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Now that we’ve completed the tour through David’s large Stargate props, costumes and set pieces, it’s time go go smaller! Let’s take a look at some less obvious items which amass the length of the three television series.

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Timecodes
0:00 – Opening Credits
0:33 – Welcome and Episode Outline
1:22 – Storyboards from “The Fifth Race”
3:56 – Atlantis Logo Laptop Decals
4:37 – Stargate Command and SG-1 Mission Patches
5:59 – Catherine Langford’s Memorial Pamphlet from “Moebius, Part 1”
7:48 – O’Neill and Carter’s Additional Wedding Photos from “Point of View”
8:42 – O’Neill’s Photos and Correspondence from “Cold Lazarus”
10:10 – Michael Shanks Production Images from SG-1 Season Two
11:35 – Cameron Mitchell and Grandfather Photo from Stargate Continuum
11:55 – The Truth About the Pyramids Replica from Stargate Continuum
14:45 – Atlantis Communication Earpiece
16:44 – Replicator Blocks from SG-1
18:18 – Asgard Stone from “Unending”
21:27 – Mimic Device from “Bounty”
24:01 – Alien Grenade from “The Daedalus Variations”
25:27 – Wraith Grenade from “Suspicion”
26:42 – Wraith Homing Beacon from Atlantis
27:27 – Ancient Crystals from Atlantis
31:10 – Alien Grenade (Now with Working Lights)
32:04 – Jaffa Tattoo Stencils from SG-1
33:56 – Janus’ Briefcase from “Before I Sleep’
37:27 – Jaffa Knife from SG-1
38:43 – Homeworld Security Badge from Universe
39:13 – Stargate Clamp Segment from SG-1
41:36 – Genii Radio from “Underground”
42:17 – Ancient Panel from “Aurora”
42:45 – Nakai Memory Devices from “Space”
44:41 – George Hammond’s Wedding Ring from SG-1
45:40 – Eye of Ra Crystal from “Full Circle”
47:09 – Nirrti’s Medical Device from “Rite of Passage”
48:25 – Evil Asgard (Vanir) Sidearm from “First Contact”
49:37 – Ancient Pedestal Panel from “Window of Opportunity”
50:25 – Dial Home Device Constellation from SG-1
52:00 – Ori Helmet from “Crusade”
53:48 – Ori Prior Staff from “Origin”
56:46 – Sodan Staff from “Babylon”
59:20 – Telchak Device from “200”
1:02:23 – Ancient Communication Stones from “Citizen Joe”
1:03:40 – Kino from “Water”
1:04:59 – Ancient Scanner from “Infection”
1:07:10 – Atlantis Administrator’s Office Logo Replica
1:07:59 – Preserving and Maintaining for the Future
1:09:14 – Wrap-Up
1:11:17 – End Credits
1:12:12 – Stay Tuned For More…

***

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

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TRANSCRIPT
Find an error? Submit it here.

David Read:
Hello and welcome back to Dial the Gate: The Stargate Oral History Project, I’m David Read. I’m gonna invite you into my dining room for this episode. The first episode, we walked around the house and saw all the different pieces in my Stargate collection and some other series as well. We’re gonna focus more on smaller, compact pieces that are not on display in my house, but are often in boxes, normally. I went through my collection and pulled out not everything, but about 80% of stuff that I think would be interesting, ’cause a lot of it’s just random. We’re gonna go through those pieces now with Remington and Martin and I hope you enjoy this second half of my collection. I’m really excited about these. You saw the storyboards yesterday for the opening of the show. This is from “The Fifth Race.” These are original.

Remington Phillips:
Very critical set of storyboards.

Martin McClean:
That is cool. There’s so much more detail in there than you think would necessarily be created for you. You think there’d be some framing information and stuff that they wanted, but it’s exactly as, in some senses, how the scene was shot.

David Read:
The pencil sketches blow me away.

Remington Phillips:
We almost have Jaffa lines.

David Read:
There are Jaffa lines there, absolutely.

Remington Phillips:
Really good.

David Read:
They’re in shoes at this point.

Remington Phillips:
With their little feet. It’s so cute.

Martin McClean:
What were the original Asgard made from? This silicon?

David Read:
Yeah.

Martin McClean:
That was the frame?

David Read:
Yeah. One from The Outer Limits.

Remington Phillips:
Silicone and rubber.

David Read:
O’Neill turns to look from Aliens I and II down the corridor. Just a photocopy. I’ve already drawn that. I’m not gonna draw it again.

Martin McClean:
I really love this design of their corridor. How it was really represented over there. It’s really fantastic.

Remington Phillips:
They really drove home the point of just how many Asgard would have come, out of curiosity, to the gate room in this drawing.

David Read:
What’s going on?

Martin McClean:
I’m assuming there was a lot of digital Asgard in that scene, obviously.

David Read:
Yeah, it’s a set extension. It was a matte painting that Ken Mathison did.

Martin McClean:
It’s beautiful. Great work.

Remington Phillips:
The Asgard got much more detailed on these close-ups. This is a fantastic set. Again, you’ve got nine pages for this scene.

David Read:
Nine of them.

Remington Phillips:
Is that a significant number when it comes to these drawings? Were they made in sets of nine?

David Read:
Quite possibly. Nine Chevrons.

Remington Phillips:
Because it’s nine.

David Read:
I was really excited to come across that, so this is really cool.

Remington Phillips:
This is a great key set of pages.

Martin McClean:
Super impressive how much data goes into this.

David Read:
What else we got, Remington?

Remington Phillips:
We’re gonna switch franchises. Not franchises, but we’re gonna switch series.

David Read:
Look at this. Do you know what this is?

Martin McClean:
The Atlantis logo?

David Read:
Yes. They’re laptop decals. That’s right.

Martin McClean:
On the back. Yes. And they used the Dell laptops?

David Read:
Yes.

Martin McClean:
From there.

David Read:
Dell provided them, I’m pretty sure for free. Production was like, “We don’t get any.” Only the ones that appear onscreen, Dell provided them. Dell was supplying the Pegasus Galaxy. I always thought that that was cool. Very nice.

Martin McClean:
It’s a sticker.

David Read:
I don’t even know what’s coming.

Martin McClean:
Some mission patches.

David Read:
Not all of the patches were actually thread. Some of them were printed. Walter Harriman’s specifically was. That may be one of his, so for the SGC Mission Control Specialists. When Claudia Black came along, she had such a smaller frame, they made Vala-sized patches. I don’t know if you noticed.

Martin McClean:
Yes, I did actually notice they were smaller. The ones you often see on Daniel’s character and Jack and stuff, they look quite big on there. When we were looking at them, prior to that, we’d seen them rather large yesterday. Sorry, why the screen printing inside there?

David Read:
I don’t know. Maybe to save money. I’m not entirely sure. Did they run out? It’s odd because we have SGC patches. I’m curious. I would love to talk with some of the folks responsible for that. I always thought that this was cool.

Martin McClean:
It’s so tiny though.

David Read:
The Icarus base, the patch that I have for Icarus base that we saw in Part One, is a female version. It’s not the standard size.

Martin McClean:
So, they literally do scale them for people’s frames?

David Read:
Uh-huh.

Martin McClean:
Interesting.

David Read:
Scale them for their frames. That’s it.

Remington Phillips:
Some paper props.

David Read:
Paper props.

Martin McClean:
Paper props.

David Read:
Does this ring any bells whatsoever?

Martin McClean:
No. Not at all. Catherine Langford’s funeral?

David Read:
Yep. If you’re looking closely at the scene, you see people carrying them.

Martin McClean:
Yes. I didn’t realize they had gone to the extent of actually creating a pamphlet like that inside. That’s a huge amount of detail.

David Read:
I was a huge proponent at MGM at the time for the set of Catherine’s bedroom to take this. I sent them the image and I said, “Put this picture of her and her mother in the set.”

Martin McClean:
Makes sense.

David Read:
Couldn’t get them to do it.

Martin McClean:
Couldn’t do it. That’s too bad.

David Read:
I was like, that’s such a nice little nod.

Remington Phillips:
It would have tied things together.

Martin McClean:
It would have helped.

David Read:
There were several suggestions that were made with the Harcesis and the DHD. If you go through their book, the mission book that they have, there’s a picture of a Goa’uld in there. The Germans say it’s just the DHD, it’s just like the one in Germany. It was stolen by the Germans after World War II and that’s all a part of SG-1 canon.

Remington Phillips:
That’s right. That would’ve been nice.

Martin McClean:
I think it would’ve been nice.

David Read:
It would’ve been such a nice touch. But nope.

Martin McClean:
I suspect that the internals there are created, that have some reference to someone, I would imagine, whoever created that.

David Read:
I would suspect so.

Martin McClean:
I don’t think they’ve just created that though. I’m sure they probably looked at it from something that had personal meaning to them.

David Read:
I’m sure. It’s possible.

Remington Phillips:
David, you’ve got some rare items here that I know a lot of fans would be driven wild for.

David Read:
Oh, my God, I wish there were. I don’t remember specifically. There were more wedding photos than just the photo that we saw of Jack and Sam.

Martin McClean:
Wow. And you had somehow managed to procure them?

David Read:
Yes.

Martin McClean:
Wow. OK.

Remington Phillips:
David was actually Jack’s best man.

David Read:
Yeah, I was 13.

Martin McClean:
Wow. That’s really cool. I’m sure a lot of fans would be very keen to have replicas like that. It’s very well done.

David Read:
Do we have more from Jack’s family?

Remington Phillips:
We may have some additional Jack family heirlooms.

David Read:
So, in “Cold Lazarus”…

Remington Phillips:
Terrific episode.

David Read:
Yep.

Martin McClean:
It was. So, this is from “200?”

David Read:
No, that’s from “Point of View.”

Martin McClean:
“Point of View.”

David Read:
Season Three.

Martin McClean:
I’ll turn it.

David Read:
That’s way back. Look at this hair.

Martin McClean:
This was Jack’s son?

David Read:
Jack’s son, Charlie.

Remington Phillips:
Charlie.

Martin McClean:
I think this was maybe in his bedroom or something like that/

David Read:
Some of these were in Charlie’s bedroom. Some of them were in Jack’s cigar box.

Martin McClean:
This was a great episode. Forgive me, I don’t remember the actress’ name here, but she did a wonderful job.

David Read:
Harley Jane Kozak.

Martin McClean:
She did a wonderful job. This was great.

David Read:
Sarah O’Neill, Winter Park, Colorado, HQ US Air Force, Pentagon. Jack O’Neill.

Martin McClean:
It’s all that sort of small detail that gives it that real ring of authentic, doesn’t it? It’s really amazing. It’s cool.

Remington Phillips:
Perfect collection with these two sets here. It really is.

David Read:
These are cool. There were a lot of production images that were taken and I came across these of Michael. There are a lot of Michael Shanks fans out there and I was like, “You know what? These would mean something to a lot of people.”

Remington Phillips:
Worth preserving.

David Read:
For his hairdo.

Remington Phillips:
They really captured James Spader’s hair in the early seasons.

David Read:
They did a pretty good job.

Martin McClean:
Michael did such an amazing job of not only making the character his own, but totally believable that it had gone from James Spader to him and beyond. You never really felt there was a jarring transition, yet he made it his own. It was really incredible. In fact, sometimes you’ve seen enough that you really can’t imagine what James Spader was like without thinking of Michael first.

David Read:
Very much so. He owns that character.

Martin McClean:
He owns this character, really, in the embodiment.

David Read:
Michael Shanks hair color pictures taken in daylight and in shade, from daylight, away from daylight, September 10th, 1998.

Remington Phillips:
Incredible.

David Read:
Season Two.

Remington Phillips:
Very early. So, obviously went to a lot of trouble to sort of make that as close as they could.

David Read:
Yep. Absolutely.

Martin McClean:
Yet Richard never had Kurt’s spiky hair.

David Read:
No, there was no way that he could pull that off. Rick repeatedly says that. This was one of the original shots taken for Mitchell and his granddad in Stargate: Continuum. This is after the timeline was altered. We sold the original that was screen used ’cause it had a certain tear pattern on it, so we could easily tell what it was.

Remington Phillips:
“On sale.”

David Read:
This is a replica. This is not one of the ones used in the film. I and Jenny Stiven got together and we were part of the viral marketing team for Stargate: Continuum. At this point it was a big thing to create websites that were set in the universe of the show, or the content being produced. If there was a corporation in a film, that corporation would have a website and then you’d see it above, copyright 20th Century Fox, so on and so forth. We created a blog, a video blog, called The Informant Blog, and we set it in the altered reality in Stargate: Continuum. So, this kid comes across Daniel Jackson’s book.

Martin McClean:
I love the picture in the back.

David Read:
In the episodes he actually reads pages from the book and I created content for it.

Martin McClean:
That’s so nice.

David Read:
I actually wrote material.

Remington Phillips:
So, you’re the author?

David Read:
I don’t know about that. It’s definitely Daniel.

Martin McClean:
That’s fantastic. That’s great.

David Read:
“Completely devoted to the pyramids of Egypt. The major premise is the archeological record bears witness to an evolution of pyramid design construction and function from beginning to end. The Pyramid Age is demonstrated brilliantly and completely.” Yada, yada, yada, yada, yada.

Martin McClean:
That’s great.

David Read:
What is this book?

Martin McClean:
I was gonna ask you that.

David Read:
This one, Legends, from Robert Silverberg. I went to a used bookstore and I found it. Production actually sent me this cover. This is actually a true replica of the cover of the book.

Remington Phillips:
Production made.

David Read:
It was a part of the production of getting the product out there for the masses. I went to the store and got this one. The actual book, on the inside of it, that they used in the show, I can’t remember which edition it was, but the book is called The Coming of the Third Reich. That was what was actually used. I’ve been trying to find it, because I want the actual book to go inside of it. That edition is hard to find; you can find the book. I forget the author’s name. You can find the book on Amazon, but not that specific edition. I always thought that was unusual.

Martin McClean:
I adore the 70% off.

David Read:
Absolutely.

Martin McClean:
That’s great. It’s a nice touch.

David Read:
For sure.

Remington Phillips:
A deal at twice the price. That’s true.

David Read:
You notice in Atlantis, a lot of the characters doing this on comms?

Martin McClean:
They have comms. OK.

David Read:
It’s all it is.

Martin McClean:
Now you’ve shattered my illusion. There was never…

David Read:
No.

Martin McClean:
I thought it may have been a repurpose of when you see talk show hosts and they have an ear aid of some kind where they can get directorial assistance and comments? I’m surprised that they didn’t do that.

Remington Phillips:
It’s interesting because they did use Motorola headsets in SG-1 quite a bit.

David Read:
Yep.

Remington Phillips:
But they made these as well.

David Read:
They went ahead and did this so they can go “Check. Colonel Caldwell.”

Martin McClean:
It’s always an interesting throwback to something simple.

David Read:
It does the job.

Martin McClean:
It does the job but it sort of helps create that entire illusion.

David Read:
That’s it.

Remington Phillips:
And they must have made so many of these.

David Read:
There were… 40, 50. It was ridiculous.

Martin McClean:
‘Cause you would lose that so easily.

David Read:
It would drop all the time.

Remington Phillips:
It almost looks like it could have been 3D printed. What do you think?

David Read:
I doubt it. This is 2004.

Martin McClean:
Might have been too early. It feels very shiny for that. I don’t think so.

David Read:
Straightforward little thing. I imagine we could probably make something like this now with a battery. It was always just, “The actor could do this.”

Remington Phillips:
If you think about things like AirPods, they pack a lot of tech into a small box.

David Read:
A little charging port.

Martin McClean:
Wouldn’t take up much at all, would it?

David Read:
What else do we have, Sir Remington? I’m excited too because I’m discovering stuff. It’s like, “Oh yeah, that thing.”

Remington Phillips:
Fan favorite.

David Read:
A fan favorite indeed. Whoops. There were a lot of these in production and there were several different kinds that were made.

Martin McClean:
Replicator blocks.

David Read:
Replicator blocks.

Martin McClean:
Remington’s flat.

David Read:
So when the guns took ’em out.

Remington Phillips:
I’m seeing flat-backed and I’m seeing double-sided.

Martin McClean:
Do you know why some were flat and some were not?

David Read:
I don’t know. It’s different production molds. I guess these would have been easier to produce.

Martin McClean:
These would have been the easiest to produce. They’re flat.

Remington Phillips:
I think these are the earlier versions. I think they started with the flat ones.

David Read:
This came from a huge box that we got of P90 shells and Replicator pieces that literally someone swept up the floor of the Odyssey at the end of “Ark of Truth.” That’s where those come from.

Martin McClean:
Wow. That’s interesting, some of this stuff together.

David Read:
Because some of the joints of the replicators would have been shot off.

Remington Phillips:
We’re not even looking at the walls.

David Read:
That’s a whole other thing. Man, they made a ton of them.

Remington Phillips:
It looks like they’re coming together here.

David Read:
We may have a problem. Pow! OK, there we go.

Martin McClean:
I’m assuming that if they make a new Stargate that all of this would be digital. In some senses that’d be sad because you lose some of the great texture and the thinking that would have went into that.

David Read:
Exactly. I suspect that these were created for those wide shots of the destruction on the floor of the Odyssey and none of the walls have any bullet holes in them.

Martin McClean:
No.

David Read:
All of the shots specifically hit their marks. There’s some definite damage to some of the human devices.

Remington Phillips:
They were skilled marksmen.

David Read:
The bullet holes do not give rise to-

Martin McClean:
Yes, they were not like storm troopers. They were skilled marksmen.

David Read:
Ah.

Martin McClean:
OK. This is nice. Wow. Wow.

David Read:
Trying to… It’s not…

Martin McClean:
So, it is lit? Wow.

David Read:
It’s got a little piece of tape on here for the raise switch so that Amanda could… I used to be able to but the surface, I guess, is too smooth. She could move it into position and press the thing.

Martin McClean:
Wow. That is clever the way that’s hidden in there. Sorry, is the switch here?

David Read:
Yeah.

Martin McClean:
I see. She could just press it down.

David Read:
Press on the Asgard console and do that.

Martin McClean:
Wow.

David Read:
Last version of the stone that they made before they went boom.

Remington Phillips:
Yes. It’s such a beautiful opalescent red-brown.

Martin McClean:
Isn’t it? It’s a wonderful pattern the way it’s grooved in there. A clever way of disguising the electronics as well, of course, since you can’t see them under there.

Remington Phillips:
You can just faintly from the bottom see some production hardware.

David Read:
It’s so cool.

Martin McClean:
It’s so smooth. I’m assuming it’s resin.

Remington Phillips:
It’d be resin, absolutely. With what appears to be an acrylic base.

Martin McClean:
How did they get the diffusion pattern in there?

Remington Phillips:
They would have used some kind of pigment inside of transparent resin most likely.

David Read:
Is it like a paint?

Remington Phillips:
Or it could be painted from the inside. Absolutely.

Martin McClean:
‘Cause you can unscrew it. Obviously, they were gonna use these on more than one occasion.

David Read:
They were used a few different times, I think. They were definitely in “Unending.” There were versions that were created earlier on and these are the later versions of it.

Martin McClean:
I like the idea of having the switch in the bottom. That’s really clever.

David Read:
They just move it and then… You don’t really see them doing that.

Martin McClean:
No, you don’t.

David Read:
It just kind of comes to life in their hand

Martin McClean:
The simplicity of removing any sort of mechanism from the top so it doesn’t break the illusion.

David Read:
This is familiar to you.

Martin McClean:
This is very familiar to me. Yes, indeed. It took me a long time to work this shape out.

David Read:
I suspect.

Martin McClean:
It looks like it’s sort of a snail shell design. When you actually look at it really closely, it’s kind of like multiple little shells put around.

David Read:
That’s right.

Martin McClean:
It’s a great little design. The challenge I had with mine was making sure the electronics fitted into the same width because I know they powered theirs off through a costume or through some wires.

Remington Phillips:
Or through a lithium battery.

Martin McClean:
I didn’t wanna do that.

David Read:
It goes in there. This goes like this and then… If I can do it without breaking it.

Martin McClean:
Please don’t break it.

David Read:
Working on it.

Martin McClean:
Is that good? Is it? OK. There we go.

David Read:
The battery is low but you can still see it’s doing its job.

Remington Phillips:
Fantastic.

Martin McClean:
It’s amazing.

David Read:
Isn’t that wild?

Martin McClean:
It’s great. What’s interesting, it’s a highly customized PCB. It’s a printed circuit board inside.

Remington Phillips:
It is. It is.

Martin McClean:
I think given the time it was made, that’s even more impressive ’cause it looks like it’s some sort of custom silicon on there too. It’s not just shelf components that have necessarily been chosen. That’s pretty impressive. I can’t imagine how long they took to turn that around.

David Read:
I suspect this is the version from the High School Reunion episode. I think it was “Bounty.” Here, you got this to stick to the actor. Oops. Doesn’t do much sticking anymore.

Martin McClean:
I had seen production photos of this when I was making my own version that had wiring go into the actor’s costume. They’ve clearly done multiple varieties of this over the years.

David Read:
‘Cause this was seven years later, huh?

Remington Phillips:
Over time they would have dug these out of the prop storage and redesigned them.

David Read:
That’s all there is to it. What else do you got? Ah, another one of the items that don’t function anymore but I could have gotten a battery for before I did this and didn’t. Alien grenade from “The Daedalus Variations.”

Martin McClean:
Wow. This is a nice little piece.

David Read:
You push the button on top of that and it starts flashing.

Martin McClean:
That is very cool and very heavy. It’s machined aluminum I guess?

David Read:
If you want to twist it apart.

Martin McClean:
You can, or would you like to do that?

David Read:
Yeah. Might as well.

Martin McClean:
OK. Wow, somebody spent some time on the lathe. That’s very cool. It’s, again, quite a heavy piece. It’s heavier than I thought there. They’ve got some sort of resin.

Remington Phillips:
It sure looks like it.

Martin McClean:
It’s transparent resin. They mixed up a lot of resin in this show.

David Read:
They sure did.

Martin McClean:
They actually made a lot of resin.

David Read:
But the construction of this stuff…

Remington Phillips:
Lefty.

David Read:
Lefty loosey, Righty tighty. Bridget was saying, they could have been making stuff for NASA.

Remington Phillips:
So, in the theme of grenades.

Martin McClean:
Wow.

David Read:
Wraith grenade. So, this used to work as well. These actually come out through here. There’s a little trigger in here. There’s no way that it still works now, but I can try.

Martin McClean:
Is this a replica, obviously it’s production?

David Read:
This is an original.

Martin McClean:
An original, OK.

David Read:
No, it’s dead. All these would light up. These would glow amber; the theme of grenades. It seems to be a theme with them.

Remington Phillips:
It’s not every day you can have a theme with grenades.

David Read:
I know. We had one that opened, he twisted and closed it again.

Martin McClean:
That’s right, that was the operation; open, twist, close, and toss it.

David Read:
And then toss.

Martin McClean:
More Jaffa lines running down the front. That’s cool. It’s very cool. I’m curious how they got it open to put batteries and things in there, but I don’t know.

David Read:
I think this cap comes off.

Martin McClean:
Doesn’t look like it is? It looks like it’s actually part of the structure.

David Read:
This is here. Whatever’s under here, they can unscrew and then pull the thing out, so it’s probably that. The screws probably go in and then you pull it out.

Martin McClean:
It feels more like it’s in the middle. It can move.

David Read:
It could entirely be. I think that’s a homing beacon.

Martin McClean:
From where?

David Read:
It’s Wraith. So, it’s here. It’s right here.

Martin McClean:
Remington adding to your theory that no LEDs of five mil or less were used.

David Read:
I think it was an arm piece. There was an armband and it was a part of that, but it was still a part of the drone.

Martin McClean:
That’s cool. That’s very cool.

David Read:
One of the things that make up Atlantis.

Martin McClean:
So, did that come with the Wraith, with the costume that you have here?

David Read:
Yeah. One of the things that make up Atlantis, significantly, is their advance in crystal technology. So, had all different kinds of acrylic pieces. Asgard core. Puddle Jumper.

Remington Phillips:
With a little holographic sticker.

David Read:
Holographic sticker.

Remington Phillips:
The circuitry that has been printed on these crystals is amazing.

David Read:
All different sizes. Look at that. Ancient circuitry just to sell the illusion. Could go on and on with crystals for days, really. They created so many kinds for the show. Who’s that? What’s that?

Martin McClean:
Might be me. Sorry.

David Read:
That’s from Star Trek.

Martin McClean:
Maybe.

David Read:
That sound. You have a pocket pager. They even shrink in size. That one’s not gonna stand up on its own.

Martin McClean:
There’s an interesting thing for Atlantis, because the pieces that we’ve looked at, there’s a lot of laser cut work.

Remington Phillips:
Yes. You can tell that they enjoyed using lasers.

Martin McClean:
I don’t know if it was commercially viable for them to do that then, or hadn’t been before. I don’t know.

Remington Phillips:
From what I understand, and I’m sure David has more stories, but the prop production was on the cutting edge of technology. They had laser cutters and 3D printers and CNC mills, really before they were widespread. They would always have whatever the latest manufacturing tools were. Desktop manufacturing, they had, actually.

David Read:
They had established that look. They had established that crystal technology was a part of our ancestry. Not necessarily ancients at the time, but certainly the Goa’uld. The acrylic was a pretty straightforward choice because you could cut them and you could engrave them and you could do whatever with them.

Martin McClean:
It’s interesting. There’s a combination; that seems to be a raised decal in there.

David Read:
These are just stickers.

Martin McClean:
Whereas the others seem to be sort of embossed.

Remington Phillips:
There are really three types. You’ve got the laser etched that you’re looking at, Martin. You’ve got this gold foil or this blue foil sticker and then you’ve got these transparent stickers. This looks the most like a traditional circuit board.

Martin McClean:
They’ve made a decal.

Remington Phillips:
You’ve actually got it.

Martin McClean:
You can see it there. If you look in the right light, there’s a decal.

Remington Phillips:
There’s some ancient lettering down here. Is that right, David?

David Read:
Yeah, I haven’t translated these, but there’s definitely some of that for sure. Little tricks to sell the illusion. Absolutely.

Martin McClean:
It’s a clever prop in that you don’t have to create intricate wiring and things like that. You can repurpose it so many times. It’s very clever.

David Read:
That’s it.

Martin McClean:
Just do it.

David Read:
We went out to lunch and came back and I went and bought batteries.

Martin McClean:
Great. So, now it works.

David Read:
I can get batteries for that. I might as well get to show just how cool that is.

Martin McClean:
It is cool.

David Read:
Push the button on it and it… That’s it.

Remington Phillips:
It’s beautiful.

David Read:
Isn’t that wild?

Remington Phillips:
It’s like a spinning top.

Martin McClean:
It is.

Remington Phillips:
We could wreck your tabletop.

Martin McClean:
I know.

David Read:
You could.

Martin McClean:
Let’s do it.

David Read:
I’ve already got some scratches, what’s a few more?

Martin McClean:
Wow, that’s cool.

David Read:
Absolutely wild.

Martin McClean:
I wonder why they made it of such heavy metal.

David Read:
Because they had the money. They were like, “We’re gonna do it, we’re gonna do it right.”

Martin McClean:
Really surprised.

David Read:
They could’ve done a Season Six; they could’ve brought the characters back.

Martin McClean:
Definitely great.

David Read:
So, do you guys recognize these?

Remington Phillips:
I do.

Martin McClean:
I do, yes.

David Read:
What are they?

Martin McClean:
System Lord patches.

David Read:
They’re not patches; they are stencils.

Remington Phillips:
Jaffa stencils.

Martin McClean:
Jaffa head tattoos.

David Read:
Head tattoos. Anubis, Yu, Moloc, Nirrti, Sokar.

Remington Phillips:
Which one is this, David?

David Read:
Khonsu.

Remington Phillips:
Khonsu.

David Read:
Zipacna.

Remington Phillips:
Heru’ur.

David Read:
Heru’ur. Cronus, Hathor. Seth.

Remington Phillips:
Seth.

David Read:
Imhotep.

Remington Phillips:
Imhotep.

Martin McClean:
Imhotep.

David Read:
Imhotep. I’m trying to remember who that is. There’s a couple on here. This is Aries, I’m pretty sure, Wayne Brady’s. One of these are Svarog, I think that’s Svarog. This one I can’t remember. It’s perfect because it’ll give everyone a reason to comment. Little stencils.

Remington Phillips:
They would apply these to the actor’s foreheads for a quick and easy makeup session.

David Read:
That’s it.

Remington Phillips:
Some of the tattoos were latex, rubber, or another material and they were erased.

David Read:
Not these.

Martin McClean:
That’s right, I always thought they were some sort of plastic badge, or something like that.

Remington Phillips:
Apophis stencil. This would be stuck and then they would brush over it with whatever kind of paint they used.

David Read:
That’s it, exactly. They would put that on there and spray it.

Martin McClean:
They would spray it.

Remington Phillips:
Airbrush it.

David Read:
And then peel it off. Very cool.

Martin McClean:
Quick.

Remington Phillips:
This is great. You’ve got a fantastic assortment.

David Read:
Are you guys ready for one of my favorite pieces?

Martin McClean:
Yes. Yes.

Remington Phillips:
Let’s do it. Briefcase.

David Read:
You recognize this?

Remington Phillips:
I do.

David Read:
You do?

Remington Phillips:
I recognize the symbol.

David Read:
Who does this belong to?

Remington Phillips:
I couldn’t tell you by name.

David Read:
Janus, the inventor.

Remington Phillips:
Janus, the inventor.

Martin McClean:
That’s awesome.

Remington Phillips:
David, that’s incredible.

Martin McClean:
That’s really cool piece. Wow.

David Read:
Some of them are even better than others are.

Remington Phillips:
Look at this.

David Read:
You can see him in the episode inserting them in there.

Remington Phillips:
Wow. That is gorgeous.

Martin McClean:
That’s great. Hence the batteries.

Remington Phillips:
Impressive.

David Read:
Most impressive. I have since acquired some Janus-related items.

Remington Phillips:
No.

David Read:
I’ve kept them with them. More pieces.

Remington Phillips:
OK, more crystal.

David Read:
Where’s the… Is that it?

Martin McClean:
It’s remarkably effective to backlight the equipment like that, isn’t it?

David Read:
Yes, they take care of it.

Martin McClean:
It’s remarkable in normal light levels too.

David Read:
The switch is hidden there.

Martin McClean:
It’s remarkably effective in normal light.

David Read:
And you got this here… “Janus,” that’s what that says. I’m sure someone will translate this, but this is the briefcase of Janus… is basically what this says. It’s font transposition. If there’s someone who can translate this for me and put it in the comments section, please, and thank you, ’cause I’m too lazy. I’ve actually done my fair share of it. With this I keep a couple of, I’m pretty sure, Janus-related items. If I’m not mistaken, this is a Janus costume card.

Remington Phillips:
Look at that.

Martin McClean:
Great. Cool.

Remington Phillips:
An actual piece of his wardrobe.

David Read:
An authentic piece. Who was it that put these out?

Remington Phillips:
Rittenhouse Archives.

David Read:
Really?

Remington Phillips:
Yeah.

David Read:
OK.

Remington Phillips:
Rittenhouse did all of your trading cards.

David Read:
Melia McClure, and she played the Ancient Melia.

Remington Phillips:
How creative.

Martin McClean:
Very creative.

David Read:
There are a couple instances where they kept the actors’ names. I don’t know, how do you get clearance for that? You just pay them a little extra to use their actual name or how does that work?

Remington Phillips:
Or did they ask? “I don’t wanna have to learn another.”

David Read:
I’m not sure.

Martin McClean:
Don’t wanna know the answer.

David Read:
Actually, you know what? I may have translated this already. I wondered what that was.

Remington Phillips:
Did you do the work?

David Read:
“What’d you do, Ray?” So, “Be this, the accumulated knowledge of Janus, almond by nature, desire to know.” That’s what it says.

Remington Phillips:
How’d you know?

Martin McClean:
Great.

David Read:
Too funny.

Martin McClean:
We’ve saved someone a lot of time.

David Read:
I know. That’s a cool piece.

Remington Phillips:
What a fantastic piece.

Martin McClean:
It is. Of course, it is amazing.

David Read:
Janus and I, we go way back. Got a couple of more pieces here. I don’t know if this was ever used on screen, but it sure does look a heck of a lot like the knives that were used in the show.

Remington Phillips:
Absolutely.

Martin McClean:
Wow.

Remington Phillips:
That’s a Jaffa knife right there.

David Read:
It is?

Remington Phillips:
It sure looks like it to me.

David Read:
OK. This was a gift from Jerry Rector to some guy, and some guy sold it to me.

Remington Phillips:
That’s a legitimate knife. This isn’t a stunt knife.

David Read:
Yes, that’s a real knife.

Remington Phillips:
This would not have been safe to use on set.

David Read:
Wow, that would’ve been a hero. Yep, that’s a knife.

Martin McClean:
This is such a knife. This feels quite lethal, really, in its own hands, doesn’t it? It’s really… wow.

David Read:
Yes.

Remington Phillips:
This might’ve been what they molded and cast in order to make plastic replicas.

David Read:
Entirely possible. Plastic rubber ones.

Martin McClean:
The detail here, this sort of metal beading that they’ve got. This is stunning as well. I’m gonna very safely give that back to you. Wow, that’s great.

David Read:
Homeworld Security.

Martin McClean:
Very nice.

Remington Phillips:
Excellent.

David Read:
I’m sure it says something there as long as we get that on film.

Remington Phillips:
This is your ticket into Cheyenne Mountain, perhaps.

David Read:
This is my ticket into the Pentagon.

Remington Phillips:
This will get you get you into the Pentagon.

David Read:
Homeworld Command. These are from Stargate Universe.

Remington Phillips:
Have you considered driving to DC and trying to get in?

Martin McClean:
Checking it out?

David Read:
No, I don’t want them to know that I have clearance because they may take me ride or two.

Remington Phillips:
This is fair.

Martin McClean:
This is very fair.

David Read:
Do you recognize this?

Remington Phillips:
I can’t say that I do.

Martin McClean:
No, I don’t think so.

David Read:
It’s a part of the capacitors that are attached to the outside of the SGC gate.

Remington Phillips:
I have never seen any of these in the wild.

David Read:
It’s a section of it. They were mostly mop stringers. That was the main piece that you saw, painted red.

Martin McClean:
It’s cool.

Remington Phillips:
The clamps?

David Read:
They were holding the gates.

Remington Phillips:
This was in hundreds of shots.

Martin McClean:
It’s cool.

Remington Phillips:
We didn’t recognize it.

Martin McClean:
No.

David Read:
Nope. Isn’t that wild?

Martin McClean:
It’s your fault that we didn’t recognize it.

David Read:
That’s funny.

Martin McClean:
Wow.

Remington Phillips:
That’s a great piece, David. That’s terrific.

David Read:
Really glad that I have that.

Martin McClean:
I’m just curious, for people who want to start a collection themselves or want to look for specific pieces well after the show has sort of ended and auctions have happened, how do they go about doing that?

Remington Phillips:
In order to buy props nowadays, what you’re relying on is somebody who had bought them before, who is now willing to part with them. A lot of times, as David pointed out, that could be eBay. It’s also people fall into debt.

David Read:
People get sick.

Martin McClean:
Of course.

David Read:
Absolutely.

Martin McClean:
Various life reasons people do it.

Remington Phillips:
Something else I’ve noticed is that more and more items from people that worked on the show are starting to be let go. Now, 20 years plus later, they just aren’t interested in keeping them anymore.

Martin McClean:
So, it’s not always a case of just auction houses. It’s eBay and prop forums maybe.

David Read:
Not exclusively. Right place, right time.

Martin McClean:
Right place, right time as well.

Remington Phillips:
There’s stuff in the Facebook groups that comes up. Recently, I saw some stuff come up, some smaller items, some costume items overseas. I’ll show you the link.

David Read:
OK. Baby monitor. Genii.

Martin McClean:
Wow, OK. Massively light too. It was functional, David? It looks like there’s an electric case in it.

David Read:
No, they had ones that were baby monitors, but I’m pretty sure they weren’t baby monitors. No, this was a separate prop, I think. They had these on their arms.

Martin McClean:
So, I guess, Remington, they had made a mold and sort of replicated it.

Remington Phillips:
Kind of looks like, yes.

Martin McClean:
Enormously light.

Remington Phillips:
Looks like they molded commercially available electronics.

Martin McClean:
There’s the little wheel for the volume.

David Read:
This said something like, “Panel,” “remove” or something. I forget what it was. You can translate that. These were from Aurora originally and then you saw them throughout all of Atlantis. They were literally plant-ons?

Remington Phillips:
Foam.

David Read:
Foam and then paint. That’s it.

Remington Phillips:
So, how about something from Stargate Universe? This one transmits. This one receives.

Martin McClean:
This one receives.

David Read:
They had hard ones to interact with physically and then they had ones like that to use on-screen. This one, I don’t know if it still will, it probably won’t. If I can find the switch for it. They sent this to me. I had no idea that it powered, but you can tell, because…

Remington Phillips:
You can see the tiny circuit board in there.

Martin McClean:
At first, I thought it was like a SIM card or something like that, but then it occurred to me, it was probably so long ago that SIM cards were larger than that maybe.

Remington Phillips:
Ah, Compact Flash.

Martin McClean:
Compact Flash.

David Read:
There used to be a button and these used to light, but they don’t anymore. I’m surprised it lasted as long as it did. What I need to do is open it up and replace it.

Remington Phillips:
Replace the power cell.

David Read:
I’m sure it’ll come right back to life.

Martin McClean:
Curious how you would do that.

David Read:
You’d have to cut into the silicone and take the battery out.

Remington Phillips:
Cut into the silicone.

Martin McClean:
That’d be an interesting job.

Remington Phillips:
Silicone is very forgiving.

David Read:
That’s certainly true. I couldn’t believe it, ’cause I bought it from them and then…

Martin McClean:
Try to stick it on.

David Read:
I pushed the button, and it lit! It wasn’t in the description that it did that. They didn’t seem to know what they were doing. I was looking at this like, “This lights. This works.” It wasn’t a part of the description. How much more could they have gotten for it if they tried?

Remington Phillips:
They probably needed somebody doing proper research.

David Read:
Who knew the show! That was not the only instance where I bought something from them that was wrong. “That’s not what that is,” or “that’s not who wore that” and they had to give me some money back.

Martin McClean:
It’s got little hearing aid batteries in the back.

David Read:
Exactly.

Martin McClean:
Wow. That’s cool.

David Read:
These have been seen in the show before. This is something that I bought for it. This is probably one of the prizes of my collection. This is General Hammond’s wedding ring. There were two of them that were used. The other one was sold and it was like, OK, I’m paying that price for the other one so I can get my hands on it.

Remington Phillips:
So, Don Davis wore this throughout the series.

David Read:
Yep. He sure did.

Martin McClean:
I always wondered whether actors, if they were portrayed as married, wore their own wedding rings and nobody really paid any attention.

David Read:
No, they were really specific about that. He was the only one with that, though.

Martin McClean:
They obviously made their own. Wow.

Remington Phillips:
That’s a great piece.

David Read:
I love that piece.

Martin McClean:
That’s a great piece.

David Read:
Don’s always in the set, ’cause that’s always been there.

Remington Phillips:
What a neat way to display it too.

David Read:
Exactly. I found that online. That works.

Remington Phillips:
I’ve got another one there.

David Read:
I have shared this one before. There were two of these production-made, at least. This is the Eye of Ra that was the MacGuffin in “Full Circle,” Season Six. Show that.

Martin McClean:
Sorry. They’ve embedded some sort of a…

David Read:
In the crystal.

Martin McClean:
Not sure if it’s metal or what that is inside.

David Read:
I think it’s a patch of some sort.

Martin McClean:
Just a patch.

David Read:
It may be metal.

Remington Phillips:
It’s got that mosaic glass scheme to it. It’s very pretty.

Martin McClean:
It almost looks like stained glass, but it’s not.

David Read:
Obviously, I’m missing the ring that it was in. I think Brazat has that one, if I’m not mistaken.

Martin McClean:
Wow. Smells nice.

David Read:
A friend of mine came across that and I was like, “OK, how much do you want for it?” We never had that at Propworx.

Martin McClean:
Beautiful. So, how come there were pieces that Prop Works didn’t have?

David Read:
There were previous sales.

Martin McClean:
Previous sales? OK.

David Read:
A lot of the larger pieces, like the anti-replicator gun from “New Order,” those were gone long before Propworx came along and production ended.

Remington Phillips:
Legends Memorabilia sold a lot.

David Read:
A lot. Very much so.

Martin McClean:
A lot.

Remington Phillips:
And little-known fact, before Legends, they were selling some stuff directly through MGM, Through Stargate Legacy, which was the name of their website.

David Read:
What do you think this is for?

Martin McClean:
It reminds me of my dentist.

David Read:
Yes. Absolutely. This is one of Nirrti’s surgical items from “Rite of Passage.” Took me a minute. You’ve got coat hooks, some kind of gas.

Remington Phillips:
CO2 canisters from a BB gun.

David Read:
CO2 canisters. Really?

Remington Phillips:
Pellet gun.

David Read:
You’ve got the gold etching.

Remington Phillips:
Jaffa lines.

David Read:
Jaffa lines.

Martin McClean:
Got the Jaffa lines.

Remington Phillips:
Got the Jaffa lines.

David Read:
And your dental section.

Martin McClean:
This is a generally dangerous prop.

Remington Phillips:
Now, Martin, how do you think TSA would feel about you bringing this home?

David Read:
There’s no way.

Martin McClean:
Not very good.

David Read:
I don’t think that they would allow that.

Martin McClean:
Not very good.

David Read:
They would be like, “What the hell?”

Martin McClean:
They can be very dismissive about that. Not very good.

David Read:
It definitely looks imposing. I love the little pieces that they added.

Remington Phillips:
The inset reminds me of the staff weapon, from the ships.

David Read:
Ooh, and I’m literally scratching my table.

Martin McClean:
Don’t do that.

Remington Phillips:
We should put that one in there.

David Read:
Exactly. The Vanir sidearms from “First Contact” and “The Lost Tribe.”

Remington Phillips:
Evil race. The evil Asgard.

David Read:
The evil Asgard. They were glow sticks.

Remington Phillips:
You can replace it.

David Read:
Absolutely. ‘Cause as they went through production, they would have needed to keep them going.

Martin McClean:
That’s a clever use of the glow stick.

David Read:
Build it right in.

Martin McClean:
Is that rubber?

David Read:
Yep.

Martin McClean:
Is this sort of one of the action props so you don’t fall over and hurt somebody or someone else

David Read:
No. The only versions of these that were made were that.

Martin McClean:
Wow. Boy, it can really feel so light.

David Read:
I hear Joel Goldsmith’s march for them as I hold that.

Martin McClean:
Interesting, they use washers or something that just brings it up.

David Read:
I think it was so that they could hook it.

Martin McClean:
Hook it in.

David Read:
I bet the suits were transformed by the time I got a hold of one.

Martin McClean:
They may have been to connect with magnets. I’m not sure. Wow. That’s really cool. Wow.

David Read:
“Window of Opportunity,” and later reused in “Reckoning Part One and Part Two,” Ancient panel.

Martin McClean:
I love this pattern they put in. It’s a sort of almost marbled stone look to it.

David Read:
Absolutely.

Martin McClean:
It’s so clever.

David Read:
These were signed at Gatecon 2018. Barry Campbell, Bruce Woloshyn, Colin Cunningham, Dean Aylesworth.

Martin McClean:
Very cool.

David Read:
Absolutely.

Martin McClean:
I assume there was multiple of these because I remember the console and it was an array of these.

David Read:
Yeah. A whole array.

Remington Phillips:
Absolutely, there were quite a few of those. This, however, there are not quite a few of.

Martin McClean:
Wow. Yes, the DHD.

David Read:
Yep. I forget what constellation this is, and I should know this, but I don’t.

Remington Phillips:
It’s written on your posters we looked at.

David Read:
It is? That’s right. Like the ones we just looked at.

Martin McClean:
The ones we just saw.

David Read:
We’re gonna need a light source, but anyway. Look at you.

Martin McClean:
OK, so it comes through.

David Read:
I put some little electric tape on there so it doesn’t go through all the holes, but see, like there? They would’ve back lit it.

Martin McClean:
Wow. This is a nice piece.

David Read:
Handy dandy.

Martin McClean:
There’s that pattern I was talking to you about, about the Puddle Jumper. Once again, all the dappled sort of paint layers that come in give it so much depth. It looks great.

David Read:
It looks like a planet from high up.

Martin McClean:
It gives you a bit of an illustration of how big the DHD is, because you’re just pressing one of these down every…

David Read:
Just one.

Martin McClean:
And this is just one.

David Read:
39?

Martin McClean:
Yeah.

David Read:
Nice.

Martin McClean:
There were 39 of these around.

Remington Phillips:
Two rings or…

David Read:
That’s the outer ring.

Martin McClean:
Almost that illusion that it’s curved, which it is. You’ve got the curved dices that comes out of the DHD, but it’s flat.

David Read:
Exactly. We’re gonna move a little bit into the Ori era.

Martin McClean:
Cool.

David Read:
Wow.

Martin McClean:
Nice. Wow.

David Read:
I love the paint job.

Martin McClean:
It’s really impressive.

Remington Phillips:
This would be an Ori commander helmet.

David Read:
Is it?

Remington Phillips:
They made the half face and then the full face.

David Read:
That’s true. That’s right.

Martin McClean:
They’ve almost sort of got their own hieroglyphics and carving inside, which is really interesting.

David Read:
Their own culture.

Martin McClean:
It’s really interesting as well.

David Read:
Some of them had the full mask and then the half.

Martin McClean:
I assume they had to make multiple sizes.

David Read:
I don’t know.

Martin McClean:
Different actors had different sizes or maybe they all stayed the same.

David Read:
Maybe. I don’t remember radically different sizes.

Remington Phillips:
From what I’ve seen, they all originated from the same molds. What they would probably do is downsize them, if anything, with some of those foam pads.

Martin McClean:
That makes sense. Then you only have to do one and keep them. Inside they’ve got a… Let me try that. OK.

David Read:
It fits you. It doesn’t fit me.

Martin McClean:
It does fit quite well.

David Read:
Wow.

Martin McClean:
I wouldn’t describe this as the most comfortable helmet I’ve ever worn.

Remington Phillips:
It looks good on you, Martin.

Martin McClean:
It looks good. I think I’ll try this through TSA and see how it goes.

David Read:
Exactly.

Martin McClean:
That should work well.

David Read:
It reminds me a lot of Thor’s helmet from Cimmeria.

Remington Phillips:
It truly does.

Martin McClean:
It’s surprisingly comfortable actually. It really is. But again, it has a little bit of heft in it, doesn’t it?

Remington Phillips:
Fiberglass.

David Read:
That’s true.

Martin McClean:
It feels quite cool to the touch too. It’s really nice. What’s that? Wow.

David Read:
“Hallowed are the Ori.”

Martin McClean:
This is cool.

David Read:
Now you wanna talk about a heavy piece…

Martin McClean:
Wow.

David Read:
Do you think this is solid resin over a steel frame?

Remington Phillips:
With how heavy it is, it is either solid resin or it has a metal core, yes.

Martin McClean:
Wow.

David Read:
There were a couple that we sold that had batteries in them. There was a hidden switch here and it would make the thing glow. It was all done in post-production in the end.

Remington Phillips:
Of course.

David Read:
This one has a crack in it and it’s a shame because I would love to fix it, but you’d have to take the whole thing apart.

Remington Phillips:
It looks that way.

Martin McClean:
I don’t think you could. I think it looks to be sort of cast in one piece there.

David Read:
Exactly. It was-

Remington Phillips:
It was cast in one piece.

David Read:
I got it this way. I saw it before we were selling, I knew that I wanted one. I was like, “That’s the one that I’m gonna set aside for myself ’cause I don’t want someone to get a cracked one.”

Remington Phillips:
That’s very generous.

David Read:
I got it. It is generous, isn’t it?

Martin McClean:
It is generous.

David Read:
It came to us that way. At first, I thought it was because there was a light in there or something, but as you can see, there’s a hole for one.

Remington Phillips:
You could use this to your advantage by putting a little LED candle in there.

David Read:
I could, Absolutely. It would be a lot of work though for such small a detail. But if I’m going to take it out, then absolutely. You got this in there already.

Martin McClean:
That is the one thing, you’ve got enough space in there to put something quite bright.

David Read:
Yup.

Martin McClean:
So, you could do that.

David Read:
Especially with the LEDs now.

Martin McClean:
Absolutely.

Remington Phillips:
You can put light in there.

Martin McClean:
Thank you.

Remington Phillips:
It’s a little directional, but look at that.

David Read:
That’s really cool, actually.

Martin McClean:
Works really well.

David Read:
Yay, I like that a lot. For sure.

Martin McClean:
You’ve got lots of space to, oops.

David Read:
Put a bunch in.

Martin McClean:
Let me turn that off. There you go. Looks really well.

Remington Phillips:
You guys are so close, two more clicks.

David Read:
Two more clicks.

Martin McClean:
Two more clicks.

Remington Phillips:
I’ve got ten more.

David Read:
You got the designs here.

Remington Phillips:
Wow, the weight!

David Read:
I know, I’m telling ya.

Martin McClean:
Goodness.

Remington Phillips:
And this metal cap.

David Read:
On the end of it there. You could pummel people really good.

Remington Phillips:
Absolutely.

Martin McClean:
Resin has weight, but this has a lot of weight.

David Read:
It’s very heavy. I think that there’s gotta be a steel rod in it or something.

Remington Phillips:
Considering you’ve got that steel end cap, I would say so.

David Read:
Look at that.

Martin McClean:
It’s surprising they didn’t put a very strong piece of PVC pipe through it and keep it really light. That’s significantly heavy to wield around.

David Read:
You feel like when you’re carrying this, like Moses. It’s a very Prior thing going on there.

Remington Phillips:
10,000 years of human…

David Read:
Exactly.

Martin McClean:
Wow. Very, very heavy and strong, but it’s impressive. I think you should put the light in there. I think it looks good.

David Read:
I have to remind myself to always turn it on. You don’t see it on camera, it’s usually off. Maybe we do see it a little bit. I guess we do see it.

Martin McClean:
You went to the trouble of breaking it just so you’d have it.

David Read:
Exactly.

Martin McClean:
So, I think you might as well.

David Read:
Sodan staff. I don’t know where they put their power source, maybe they just put it in here. They took the staff and they shortened it for this. You get to see the production-made detail. Straight from the feature film, continued to modify it.

Remington Phillips:
All these details.

Martin McClean:
All of these lines.

Remington Phillips:
Jaffa lines.

David Read:
This is foam rubber, I’m guessing?

Remington Phillips:
Urethane rubber.

David Read:
Urethane.

Remington Phillips:
Yes.

David Read:
Jaffa lines, that’s right.

Martin McClean:
So, what do you have to do to look after urethane rubber over time, to protect the urethane?

Remington Phillips:
Urethane rubber is very resistant. This one, as David pointed out, it’s foam backed. So, what they would’ve done is they would’ve brushed urethane rubber into the mold and then backed it with foam, which is a pretty rigid way of making a prop. Your latex rubbers, and silicone to an extent, are where we see degradation over time. This urethane will hold up very well.

Martin McClean:
Wow. That’s great.

David Read:
For the one that worked, there was a round button here and you would press it and it would go [open and close]

Martin McClean:
So, the hero versions did have mechanical working pieces?

David Read:
One or two.

Martin McClean:
That wasn’t it.

David Read:
They had batteries in the crystal at the end fitting because that’s where the power source was on it. It was a beautiful piece.

Martin McClean:
I’ve seen a fan-produced one that had a mechanical mechanism.

David Read:
Wow.

Martin McClean:
A beautiful piece of work.

David Read:
That’s wild.

Martin McClean:
It’s really nice.

Remington Phillips:
This one looks semi-open, it’s not fully.

David Read:
I thought they were all like this.

Remington Phillips:
You’ve got closed heads and open heads and this one looks almost in between.

David Read:
I didn’t realize that the closed ones were more closed than this. Have you seen one in person?

Remington Phillips:
Yes.

David Read:
OK, interesting. It never occurred to me.

Martin McClean:
Let’s pull it out. It’s not like the other one, but it’s still got…Most of the weight’s down here.

David Read:
Exactly.

Martin McClean:
That makes me curious about what’s going on down here.

David Read:
Keep the balance in it. It helps the actor because it’s not light. This is something that’s not insubstantial.

Martin McClean:
So, when they’re generally moving with it, they’re naturally gonna convey the right amount of resistance with it.

David Read:
Exactly right.

Martin McClean:
Because it’s got the weight. Makes sense.

David Read:
That’s it.

Martin McClean:
It’s really cool.

Remington Phillips:
We’ve got, I think one of your favorites here, David.

David Read:
Remember when I was talking about pieces that I wanted but there was no way that I was gonna prevent another fan from having an opportunity to buy it? Like the ZPM from “The Siege Part 3.” This was another. This was the Telchak device that was created for 200.” The ones from 2Evolution2 were the same size, but they were CG. This one, they worked out the way to actually light it.

Remington Phillips:
Extra cube in there.

David Read:
This is one of my favorite all-time pieces. You got the oscillation.

Martin McClean:
It’s nice.

David Read:
The ZPM does something very similar. It’s one of the coolest things there is.

Martin McClean:
It’s gorgeous.

David Read:
Would you like to see inside it?

Martin McClean:
Yeah, I would.

David Read:
You can come around, Nicole, and have a look. The batteries are here.

Martin McClean:
There’s a small switch under there.

David Read:
The switch is right here.

Martin McClean:
Trying to work out what this is made of.

David Read:
Vacuformed.

Remington Phillips:
This is vacuum-formed, it’s ABS.

Martin McClean:
Very strong. Vacuform feels a bit weaker but obviously that…

Remington Phillips:
ABS plastic.

Martin McClean:
The Lego bricks of the world.

Remington Phillips:
They used the same material for the GDOs on the back, for the back plate. It’s a sheet of ABS, textured plastic, just like this.

David Read:
It’s one of the coolest things there is.

Martin McClean:
It’s great. It looks wonderful. I love all the symbols on the side. The switches. Right there.

David Read:
We had sold this in, I think, the second live auction. I’m living in Arizona at the time and I saw it on eBay and got a hold of it. I couldn’t believe he listed it. I couldn’t believe it. When that bad boy came back into my hands I was like, “Hello again.” It was gone and now here it’s back…

Martin McClean:
Now it’s back.

Remington Phillips:
All things come home.

David Read:
That’s it.

Martin McClean:
Indeed.

David Read:
How much is there left?

Remington Phillips:
We’ve got four or five items.

Martin McClean:
Wow, that is a nice pick.

David Read:
Ah.

Martin McClean:
The stones.

David Read:
Yes. Communication stones. Sorry. Then Remington’s various replicas. Let me tell you something, it’s become trickier and trickier to figure out which is which, let me tell you. He has a stunt stone.

Martin McClean:
A stunt stone. It’s made of TPU or rubber or something?

Remington Phillips:
Yeah, rubber.

Martin McClean:
Wow.

Remington Phillips:
Rubber foam.

Martin McClean:
First of all, Remington, brilliant job. You can’t really tell the difference. You can’t. You really have to be digging for detail to try to find the difference there. That’s amazing.

David Read:
Who would have thought that a little scene with Dan Castellaneta in a clip show would turn into a centerpiece for storytelling for the next two shows and especially the third one?

Martin McClean:
It’s a Stargate piece. Well done.

Remington Phillips:
You take one and let’s switch seats.

Martin McClean:
It’s great. Absolutely great. It’s a beautiful job.

David Read:
He did a great job.

Martin McClean:
It is. That’s really fantastic.

Remington Phillips?
You’re talking about Stargate Universe a little bit?

David Read:
Original Kino. This is taken from the Kino sled and a fan got a hold of the sled and basically took a crowbar and popped these off the bottom.

Martin McClean:
Wow.

David Read:
They just put them together and created it. It’s technically screen used.

Martin McClean:
It’s a lovely piece.

David Read:
Repurposed.

Martin McClean:
Repurposed.

Remington Phillips:
It’s got a mind of its own.

Martin McClean:
It’s got a mind of its own.

David Read:
It does. Spheres tend to sphere.

Martin McClean:
Great detail too, the way they’ve got the sort of circles on the outside of the eyes as well.

David Read:
Maybe with a little light still. That outer sphere. James Robbins is a sick genius.

Martin McClean:
He’s an amazing designer. Amazing. It’s incredible work.

David Read:
Sure is. Think it’s right. Ah, good point.

Martin McClean:
Palm scanner.

David Read:
Palm scanner from, I believe this is, is it “Infection?” It was one of the last episodes of the show and they’re aboard a Wraith ship and this is the labyrinth. This used to turn on. I need to take it apart and replace that. I don’t know if it’s just a light box or whatever.

Martin McClean:
Looks very familiar. Very, very familiar.

David Read:
Pieces have fallen off of it, obviously. I need to have that redone.

Remington Phillips:
I’ve recently laser cut a bunch of those frame pieces. I can help you out.

David Read:
OK. Anything to do to restore it.

Martin McClean:
It’s very clever. The HP iPAQ is behind it. There’s always an argument of which HP iPAQ it actually is.

David Read:
Stitch has decided…

Martin McClean:
Yes, absolutely.

David Read:
Didn’t he buy the collection of them or something?

Remington Phillips:
Ryan Nixon basically owns every last one of those iPAQs that there are.

David Read:
I think he owes me one. I need to get a hold of him and say, “Here, take my money.”

Remington Phillips:
He texted me yesterday to remind me.

David Read:
OK. How much is it going for?

Martin McClean:
I wanna say 350.

David Read:
Ugh. OK, we’ll talk.

Martin McClean:
Beautiful.

David Read:
Yes.

Martin McClean:
All that down here appears to be a sticker?

David Read:
It’s just a sticker of the lair.

Martin McClean:
Did they ever use the iPAQs themselves?

David Read:
Yeah. Earlier in the show they did, but later on they didn’t. This is not a hero. This is one of the ones that one of the guards would have had.

Martin McClean:
If I remember correctly, it ran Windows Mobile.

Remington Phillips:
It did. I’ve handled one of the working ones before and they’re so much trouble to get to play back. You’re dealing with Flash video files, you have to get the Flash player.

David Read:
God, no.

Martin McClean:
All the software is hard to find.

David Read:
It’s true.

Martin McClean:
You should have come to Sandai.

Remington Phillips:
It would be nice if somebody was working on an Arduino-powered screen that could fit that iPAQ profile.

Martin McClean:
Just a bit.

David Read:
Just a bit. This is not the original.

Martin McClean:
Wow. This is gorgeous.

David Read:
It’s a mold taken from it.

Martin McClean:
Awesome. It’s a great, great sort of finish.

David Read:
Yes, absolutely. You can see, if you look closely, the CNC work, especially around here.

Remington Phillips:
The tooling on it.

David Read:
That was done on the original that is manifest in the replica.

Martin McClean:
Wow.

David Read:
It’s one of the coolest things that I have in my collection even though it’s not an original.

Martin McClean:
It’s really nice.

David Read:
I’d love to see one in metal gray.

Remington Phillips:
That can be arranged.

Martin McClean:
If only you knew someone who was a great painter.

David Read:
Exactly.

Martin McClean:
Didn’t he say that?

David Read:
Yeah.

Martin McClean:
It’s wonderful. It’s a very nice piece.

Remington Phillips:
What a collection.

David Read:
Thank you.

Martin McClean:
It’s awesome.

David Read:
We got some odds and ends here, for sure.

Martin McClean:
It’s great to have them preserved by someone who appreciates their value.

Remington Phillips:
I agree. Absolutely.

David Read:
I am thankful to be one of the many who are charged with preserving a lot of these pieces. The question is, what happens next? There are some fans who have taken some of these pieces and have absolutely gutted them.

Remington Phillips:
It’s sad.

David Read:
To turn them into something else. “Replicate it, and then do that with it.”

Remington Phillips:
Preserve heritage.

David Read:
You do own them, but you won’t own them forever. Eventually they will go to someone else and you have to preserve the authenticity of the piece as much as you can.

Remington Phillips:
This is history of something that we hold close to our heart.

David Read:
Absolutely.

Martin McClean:
If you appreciate the artistry, protect it. Respect the design. Absolutely.

David Read:
Thank you, guys.

Martin McClean:
Thank you.

David Read:
This was fun.

Martin McClean:
It was.

David Read:
Appreciate you coming out.

Martin McClean:
I had a good night.

Remington Phillips:
Thanks for showing us.

Martin McClean:
I really appreciate seeing it. Absolutely.

David Read:
Absolutely.

Martin McClean:
It was awesome.

David Read:
Once again, my thanks to Martin McClean and Remington Phillips for helping make this episode possible. They came out to Nashville to do this, along with Nicole and Astrid. We shot this last October, so this was October 2023. I’ve been waiting for the right time to publish this. I’m out of town for most of July, which is why you’re seeing this now, because I wanted to fill in that time with some specials that didn’t need any live attention. I appreciate you taking this journey with me. I hope it’s been enlightening to see some of these pieces up close. I hope, just as much for you as it did for me, that it pulled the magic back a little bit on what it is that some of this stuff really looks like under the cover. When you pop off the hood, when you unzip the monster’s back, what’s inside? It’s something that’s not as spectacular, but it still serves a functional purpose. I hope I was able to give you the same experience that I got when I first saw a lot of this stuff. It’s like, “Oh, it really is just magic. It’s not real.” It’s just a piece in time, and that’s all it’s used for, is appearing on a show and then being scattered to the wind. I appreciate you joining me for this episode. If you enjoy Stargate and you wanna see more content like this on YouTube, please click that Like button. It really does make a difference and help the show. It really does help the show grow its audience. If you have a Stargate friend out there, send this to them as well. We really appreciate all of the assistance in helping to get Dial the Gate and our show into the hands of other Stargate fans as we are waiting for Amazon to announce something else for MGM. That’s all I’ve got for you. My name is David Read for Dial the Gate. I hope you’ve enjoyed a little visit around my home and I will see you on the other side.

[bloopers]

Martin McClean:
Five, four, three, two, one. Hello.

David Read:
Hi, guys.

Remington Phillips:
Hello.

Martin McClean:
I’m gonna start again. I’m sorry, but I gotta start again. That’s gotta be in the blooper reel.

Remington Phillips:
Ugh.

Martin McClean:
It has to be in there. OK.

Nicole:
No, I need a second now- … because he just slammed him so good.