My radar never noted Kulap before, but that's fixed now.
For me the most fascinating part of this episode is how well Eddie connects with strangers: man you have got a gift for empathy and human connection.

There was an episode of Star Trek TNG with a space-whale seeks a pilot/companion plot. A decade or so later came Farscape that had a living ship who was symbiotic with it's pilot. Not quite a rip-off there. I've been harboring an unwritten thing where beings have genetically engineered giant walnuts to be spacecraft, so don't do that. 

I thought the Marcellus Wallace's soul thing was direct from Tarantino. He spoke up after the film had been out for a while and people were wondering what the briefcase was all about. He was exasperated that nobody else in the world had connected it to some myth about souls in boxes and supernatural protection for those tasked with returning them to their owners. The band-aid on the back of MW's head is like a dead giveaway because that's whence the soul was removed, or some such. I can almost picture him in a mid-90's TV interview speaking words to that effect, but perhaps I'm a suggestible witness who just heard it second hand.

Shit, wait, did the boys go over this in the PF com and now I've typed up my skewed version...?

Talk to the Norwegian. He's the hologram.

Best 21 gigabytes I ever spent.

The lyrics are maddeningly difficult for me to memorize. Not giving up, just saying.

Here's one for my Premiere Pro peeps:
I've shot two performances of the same dance recital. The first show is 6 cameras in one sequence so I can sync them up. Second show, same cameras, second sequence.

The idea is to edit out any mistakes in the dancing by cutting between performances/sequences 1 and 2. So I have a third master sequence with the first two on the Video 1 and Video 2 lines. The pace of the performance was different, i.e. the delays between the starts of each dance number are different, so I have made cuts and slips in the clip(s) that refer back the 2nd show's sequence to sync up the music between the two performances on my master timeline. 1st show is intact, no cuts, as a skeleton for now.

Now my problem is that I want to change my workflow, and bring all of the cameras in to a single master sequence, 12 tracks in all. BUT if I do that I will have to re-sync 6 of the 2nd show's cameras to the other 6. The potential for fucking that up makes me hesitate and wonder why I can't just somehow duplicate all of my cuts and slips previously made on the 2nd show's clips in my 2-show master sequence.

I'm over-thinking this, but there are a lot of cuts to make in a lot of clips if I just take one for the team and start over. I think I can play some save-as games and re-import 6 times to get each camera isolated within a cut-and-slipped sequence, but I'm hoping someone has a simpler solution that I'm not seeing.

EDIT
I figured it was a longshot. For the record: I saved a clone of the project and isolated the two sequences that concerned me. Then I repeated these steps for each camera: deleted out the other 5 cameras, gave the sequences new descriptive names and saved another temp copy of the project, then reopened the project clone. When I had 5 such temp projects, I imported those specific sequences back into the original project and nested them into my 12 cam master. Took a bit of a file size hit, about a 50% increase, but it's otherwise working out well. About 20 minutes to make it happen, including typing up this post.

borboletta in Portuguese
teetli in Hindi
papillon in French
Fleckenfalter in German
Cho in Japanese
dealan-dè in gaelic

I think you see what I'm doing here.

I cannot imagine a motlier crew.
This is my kind of party.