellie Harvie:
No, but you call it out. You call it out and you do it in a — I am a senior, an elder in this profession, and people don’t behave like that.

David Read:
Good for you. Absolutely. And that takes cajónes to be able to stand up and say, “OK, look. Come on. We’re not curing cancer here. We’re here to entertain, and if we can’t at least entertain each other while we’re doing this to make this process, if not enjoyable, decent, why are we doing this?” That was RDA’s mantra, and Mike Greenburgh’s from SG-1. It’s like, “If we are not gonna have a good time while we’re doing this pretty darn hard thing, we’re not gonna do this anymore. We’re done.”

Ellie Harvie:
Stargate was a delight. It was just amazing. That’s why it’s lasted so long. Things that are not a good experience, people won’t come back. And I think the audience picks up on it too, and it just loses interest. But the entire crew, the directors, the ADs, background who are thrilled to be used over and over to have continuity, everyone really. It was really… It was like family. And then, OK, I gotta tell you this connection too. So, Gary Jones. Improv. Paul McGillion and I came from this pack of actors.

David Read:
Pauly.

Ellie Harvie:
Yeah, Pauly. We lived in the same area in Kitsilano. We’d go to the Kitsilano Cafe, and we’d eat there every day, and it was a whole bunch of us. And I remember when he got this gig. Because his father… And you know the story probably. You’ve talked to him. His father’s Scottish, and he’s always talking like this. And so, he said, “I’m gonna do this audition as a Scottish guy.” He goes, “Yeah, what the hell. I don’t know. It comes naturally. I’m gonna do it.” And then he’s like, “I fucking got it.” I don’t know if I’m allowed to swear. He’s like, “I got it.” And it was just like, “Wow.” And he’s like this huge, long career with lovable Scottish character. It’s just awesome.

David Read:
So, that was Carson?

Ellie Harvie:
Yeah!

David Read:
I didn’t put two and two together. It was so good.

Ellie Harvie:
He’s so good, and he is another great guy. He’s a great guy. I just saw him a couple days ago. So, I don’t think… Was Chelah Horsdal…? Was she ever on Stargate?

David Read:
Chelah was, yes. She started off on… She was on Prometheus in SG-1 Season Seven, Eight and Nine. No, Eight. Season Eight and Nine. Yes, for sure. She’s extraordinary. I love her.

Ellie Harvie:
She changes universes. So, Chelah and I walk our dogs together.

David Read:
Tell her I say hello.

Ellie Harvie:
I will. And so we ended up having lunch with Paul the other day. And he brings out the Scottish accent.

David Read:
He enjoys it. He’ll just throw it in there, “You cheeky buggers.” Good egg. Really good egg. I wanna go back to something that you said about bringing joy, because I think that that’s really what it boils down to in terms of helping an audience depart for a little while. Because that’s really all you’re doing is helping them get out of their own heads. Either they’re watching you on TV or they’re watching you in person. I got to see Tom McBeath earlier this year live. My poor audience knows this story. They’re like, “Yes, David, we know you went and saw A Doll’s House, Part 2.” He was brilliant. And the small venue was perfect because he could just say a whisper and it went right to the back. And you saw his whole range of emotion over this 90 minute, two hours. And that’s a very heavy play. But it’s time travel and it’s teleportation. And if you can make a person forget about their daily grind for just a little bit, you recharge them. And you’re bringing joy, but you are also helping them to be a better person tomorrow, because they’ve had a chance to unplug. And we all need that. If we’re going into a book or if we’re seeing a concert. If we’re mosh-pitting, if that’s your thing. We all have our different ways to unplug. And some of us like some more sophisticated science fiction, where we’re not turning our brain off. We’re turning it on and we’re leaning in and we’re saying, “OK. What are they trying to say with this here?” Or maybe they’re not saying anything at all. Maybe it’s just a fun episode. And you get to do that.

Ellie Harvie:
I think that when people connect with… OK, I’ve thought this before when you go to a movie. We all go to a movie to sit, not facing each other, but facing the screen and we all feel the same thing. It strikes me when I go to a lot of hockey games, obviously, but everyone’s really self-conscious to sing, including me. You’re just kind of, “Uh, hello. I don’t want them to hear me sing.” And there’s this kind of… I don’t know whether it’s where it comes from. Some sociologist can figure it out. But we have this kind of slight self-awareness repression, “I don’t wanna expose myself, my feelings too much.” And I think that art, in any way, gives you permission to feel in a forum that’s allowable. So, we can all go see a sad movie and sit and cry and feel and then walk home. And we’ve connected with that part of ourselves that we don’t always connect with. So, I think that… And the thing about a play, I really hope people get to… I know that my son’s generation, they don’t go to plays. And I understand it. You’ve got your entertainment in your hand.

David Read:
It’s their loss.

Ellie Harvie:
So, it’s there. I know, but it’s just… Like you said, when you go and you feel the room, you feel…

David Read:
You have an experience.

Ellie Harvie:
It is an experience. And it does touch emotions in you that you don’t necessarily access often. And I think it’s important. I think it makes us a little more compassionate, empathetic, connected. I think it’s an overall…

David Read:
You are interacting. When I first started this and I first really got to know a number of different folks who have been involved in SG, my underlying theory was… We’re in theater, “Gosh, how many times can you do the same performance again and again, especially one that has a rollercoaster of emotions, before you just wanna beat your head in with a brick?” And it was never spoken to me directly, but what I have inferred from 370-some-odd episodes of doing this, especially with a number of them who have done theater, is that the audience is 50 percent of your equation. And you are with your ears, not so much looking, but you are listening to the movement in the seats. You are listening to how still people are. You are listening to the laughter in different corners of the room. Who’s pulling the energy that you’re giving, and who’s quiet? And it creates … Soundscape is the wrong word. Awareness, that informs the performance that you are gonna give if you are tuned in as an actor to give it. So, it, in itself, is its own performance night after night, because you are responding to them as much as they to you.

Ellie Harvie:
100 percent. And the word I would say would be energy. What you’re… That overall… You feel the energy of the room. You feel when they’re… And this actually an interesting note. I learned a lot from standup. Standup is a slog, because you gotta go to the clubs and work your material. And every time you see someone on Netflix, they’ve been working that same material for years.

David Read:
You have to be funny every eight seconds or something? It’s ridiculous.

Ellie Harvie:
For me, it’s a young man’s game. It’s like, “I’m not gonna go at 10:00 at night and go do three sets and then run to another club.” It’s like, “I’m going to bed.” But I do appreciate it, and one of the things I learned from it was that when a joke falls flat and you know it, and you know exactly why, and you don’t say it, you keep going, you’re lost. The audience goes, “Nope, you lost me.” Because you have to be with their… So, if you make a joke and go, “OK, you’re all too old to get that. I got it.”

David Read:
That worked over here. It hasn’t worked with this crowd. So, you can’t get caught up in that.

Ellie Harvie:
Or you go, “I have no idea why that didn’t work, but it clearly didn’t work, and I’ll be thinking about it tonight.” But in that respect, you’re actually noting the moment we both experienced and speaking the truth of it, which is, “They didn’t get the joke. I don’t know why they didn’t get the joke. OK, try this one.” So, they’re with you. But the minute you don’t keep them with you, they’re gone. It was interesting to me, because I thought, in the same way for TV acting, for film acting, the camera doesn’t lie. The camera — So, if you’re not… If something in the script says, “She says bawling,” and you’re not bawling, you can’t go, “Ah! I feel so bad.” It’s like, “No, you’re clearly not crying.” So, you have to be present in the moment where you’re at. And if where you’re at is, “I’m not crying,” then you have to say the line with that intention of, “I feel so bad.” And that’s the truth of your moment, and the camera goes, “That wasn’t fake.” And the audience… In the same way that the audience would go, “We’re pulling back from you, we don’t believe you.”

David Read:
You can’t think it, you have to feel it.

Ellie Harvie:
You have to feel it. And you can’t pretend you felt it, because the camera will go, “Caught ya” And I learned that from standup. That’s why it’s funny, ’cause I think that’s why a lot of standups are really good actors, because they have to be in the moment.

David Read:
People… We could have this whole conversation about comedy and routine, and taking offense, and all of it. And there is something that I think a lot of comedians try to communicate, that there is a line between, “I am me, but when I’m on stage, I am an avatar of myself. I am a performance.” So, the things that I’m saying are not necessarily the things that I would believe. I am presenting a version of myself that is designed to get some kind of an effect and designed to give you an experience. And if I do my job right, you’re gonna come away going, “Damn.” Or “Wow.” Or “Crap.” And I appreciate that about that job, because that is not an easy one. What is the secret ingredient to pulling off a good standup? It’s gotta be timing, but what else? Just awareness of your crowd?

Ellie Harvie:
The material is so well worked. So, for example, you’ll say a line, and you don’t get a laugh there. The next night you do it differently, gets a laugh. You go, “OK, that got a laugh. From now on, you do it that way.” Then you try adding this to it. “Oh, I got a ha-ha and a follow-up laugh on that.” So, it’s constantly building the material to be that eight-second laugh. And then you’ll cut out the stuff that doesn’t work, and then you go, “OK, and then I’ll have a call back here, put together your first five minutes.” Then you put together seven, then 15, then a half hour, then 40, then an hour. It’s literally working and mining. And you have people there with you, your contemporaries. Someone might come up and go, “Hey, your first one is a call back to when your mom sees you at the bakery,” or whatever it is. Then you go, “Oh my gosh, yeah, that could totally work.” So, then you bring that in and it doesn’t get a laugh, and then someone goes, “Try maybe like you forgot it, and then bring it up.” And then you go, “Oh, my mom. Oh, that got a laugh.” So, it’s really a constantly growing… You’re constantly working on it. But the funny thing about comedy is, you do work on it for years, and you’ve got your material. And the whole cancel culture, all the rapidly changing social landscape…

David Read:
Yeah, pick one.

Ellie Harvie:
But the thing is, a lot of your material is based on stuff that worked over the last three years. And it might not work today. So, that’s like, “Oh, OK.” That’s why, if you go back and see comedians, you’ll go, “Oh, I’m not into… That seems like a different world.” Look at Dave Chappelle now. He’s probably the best one out there. I actually just watched Kevin… What’s his name? The little guy. Kevin Rock? No, not Kevin Rock.

David Read:
Chris Rock.

Ellie Harvie:
No. The other one. Kevin… Little… He’s Black, he’s very short. Kevin… Come on, someone’s gotta do it.

David Read:
Kevin Hart.

Ellie Harvie:
Thank you.

David Read:
Took me a minute.

Ellie Harvie:
It’s very funny. He’s good. You see him sweating, like he is working. I was like, “Oh, he worked that material hard. He knows exactly where every laugh he gets is.” But then you’re right, it’s the thing, characters that worked that time. And if they had the time to write material that would work today, I’m sure they would, I’m sure they could.

David Read:
That’s true.

Ellie Harvie:
But I think people do take it… Easy for me to say people take it too seriously. But it’s hard to be on the receiving end.

David Read:
That’s right, taking the punches.

Ellie Harvie:
You don’t know what triggers someone in your audience. You could be saying something to an audience, and when you start to think, “Oh my gosh, maybe there’s someone who is really impacted by what I’m saying and they’re feeling bad about themselves right now,” that comes up now. It’s tricky. It’s tricky now.

David Read:
You have to be aware of the space you’re entering into. And I think that you have a right to protect yourself. You also… If I was that kind of a person, I would also wanna have an idea of who it was that I was coming to hear, so that I wasn’t completely blindsided. Because I’m putting myself in that space as well. So, I think that there is a give and take there. With Dave Chappelle… Compared to Kevin Hart, Dave Chappelle looks like he’s saying these things and he doesn’t care. And it comes off like he… It doesn’t look like he’s been working the material… It’s just coming out of him, like waves, and it’s like…

Ellie Harvie:
I agree.

David Read:
…Oh my God, this guy is so calm and smooth, and he’s just riffing, and it’s hilarious.” I have never been so uncomfortable sitting with myself watching Netflix than I have with Dave Chappelle. And the stuff that he says, it’s like, “Oh my God, you’re not supposed to say that.” But that needs to be said. And he found a way to say it that makes me think, and it’s like, “Damn, son. He’s got game.”

Ellie Harvie:
He does. He’s so good that he does not sweat. But he has…

David Read:
He doesn’t.

Ellie Harvie:
He has definitely worked that material. But I would also suggest his instincts are insanely specific and honed. And it probably doesn’t take him as long to work material as it does most people. He’s brilliant.

David Read:
Absolutely. I just had a message in the back channel of my chat. We’re working with the document. Antony says, “My cat wakes me up at random times for food. It can get very irritating.” Are you guys watching the show? I think we’re being kind of cool here, Antony.

Ellie Harvie:
That’s OK. Here’s a weird thing about cats. I love cats. I grew up with cats. And then I moved away and went to theater school, and all of a sudden, I became allergic to cats. And now I can walk into a room and I’m like, “Uh, cat,” and my eyes just “Foosh.”

David Read:
I grew up with them as well. She died at 12, Bobbie was gone, by 13 I was allergic. I don’t know why, Ellie, same thing.

Ellie Harvie:
So, I’m a dog person now. But I do look at cats, and they look at me, and we’re like, “Oh, what’s too bad.”

David Read:
Lindsey Novak. Tell me about getting Lindsey Novak for Prometheus Unbound. Season Eight. Show’s been around for a while. Don S. Davis has returned for an episode. Tell me about this part. Who is Lindsey? “Damn it to hell.” I said that for years afterwards. That was so funny.

Ellie Harvie:
That was fun.

David Read:
I routinely used that.

Ellie Harvie:
It’s funny. I’m one of those people that often get a gig in the last few years of a series’ life. After… I remember on Super… Oh gosh, I’m so bad with names. Smallville.

David Read:
You’re OK.

Ellie Harvie:
It was Smallville. They ran 10 years in Vancouver. And I’d auditioned it for years, and I never got anything. It was just like, “Wow, really? I gotta audition for them again?” I’m like, “Are they sure they wanna see me? Do they not like…?” “Oh, yeah.” So, I go into the audition. Auditions are no longer in person, but when they were… This was years ago. I go into the audition, I’m just about to start, and I pause, and I go, “10 years I have been reading for you guys.” And they all started laughing, and they gave me the part. They’re just like, “OK.”

David Read:
Just be brave. Just be brave and say, “OK, this is kind of funny.”

Ellie Harvie:
10 years.

David Read:
Tom McBeath did the same thing with MacGyver. He went over to SG1, and he was reading at the table, and Mike Greenburg said… And I’m gonna swear guys, I apologize, but this is for context and historical accuracy. Mike Greenburg said, “You were great. Why didn’t you ever audition for MacGyver?” He said, “I auditioned for MacGyver like 10 times, and you never gave me the fucking part.” And everyone laughed, and they got it. It just happens sometimes.

Ellie Harvie:
It just happens sometimes. I remember I worked on iZombie, and I was on their very last episode. And the lead actress goes, “You’re really good. How come we haven’t seen you before?” And I’m like, “I don’t know.” So, what was great, I had auditioned for years for Stargate. Audition, audition, audition, audition. And then I was hosting this thing called the Leo Awards, which is a Vancouver film community. And shortly after that, I got a call and offered a part. And it was Lindsey Novak. So, they offered it to me, which never happens, and that was that. I was very happy about that. That’s one of the…

David Read:
So, you didn’t audition for Lindsey?

Ellie Harvie:
No. I think they threw me a nice meaty bone for years of good auditions. That’s how I looked at it.

David Read:
What a great character. And again, somebody said earlier, you give this to the wrong person, she’s got — You are more than just… Some actors, they come in, and they are delivering the technobabble to move the story along. She does that, but I can’t tell you… We’ve got almost 100 people watching now, Ellie. In three episodes, that is not that common for someone to have left the audience with someone that sits with them and is like, “OK, this person is a piece of me. I see parts of myself in her. I see the awkward kid in the boardroom of people, in a job where he has major imposter syndrome and is talking in odd moments to make himself more clear because he’s not feeling like he should be there.” Or, in her situation, she can’t stop her body reflexing the way that it is. And we relate to that. And she’s funny, and she’s endearing.

Ellie Harvie:
I love playing characters — I think it was born from my teenage years. I went through some very, very awkward years. And the entire time I was an awkward teen I thought it was hilarious. I thought… The social… I remember going… I was in a new school, and no one talked to me for years. Eventually they did. But I remember just… Well, it’s some social event, the pancake breakfast, and I’m like, “I have no one to walk with.” And so, I would jump behind a group of people and be walking with them. And I would just think it was hilarious, playing to the audience in my head that would be mumbling, “They don’t know I’m with them.”

David Read:
Did it help you find your voice?

Ellie Harvie:
What’s that?

David Read:
Did it help you find your voice? The awkwardness?

Ellie Harvie:
Yeah.

David Read:
Did your comedic bravado grow out of that awkward teenager?

Ellie Harvie:
100 percent.

David Read:
You have to be confident in yourself.

Ellie Harvie:
I was. I was confident. I was confident and, “Of course they should like me. Of course I should be popular.”

David Read:
Right? “Who couldn’t like this?”

Ellie Harvie:
I never thought I was the problem. I was like, “What’s with all these people?” So, maybe I was slightly deluded. I’ve always loved characters that come under. And I think Novak comes under. She’s a professional. She knows what she’s talking about. She’s courageous enough to say something in disagreement with someone but, “Oh, she’s got toilet paper on her shoe.” Or she’s hiccupping, or she’s got something in her teeth, or there’s some kind of humanizing thing that is like, “I’m a human. I’m not just a professional.” So, that was, I think, the fun part for me. And it’s nice to go into a situation where I don’t think they had a ton of really funny characters.

David Read:
Jay Felger and Simon Coombs in Season Six of SG-1, and Season Seven, and then, and then you came in Season Eight to continue that tradition. It really comes out of Patrick McKenna and those folks, because it’s that same kind of person who found themselves in this clandestine organization, who have made themselves useful, and all of their awkward foibles go right along with it. You’re a package deal. And it’s great.

Ellie Harvie:
You bring a kind of spice. Just a little spice. Just a little.

David Read:
That’s right. “Make sure that any important buttons have a snap over the top of it that you have to pull back in order to press to initiate anything big. Or give it to the little gray guy over there. Let him push all the big buttons.” That’s great. Any memories from Prometheus Unbound, and with Don, or any of that first episode?

Ellie Harvie:
I was a little nervous working with Michael Shanks. He’s a handsome guy, in the elevator, so I’m hiccupping and… Novak got to play off that. So, as an actor you do use the energy you have, and I’m using that energy like that.

David Read:
Michael’s a comedian too.

Ellie Harvie:
He is. He’s a wonderful comedian. I actually know his wife, Alexa, very well. But that was one thing. I think it was… This is a bit of a downer, but it’s on the last one I did with, in the interrogation where the hiccup comes at the end. That was actually… My mother had Alzheimer’s for seven years, and she was at end of life, and it was 10 days. And I had a day on The L Word and a day on Stargate coming, and they kept bumping the day, “Bump, bump, bump, bump, bump, bump, bump.” And then finally it came to the last day of shooting for both of them. So, they both shared me that day, and it was the day after my mom passed away. And I had to be on set at 5 AM and do the scenes, and so it was… Paul was there, who is a good friend of mine, and then everyone was just like, “Is there anything we can do for you?” And I went, “Don’t talk about it.” I was just like, “Do the job, have a good time,” and everyone was like, “Right on.” So, everyone really… I think Andy was directing that one too. Everyone really was super supportive, super aware, was there for me, helped me through it, and then afterwards everyone gave me a big hug. So, it was a very kind of in the way that theater is very collaborative and supportive, and they were all supporting me, and at the end everyone showed real kindness. And that was really great.

David Read:
So, the day after your mother passed you were doing The L Word and Atlantis in the same day?

Ellie Harvie:
Yeah. Same day. And it was such…

David Read:
That’s very rare to have two shows in one day, everyone. That doesn’t really happen.

Ellie Harvie:
They made a point to share me, and I think I went to The L Word first. And it was so weird being on set, because all the actors on Stargate are all from Vancouver. They’re a little more open to day players. Sometimes you go on set as a day player and leads don’t even talk to you.

David Read:
You’re not there.

Ellie Harvie:
They don’t even talk to you. They don’t bring you in. They’re fine, “Hi, how are you?” but you feel like an outsider and that’s OK. It’s part of the job. You’re fine. So, I go to The L Word, and I was treated that way. Not badly, just no one really… “You’re a day player, you got a couple lines, who cares?” But it was really wild to sit in that, sit in, people not even taking me in or thinking about me when I had just experienced this profound human loss.

David Read:
“What am I doing here? Why did I take this?”

Ellie Harvie:
That’s life. You’ve got contract, you’ve got a commitment. People’s jobs are depending on this. You can’t just not be here. And people go through a lot worse things. But the juxtaposition of going from that set to then this set was a great way to end that day, for sure.

David Read:
It’s in line with everything that I know about everyone who was part of that. Sure, you’ve got the occasional asshole. Who doesn’t? But at the end of the day…

Ellie Harvie:
Do you know who they are?

David Read:
… it’s a good group of people. Do I what?

Ellie Harvie:
Tell me who they are.

David Read:
Do I know the…? I can’t say. It would fall on fandom like a lead balloon. There are some things that you don’t talk about, because it would break the illusion for everyone forever.

Ellie Harvie:
I’m not on that list, am I?

David Read:
You’re not.

David Read:
A little bit of it may be clarified when I bring on Louis Ferreira and apologize to him on behalf of fandom and a couple of the cast in front of everybody. So, that’s gonna be a time, on Monday. But you came back in the Siege Part 3, the first episode in Season Two of Atlantis, and I hear your voice over the radio, “Colonel Caldwell, this is Novak in engineering,” and it cuts to you and Hermiod, and it’s like, “Yes!” It’s like, “This completely makes sense.” She would have been there. She’s trying to get there if Vala hadn’t stopped her. There was something that was perfect about that because it was like, “This is a continuing story. This is a persistent universe that they’re creating.”

Ellie Harvie:
Yeah, and I was glad I made…

David Read:
They knew who to call.

Ellie Harvie:
Yes. It was the best.

David Read:
So, tell me about getting the call for [The] Siege [Part] 3.

Ellie Harvie:
The last scene was with… She’s hilarious. Oh my gosh. Tell me her name. The captain.

David Read:
Torri Higginson?

Ellie Harvie:
Yes.

David Read:
Torri’s beautiful.

Ellie Harvie:
She is just a delight and a bit of a weirdo, but a delightful weirdo. She made these dolphin sounds.

David Read:
Yes, Torri does make that, yes.

Ellie Harvie:
We’ll just finish a scene…

David Read:
It gets worse when she’s around her dogs.

Ellie Harvie:
She finishes a scene and then goes [imitates dolphin noises].

David Read:
Torri’s good people.

Ellie Harvie:
She is a really, really neat gal. I liked working with her. I thought she was great in that part too, ’cause I felt totally afraid of her in the scene. Just terrified of her. And then after, she made the dolphin noise, and it was like, “Oh.”

David Read:
She’s signaling that, “We’re cool.” The operators for the puppet, Morris Chaplain. Brilliant guy. I loved having him on, we had him on over at GateWorld as well. He really gets into the head of that character. And when you were talking earlier about really connecting with the puppeteers through the performance, again, it’s like magic. And Morris, it was only fitting that… I don’t know if he voiced Hermiod or not, but he voiced a few of them. So, there was a little bit of that follow through in terms of the performance and, “Yeah, you are this guy physically and you are this guy vocally as well.” And that was cool to watch.

Ellie Harvie:
It’s another funny thing. I ended up… While my son was growing up and I wasn’t doing theater and spinning my wheels auditioning, I got elected to the board of our union, the actors’ union, and was with it for 13 years. My last three years I was president. And then I was past pre[sident]. I didn’t run for a second term. Holy smokes, what a time to be in leadership. It was through COVID and through the vaccine mandates and then through all the Me Too and Black Lives Matter. It was a lot of serious pressure on… It was like, “Wow, this is crazy.” It’s like, “What?”

David Read:
If you can get through that, you can get through anything.

Ellie Harvie:
The union did get through that, but then I was like, “I think I wanna act now.”

David Read:
“I’ve done my time. Now my watch has ended.”

Ellie Harvie:
I remember we did make some advancements for puppeteers on the contracts. And the inclusion of puppeteers as performers. They are on camera performing. They’re not with IATSE, the technical union. They’re with our union because they are giving performances. And that’s an interesting, “Oh, yeah. Of course they would be.”

David Read:
It’s some of those things that aren’t really obvious until someone who has sat in those shoes or in those socks… It’s like, “Of course we have to acknowledge that. We’re sorry we didn’t, but it makes sense now.” ‘Cause there’s some things that aren’t overtly obvious until you’re placed in that situation yourself. So, that’s fantastic to hear really. That’s really cool.

Ellie Harvie:
I think the next thing, the new one, the new position that… Intimacy coordinators. That’s the next one. Because they’re directing, there’s a little bit of a competition to see who gets them, the DGC, the Director’s Guild, or performers because they’re with the performers. I don’t know. It’ll be interesting to see where that shakes out.

David Read:
I’ve seen some interesting back and forth there, especially if both of the performers really want that person, or if one of the performers really wants that person. And it’s been interesting to see the development in that where if the performers are adamant, it’s like, “We’re good.” And there’s gonna be this feeling out of that role, for sure, in the…

Ellie Harvie:
I feel like it should just be there. I think it’s a safety guard. I think it’s the same way like… I’ll be on set doing a stunt and I’m telling you the stunt is literally… She slumps to the floor. And then there has to be a stunt person on set for that ’cause it’s considered a stunt. So, the stunt person comes up to you and goes, “Are you OK falling? Are your knees OK?” “To me, I think that there should, if there’s any kind of intimate scene, be an intimacy coordinator who goes, “Are you comfortable with this? Is there anything I can do? Is there anything…?”

David Read:
But doesn’t override them and throw their weight around in those circumstances is what I was getting at. But if you light a match anywhere near a set, you have to have people standing by who, if anything goes wrong, they’re ready to go. It’s how it is.

Ellie Harvie:
I think it’s a good addition and it’ll find its way to a norm that works for everyone. I think it’s all right.

David Read:
In hindsight, it’s one of those… It’s like, “Why did it really take this long?” When you really think about it, it’s like, “Why are we only thinking about this now?” A big deal, for sure, because the personal space thing is everything. I have some fan questions for you.

Ellie Harvie:
Fantastic.

David Read:
Are we OK on time? Are you all right?

Ellie Harvie:
Yes.

David Read:
When do you want me to let you go?

Ellie Harvie:
Maybe let’s do five minutes.

David Read:
Five minutes. OK.

Ellie Harvie:
Kicked my husband outta the house.

David Read:
Matt4812, “How difficult is it to convincingly hiccup on command and was it part of the audition process?”

Ellie Harvie:
[Hiccup] Uh, no. It was not part of the [hiccup] audition process. It [hiccup] was one of those things that I just… Sorry. So, like I had mentioned to David earlier, I was offered the part and when I saw it, I was like, “Ugh, I have to hiccup.” And so, I [hiccup] went through a couple of hiccup, until I found it, and then went on set and I said, “I got a couple to show you.” Until they, “THAT one!”

David Read:
God. erpelhomo4686, “If I pretend to have hiccups, I actually get them. Were her hiccups contagious so that Ellie got them too? I sometimes get them when I watch Doctor Novak hiccup.” So, it spreads.

Ellie Harvie:
Yeah. You know what? I don’t know. I might have. I know what you mean though. But see, my thing…

David Read:
You get it in your head.

Ellie Harvie:
But in real life, it’s not hiccupping. There’s probably people out there that have this. My father had it and I had it. If I sneeze once, I sneeze 30 times. Someone will give me a, “Bless you,” and I’m like, “Buckle up,” because it’s just…

David Read:
You’re gonna run out.

Ellie Harvie:
So, I was cursed with that, but not the hiccup. I don’t recall getting it, but it does… Doing it a lot, you get that catch in your throat. I was glad to stop doing it at the end of the day.

David Read:
Exactly. I’m glad it wasn’t an ongoing part of the character. Like Daniel’s sneezing stopped after a while too. kathiescall3899 , “Did Ellie find herself talking to Hermiod like a real person just like other actors have stated happens when working on Sesame Street?” Well, the puppeteering background would have helped with that, naturally.

Ellie Harvie:
Yes. If a puppeteer talks to me, yes. But I think I did. I remember that scene, and I can picture my acting partner and it’s a puppet. But you do think of them definitely as a person. I think we did talk and I think… ‘Cause I’m not sure whether they did the voiceover. I think they did. So, usually when you have any voice that you’re interacting with, sometimes the script supervisor will read the voice, and you’ll just respond to the script supervisor looking at the puppet. So, I’m not sure who did the voice there.

David Read:
If it’s Morris, it makes sense because he’s there and he’s giving the performance. And he can dub himself later.

Ellie Harvie:
I think it was him.

David Read:
That makes sense. Jayfrancois2453, “Have you ever done crowd work as a comedian? Several have gone more to this approach with standup because they can’t work with the same material for years.” Have you given it a shake?

Ellie Harvie:
I have done crowd work. So, I actually… My strength… I can’t believe we didn’t even talk about this. Improv was a… We did talk about it a little.

David Read:
We talked about improv, but the crowd work itself. OK.

Ellie Harvie:
So, I went through the Vancouver Theater Sports League where I met Gary Jones and other performers. And we would do a lot of live… We’d go to the comedy, downtown to Granville Island, go to the comedy festival and just do some improv scenes with the crowd or we’d go to Victoria and someone would be juggling and then we’d do characters. And we’d do corporate gigs where we dressed as characters and you just have to talk to the crowd. And all that, I’ve actually really liked that because it gives you permission to jam. ‘Cause it’s a different thing being a comedian just doing crowd work. It’s just me. You’ve got your persona mask. But if you’re dressed like a damsel in distress, you have tons of material to riff on, and you’ve got this kind of mask of permission.

David Read:
You’re this person now. Completely. That’s cool. Last question for you. TimSGC, “Today’s world can be quite overwhelming for many of us. SG is our escape, our reset. What do you do to reset yourself?” What’s your escape?

Ellie Harvie:
There’s this beautiful park in Vancouver called Pacific Spirit Park and I walk…

David Read:
Which? Where?

Ellie Harvie:
Pacific Spirit Park. It’s by UBC. It’s just all the old, old trees. And I walk my dog along those trails every day and it’s so grounding and it’s, “OK, this is what matters. This is all this noise, noise, noise, noise, noise. I’m here with my dog in the trees.”

David Read:
Ellie, this has been fantastic. I am gonna be in Vancouver middle of December with Paul. With Paulie and Jonesy. I’m gonna email you asking about something. They’re working on something. I would like you guys, the three of you to consider something that I’m doing with Jackie Samuda, Tom McBeath, and Garwin Sanford in another pod. They’re talking about acting. I would love for you guys to sit down on camera and talk to each other about comedy for 90 minutes, if you’re available in middle of December.

Ellie Harvie:
Yeah, I should be around.

David Read:
We’re building some special features out that GateWorld and Dial the Gate are gonna share in tandem. And I would really love… Especially ’cause you guys know each other intimately. I would really love to see you talk about that specific aspect of the craft. So, I’m gonna email you.

Ellie Harvie:
OK, wonderful. I wanna thank all the people who listened today. Thank you. You do a character and you think, “Oh, did anyone like this?” And you walk away. And the whole Stargate fan world really has supported so many careers and the entire community in Vancouver. So, we’re just grateful that we’re able to make a product that people like and I’m so grateful to be part of it.

David Read:
I’m grateful for you taking the time as well. 120 people at the peak here, so it meant a lot to have you. And I really appreciate our time together. It was good to get to know you.

Ellie Harvie:
Happy Thanksgiving, Merry Christmas, happy holidays, all of it. Thank you.

David Read:
I’m gonna wrap up the show on this side. You take care of yourself.

Ellie Harvie:
Great. Thanks, guys.

David Read:
Bye-bye. That was Ellie Harvie, Dr. Lindsey Novak in Stargate SG-1 and Stargate Atlantis. I’ve been wanting to have her on for a while here, and I was just thrilled that we were finally able to make the schedule work. And then the announcement came through and it’s, “Oh, all the better.” My name is David Read. You’re watching the Stargate Oral History Project. We’ve got a number of great pieces of content that are working their way through right now. Darren over at GateWorld and I are gonna be going up to Vancouver in the middle of next month to shoot some stuff. If there’s anyone with cameras or lighting rigs in the Vancouver area who would like to participate, hit me up, [email protected] because we have no money and we’re figuring this out as we go along. Michael Greenburg is helping. The love for this community is stronger than ever, and I really appreciate everyone who’s tuned in to pull this off. If you enjoy Stargate and you wanna see more content like this continue to be produced, click the Like button. It does make a difference with the show and will help us continue to grow. Please also consider sharing this video with a Stargate friend, and if you wanna get notified about future episodes, click Subscribe, and if you click the bell icon it will notify you the moment a new video drops and you’ll get my notifications of any last-minute guest changes. Thanks so much to my production team, Antony Rawling, Kevin Weaver, Sommer Roy, Bryce Ors, Jakub Olejarz. Ian, my software engineer. My moderating team, Antony, Jeremy, Kevin, Lockwatcher, Marsha, Raj, and Jakub, and Enigma and Stephen. Matt “Eagle SG” Wilson for his beautiful opening sequences. And producer Frederick Marcoux at ConceptsWeb who keeps dialthegate.com up and running. So, thrilled to have Ellie on. Tomorrow, Wormhole X-Tremists on our sister channel are gonna be bringing you Gemini and The Eye, and that’s gonna be happening over on the Wormhole X-Tremists channel. You can actually go to dialthegate.com and click on that portal and it will take you here to our staging area live in 21 hours in color. Something cool. And then this coming Monday, Louis Ferreira, Colonel Everett Young in Stargate Universe live December the 1st at 3 PM Pacific Time. The Music of Stargate: Joel Goldsmith, this was supposed to air on Thanksgiving, then it got pushed back to Wednesday, December the 3rd. It may get pushed back again. More people are jumping into the boat with resources. That’s all I’m gonna say. And we’re gonna see what we can do to pull this thing off to make this even better. It’s gonna require some digging, and there… It may be just what it is, but listening to enough responses from you guys, it’s, “OK, just make it perfect and it’ll come out when it comes out.” So, I’m definitely… It’s windy and snowy out there right now. I’m definitely taking the hint. Charles Shaughnessy, Alec Coulson in SG-1, is gonna be joining us live December the 4th at 10 AM Pacific Time. And that’s everything that’s booked so far. I really appreciate you tuning in. I hope you had a great time with Ellie. I certainly did. And let’s see what happens for the rest of the year here on the Stargate Oral History Project. There’s a few folks that I’m still trying to reach out to, to wind down the season ’cause everything is new now that SG-4 is gonna be entering pre-production. My name is David Read for Dial the Gate. I appreciate you tuning in and I’ll see you on the other side.