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Interview with Ronald D. Moore of "Virtuality" on FOX
FBC PUBLICITY: Virtuality
June 11, 2009/3:00 p.m. EDT
Ronald D. Moore
Moderator: Ladies and gentlemen, thank you for standing by and welcome to
the Virtuality Interview Call. Due to the large volume of callers we ask
that you please limit yourself to one question and one follow-up. You
may then re-queue and additional questions will be taken as time
permits. Iíd also like to remind you that todayís conference is being
I will now turn the conference over to Michael Fabiani for opening
remarks. Please go ahead, sir.
M. Fabiani: Thank you. Good morning. Good afternoon, everyone. Thank you
for taking the time to participate in our Virtuality Conference Call
with the Writer and Executive Producer, Ron Moore. Just as a reminder,
Virtuality makes its world premiere in two weeks on Friday, June 26th at
8:00 on Fox. Iíd like to turn the call over to Ron.
R. Moore: Hello. Well, letís just go straight to the Q&A and let you guys
get as many questions in as you want.
Moderator: Okay. Thank you. Weíll start with Charlie Anders with i09.
Please go ahead.
C. Anders: Ron, one of the biggest questions people keep asking me about
Virtuality is how is it different from on Star Trek when you would have
holodeck episodes and people would get lost in the holodeck. How is this
different from that sort of scenario?
R. Moore: Well, itís a different concept. The holodeck is a physical
space that you would go into and three dimensional forms were actually
physically created in front of you that you could feel and touch and
interact with, etc. The computer would generate them as long as you were
in them. This is truly a virtual space, which is much more akin to
putting on contemporary, sort of virtual headsets, but sort of taking it
to the next level where you do have an experiential sort of ability to
touch and sense and taste and smell things in your mind, so itís
different sort of on the mechanical level.
In terms of the story level, weíre not playing the idea that if you die
in the virtual space you die in the real space. Itís not ... from that
sense. It doesnít have the safety programs like it did in the holodeck
where the safety is off and if you get killed in here you get killed.
Itís a very different thing.
C. Anders: So in Virtuality if you die inside the virtual headset you
donít die in reality or you do?
R. Moore: You donít. No. Itís more like how gaming is now. You go
on-line. You play a game and you get killed and youíre kicked out of the
program because youíre dead, but youíre not dead in real life.
C. Anders: Right.
R. Moore: Weíre using these much more psychologically as well. It doesnít
sound like youíve seen the pilot, but essentially the experience is that
the astronauts aboard the Phaeton have, in virtual space, are sort of
things that just sort of are psychologically motivated. They go in there
and they do things for entertainment and to sort of pass the time of day
while theyíre on this very, very long-range mission, but youíre learning
things about them personally and about where did they want to spend
their time and when things go wrong in that space how does it then
influence them in the real world. That was the thing I was most
C. Anders: Right.
R. Moore: The concept was how the virtual space impacted the real story
that was going on aboard the spacecraft and vice-versa. Whatís the sort
of interaction between the two?
C. Anders: Great. Okay. Thank you so much.
Moderator: Thank you. Weíll go next to Fred Topell with Crave On-line.
F. Topell: My question is sort of following up on that, but comparing it
to Battlestar. The nature of Battlestar, you had to be very serious
dealing with the space ship and everything. Does Virtuality allow you to
have a little bit more fun with the concept of people in space?
R. Moore: Oh, yes. Itís a much less serious situation than Battlestar was
dealing with. Battlestar was literally a post-apocalyptic show where the
future of humanity rode on their every decision and death was stalking
them continuously. So itís not set up in the same way. The crew aboard
Phaeton signed up for what just seemed like a very straight-ahead
mission of exploration and they were chosen with that in mind. They were
also chosen to participate in this sort of reality show thatís being
broadcast back to Earth.
So there was a conscious attempt on the part of the people who put the
crew together to sort of have an interesting mix of people. There are
debates within the crew themselves who was chosen just for sort of their
demographic content and who was legitimately supposed to be there. Now
youíve got a groups of 12 people stuck in a metal tube going in a
straight line for a decade or so and thatís going to just sort of
produce a lot of tensions and frictions and manipulations and sort of
cross problems between the characters. It has a stronger element of fun
and suspense and sort of interesting plot terms in terms of what
characters will do with one another than did Battlestar. Battlestar was
very driven by the internal pressures of the huge weight that was on all
of their shoulders from the beginning of the miniseries.
F. Topell: So a little more opportunity for humor maybe?
R. Moore: Oh, yes. Thereís definitely more humor. Thereís more humor
probably in the first ten minutes of Virtuality than there was in the
run of Battlestar, letís put it that way.
F. Topell: Great. Thank you.
Moderator: Thank you. Next is Troy Rogers with TheDeadbolt.com.
T. Rogers: Ron, when did you come up with the idea of blending a sci-fi
thriller with a reality show element to it?
R. Moore: It was sort of in stages. When we first started talking about
the concept is was about a long-range space mission, which I was
intrigued with. Like I said before, I was interested in the idea of what
do you do with 12 people in a metal tube for that long. I thought there
were interesting dramatic possibilities right there and, okay, what
would they realistically need to do. What would NASA or the space
confederation do at that point to keep them from going crazy? Theyíd
probably have a really advanced virtual reality program to help them
while away the hours and thereís interaction between those two worlds.
Somewhere in those discussions we started talking about when they would
be broadcasting pieces back to earth, obviously, like astronauts do
today, and hey, what if they made a reality show out of that? Then it
all kind of started to come together. You had these three layers of
storytelling going on in the show where you had what was happening in
the real world on the ship, what was happening in the virtual space and
then what was the reality show that was seen back on earth. Were the
needs of the reality show starting to impact what was happening on the
spacecraft? Were people being manipulated in order to make better drama
for the reality show? The astronauts themselves would start to wonder
about are they telling us the truth about whatís happening back on earth
or is that something to just get us to be upset for the cameras. It did
sort of become this really interesting sort of psychological crucible
that they would all be put in.
T. Rogers: Yes. It sounds like thereís a lot going on, because you have
the mission to save earth. You have the virtual reality module. You have
the virus. Then you have the streaming reality show. When you were
writing it were there any major hurdles or blind alleys? Did it get
R. Moore: Yes. I mean it was a tough thing to juggle. Itís a very
ambitious piece and I think that was the reaction on the part of Fox
when they saw it. Itís a very challenging, very complicated piece of
work and there are a lot of moving parts. We knew that sort of going in
and writing the script wasnít easy. There was a lot of sort of trying to
decide how much time you spend in any one of these three categories and
at what point do you shift from the audienceís point of view from one to
the other. Whatís the language for that? Where are we going to introduce
certain characters? How often do you go to the first person
confessionals and the reality show, etc., etc.? So there were a lot of
just complicated questions. Then those same questions were there in the
editing process. When do you go to which piece of material? I think it
was a really interesting challenge.
T. Rogers: One more quick thing: ... is it going to be like avatar style.
Is it all like that or is there a reality ... too? Is all of the VR
avatar style characters or is it real looking people?
R. Moore: The actors play themselves in the virtual space. What we did in
production was all of the virtual reality scenes are shot in green
screen and all of the sets are green-scene sets, so for instance, the
piece opens with an extended sort of piece in a virtual space of the
Civil War for the lead character. None of that was shot on location.
None of it was a set that we built. It was all done in the computer on a
green screen stage. We kept that language for all of the virtual pieces
to sort of give all of the virtual reality a sense of continuity so that
you always sort of intuitively felt that you were in a virtual space
even if the background looked photo reeled, so all of that is done
T. Rogers: Okay. Thanks a lot.
Moderator: Next we have Carita Rizzo with TV Guide Magazine.
C. Rizzo: I was at Comic-Con last year for TV Guide and I understood that
this was originally supposed to be a pilot for a series, right?
R. Moore: It is a pilot. Itís a pilot for a series and Fox is going to
broadcast it as a two-hour movie. It was a two-hour pilot, so theyíre
broadcasting it as a two-hour movie, but in my mind itís a pilot. Itís
always been a pilot.
C. Rizzo: So it still can become a series?
R. Moore: I think you never say never. They havenít picked it up to date.
Their attitude, I think, is kind of wait and see. I think they want to
see what the reaction is going to be. What are the critics going to say?
Is it going to get word of mouth? Are fans going to gravitate to it or
is the science fiction community really going to turn up for it? Is
there going to be a certain buzz and excitement? I think right now it
doesnít look like itís going to series, but I think if enough people
watched and enough people got excited about it anything is possible.
C. Rizzo: Do you think this is a story that can be told in two hours?
R. Moore: Well, youíll see. It certainly does not resolve itself in two
hours. I mean it sets up for a show, so itís got some pretty heavy
things that go down in it and kind of leaves you going, ďWhoa! Where is
that going?Ē by the end of it.
C. Rizzo: Right. Thank you. I have many more questions, but Iíve got to
get in the back of the line.
R. Moore: Okay.
Moderator: Thank you. Weíll go to Simon Bacall
S. Bacall: Just going back to the whole reality TV, which you use as a
story point in this film, why do you think people have become so
obsessed with reality TV? Whatís the attraction to it? What made you
want to include it in this particular story?
R. Moore: The first are two kind of complicated questions and Iím not
sure what the answers are. At first I think I was certainly one of the
skeptics that reality TV was going to be with us for any great period of
time. Certainly, thatís been proven wrong. There seems to be a
fundamental interest of people watching other real people or at least
what they perceive as real people as opposed to watching fictional
programming. Thereís certainly something. Thereís a powerful draw there
of us wanting to look in on other peopleís lives and seeing them pretty
much as they actually exist.
Why we include it in the show was it just felt like itís become such a
staple of pop culture at this point in time. It seemed interesting to
then incorporate it into a science fiction setting, which was something
that we had never seen before or heard of and thought thatís an
interesting sort of spin on it. Weíve all seen video thatís been
broadcast back by the astronauts from the Apollo missions to the Space
Shuttle, but weíve never seen it done in a format where itís trying to
be a reality show at the same time. I thought thatís an interesting
challenge. Itís kind of a different hook for the audience and it might
be kind of a cool angle for the show.
S. Bacall: Thank you very much.
Moderator: Thank you. We have Brian Gallagher with MovieWeb.com.
B. Gallagher: Ron, I was just curious. I absolutely love the Caprica
pilot, so I was wondering if you could talk about this virtual world. Is
this at all kind of similar to the holobands that was introduced on the
R. Moore: I was sort of aware of the similarities between the two. They
do have different purposes and different sorts of constructs to them.
They both involve putting a set of goggles on your face, so theyíre
similar in sort of that perspective. In Caprica itís really much more
akin to the Internet where you go out and the virtual spaces are
practically infinite and they intersect with one another. On Caprica you
can go from the V-Club where we establish in the pilot is sort of a
hacked world and then, presumably, there are worlds of war craft type of
worlds, etc., etc. Itís all sort of interconnected into their version of
In Virtuality weíre looking at something much more discrete, much
smaller, much more of a gaming type of environment where an astronaut
has a specific virtual reality module that they go into and play
whatever game or have whatever experience they want, but there is no
expectation that you can cross from one module to another.
B. Gallagher: Great. Thank you.
Moderator: Next is Steve Eramo with TV Zone Magazine.
S. Eramo: Ron, I was wondering if you could tell us a little bit about
writing for these new characters and then perhaps a little bit about
maybe the casting process for them as well.
R. Moore: Well, we set out to create sort of a diverse group of
astronauts and we sort of then embraced the idea that given our premise
that these astronauts were put together not just for the scientific
mission, but also for its own demographic purposes, we kind of embraced
the idea that they would be a very diverse group and then that would be
part of the story, the show. Was this group assembled for its TVQ sort
of attractability, as it were, or were they really all of the best in
their selective fields and to use that as sort of tension between them.
We just wanted sort of characters that would be interesting to sort of
collide against one another, characters that would have problems with
one another, all of the sort of standard things that you look for in a
Whatís the second part of your question?
S. Eramo: Just maybe a little bit about the casting then of those
R. Moore: It was a lot of long sessions of casting. Peter Berg was very
instrumental in reading the actors and working with them during the
reading process. Fox has got a great history in terms of their ability
to go out and find interesting new actors. Some of the actors have been
on Fox series before, some have not. It was a pretty sort of wide
ranging process that ultimately ended up with the core cast that we
S. Eramo: Perfect. Ron, thank you, again, for your time.
Moderator: Thank you. Next we have Rick Porter with Zap2It.com.
R. Porter: Ron, I wondered if you could sort of take us through some of
the twists and turns this has gone through with its development at the
TCA event in January where they described it as the show is a little
dense. Iím also curious if you re-cut the two hour at all to make it
more of ...
R. Moore: With this material, like I said before, this is a very complex
material. I think the initial reaction when they saw the two-hour
version was ... said, ďWow! If this was just a movie I would say ship it
right now. Itís fantastic. But itís a pilot and itís a pilot for Fox.
Iím not sure. Letís talk about different ways to go at this.Ē So we went
back in and we worked with Kevin and the network. Any of these sorts of
processes when youíre dealing with pilots, itís a conversation between
you and the network to try to figure out how to maintain and sort of
show the piece of material that youíve worked on, that you believe in.
Youíre also trying to get something that will fit onto their air
schedule. It becomes a question of how can each of us accommodate each
other into this process.
As part of that process, Kevin asked us at one point, ďCan you do a
one-hour version of it? Can you cut the existing two-hour to a one-hour
version? How would that be?Ē So we went back in and we took a crack at
carving a one-hour. Peter Berg really led that charge and tried a whole
different kind of style and structure to do what a one-hour piece would
have looked like. Ultimately, I donít think any of us really felt that
that was the best version of the show. We didnít feel that way and
neither did the network, so ultimately that didnít really go anywhere. I
think they then judged the show on its own merits as the two-hour
version and just decided they werenít willing to pick it up right then,
but they werenít going to foreclose the possibility if it sparked
interest later and thatís kind of where we are.
R. Porter: Thank you.
Moderator: Thank you. Weíll go to Tony Dayoub with Cinema View Finder.
T. Dayoub: Ron, I was interested in finding out were you the person who
initiated the concept or did one of the studios, either Fox or NBC or
Universal, come to you and say, ďWeíre interested in getting a show from
you and this is what it would be like?Ē
R. Moore: It actually started; it was an unusual situation in that Gail
Berman and Lloyd Braun had wanted to have a sit down, a general meeting
with me and then separately they wanted to have a sit down meeting with
Michael Taylor, who was one of the writers on Battlestar. So I sat down
with Lloyd and Gail and in that conversation Lloyd had this idea of I
would like to do a show about the first long-range mission to Mars. We
kind of talked about that a little bit in just a get-to-know-you meeting
and kind of expanded on the idea of what a long-range mission would be.
They had a similar meeting with Mike Taylor. The same kind of topic came
up. He sparked to it from sort of a different angle and then Michael and
I started talking about it separately. Then the three of us started
talking and it all kind of became this sort of hereís a show. Then we
just took it to Fox. We went into Fox and pitched it to Kevin Reilly and
his team and they really liked it and it kind of went from there.
T. Dayoub: Great. Thank you.
Moderator: Thank you. Next we have Tara Bennett with Death Ray Magazine.
T. Bennett: Ron, just still following up, if it only lives as a two-hour
movie and doesnít get picked up is there any thought of maybe trying to
push to do another two-hour movie where you could tie up some of the
thoughts that you wanted to or, as a lot of creators are doing now,
maybe taking it into a different media, like a comic book so you could
continue to expand on the theme?
R. Moore: I think all of those are possibilities. Weíve talked about all
of those possibilities. Itís just kind of one step at a time. I think
itís really hard to say. It depends on where we go after the broadcast
and, A, after the ratings, after they start looking at demographics,
after they start looking at word of mouth. Sometimes these things have a
bigger life that sort of blossoms a few weeks after the broadcast.
Thereís a buzz going. People talk and then they start wondering when
itís on DVD ... and decisions about where we would go with the
underlying properties is just really hard to say where we are right now.
T. Bennett: Are you ready in your mind on where exactly youíd want to go
if it either stays in the same medium or if it jumps somewhere else?
R. Moore: Yes. I mean either way I think Mike and I pretty much have an
idea of the direction that we would take the show or the book or
whatever it would be. We have an idea of where we would take the story
after this, yes.
T. Bennett: Thank you.
R. Moore: Thank you.
Moderator: Weíll go to Melinda Seckington with ....
M. Seckington: I really love the idea of the virtual world and I was
wondering what type of virtual worlds could we see in the movie and
maybe in the series if that progresses.
R. Moore: Youíll see kind of a range of virtual worlds. Like I said
earlier, it opens in the Civil War in an action sort of piece and then
there are more pastoral settings. There is a home. There are actually
doctorís offices. There are rock concerts. There is quite a range of
areas that we went into, which was a deliberate choice. We wanted to
sort of show that we were going to use these worlds in sort of disparate
ways and that they would all be sort of tailored to specific characters
and what they were interested in going to do, so youíll see quite a
range of virtual worlds when you get in there.
M. Seckington: Cool. Thank you.
Moderator: Thank you. Next is Fred Topell with Crave On-line.
F. Topell: I definitely want to hear what other questions Carita has for
you, but I also want to ask you about the plan. I saw your panel with
Edward James Olmos last week. Olmos directed it. Jane ... wrote it. What
sort of stamp did you have on the last Battlestar movie, The Plan?
R. Moore: I supervised and I give suggestions and follow-ups and I try to
keep the story and the concepts within the Battlestar world, but I
really let Jane run with it. I mean itís really her piece and Eddieís
piece. I was very happy to sort of let them take the reins on this one.
F. Topell: He said it will be everything we expect, but does that mean
there wonít be any surprises?
R. Moore: Well, Iím not sure thatís what Eddie meant. I think there are
definitely surprises. Itís really a piece for people who love the show.
If you love the show youíre probably going to be really intrigued by The
Plan, because itís going to have all of these little bread crumbs and
throw away lines and indicators and suggestions from other episodes.
Youíve seen the show. Youíve watched the finale. You know how the story
ends. Okay, hereís like an additional slant on some things that you
didnít know about.
F. Topell: Great. Thank you.
Moderator: Thank you. Next is Troy Rogers with Deadbolt.com.
T. Rogers: I was reading somewhere that you donít really reveal the year
or what the actual emergency to the earth is. Was that done
R. Moore: Actually, that changed over time. Initially we didnít really
specify those things. We wanted to keep it looser and kind of vague
because I just thought it was more interesting than nailing down the
specifics on all of that, but as we went through the process we started
to nail those things down. We just started to feel like we had to answer
certain questions. I think we did; I know youíre going to ask me what
year it is and Iím not going to know off the top of my head, so donít
ask; but I think we do refer to the year and we definitely talked more
about the nature of the emergency.
T. Rogers: Yes. There was something written, a piece of dialogue, where
it said, ďDry land is really expensive now,Ē so I ...
R. Moore: Yes. We expanded on that idea a little bit more.
T. Rogers: Okay, so there are just like hints?
R. Moore: Itís kind of explicit. I mean there is a commercial for the
reality show within the show. Within that commercial it kind of lays out
some of the broader parameters of the mission, about whatís happening on
earth and why the mission has taken on a new urgency. The mission
started out as just one of exploration and then something going terribly
wrong back home in terms of climate change, in terms of the environment,
or so the astronauts are told. Thatís kind of where we are.
T. Rogers: Okay. Did you look to any other properties for inspiration,
like Sunshine or 2001?
R. Moore: Not specifically. I mean I think we were aware of Sunshine and
we sort of wanted to try to not go into it. We had seen it and we were
like aware that there were certain similarities to some of it. We then
kind of wanted to go out of our way to make sure that ours was
different, so we were kind of like in that place.
T. Rogers: Excellent. Thank you, Ron.
Moderator: Next we have Rick Bentley with the Fresno Bee.
R. Bentley: I just wondered, youíve got so much going on, are you having
any trouble juggling everything, especially since it seems like youíre
adding acting to your career with that CSI performance?
R. Moore: Iím not really putting myself up for pilot season, letís put it
that way. Itís a lot to juggle, but thatís sort of whatís good about the
way I came up through the business is I started in television and in
television on an ongoing series youíre constantly juggling multiple
episodes simultaneously, so itís not too much of a stretch to now juggle
separate projects as well.
R. Bentley: Is everything being based in Canada making it easier?
R. Moore: Iím sorry?
R. Bentley: With it all being based in Canada to shoot make it easier?
R. Moore: Yes. Yes, that does make it a lot easier. The Virtuality sets
were literally across the street from Caprica and Battlestar, so all I
had to do was just drive across the street when I was there.
R. Bentley: Thank you, Ron.
Moderator: Thank you. Weíre almost out of time, so our final question
will come from Carita Rizzo with TV Guide Magazine.
C. Rizzo: What do you think about the network climate right now,
especially in light of Terminator being cancelled and DollHouse being on
the cusp? It seems like anything complex aimed at a younger audience has
a really hard time staying on.
R. Moore: Well, I think itís a difficult time for the networks in
general. I think that the scheduling kind of reflects that. I think
everybody in the business has a sense that television is changing right
underneath our feet. While we all say that and we all say, ďYes, weíre
going to be ahead of the curve and we know that TV is changing,Ē nobody
has an idea of what itís changing to. I think that that sort of anxiety
and that sort of lack of knowledge about where youíre going contributes
to an atmosphere of panic and fear of saying, ďOh, my God. It didnít
work. Yank. We canít afford the time to stick with this show. We gave it
four episodes and thatís it.Ē
I think thatís unfortunate, because I think there are many, many shows,
many of the greatest shows on TV, many of the most successful shows on
TV had rocky starts and they really required networks that believed in
the process and were willing to stick by them; famously, Seinfeld. They
really had to believe in Seinfeld and it turned out to be not only a
critical hit and one of the great comedies of all time, but incredibly
lucrative, so there is certainly a strong argument for having patience
and faith and really trusting your audience and trusting your instincts
and going with programming.
Unfortunately, weíre in an atmosphere where everyone is just afraid and
everyone is really worried about whatís going to happen next week and,
ďOh, my God. This show didnít perform well this week. Letís yank it.Ē
Itís really tough. I would not want to be in charge of one of these
networks because it would be really hard to know where the hell Iím
supposed to go, how Iím supposed to program this thing.
C. Rizzo: What is your relationship with reality TV? Are you a fan?
R. Moore: I started off as a skeptic/hater of it. Now, actually, there
are definitely reality programs that I like. I think probably at the top
of that list, Iím a very late convert to Deadliest Catch, which I had
heard about for a few years. I was even on a panel once with the
executive producer and never really watched it. Then this last season
finally my wife and I decided to give it a try and I was really taken
with it, really drawn into it and impressed with the quality of the
production and the seriousness with which they do this reality show
thatís really a documentary every week. From there I like Project
Runway. I like Top Chef. Iíve been suckered in, as it were.
C. Rizzo: Youíre not watching The Hills?
R. Moore: I am not watching The Hills. Iím holding certain lines. There
are certain places I just canít go.
C. Rizzo: Thank you so much.
Moderator: Thank you. Do you have any closing remarks?
R. Moore: Well, I do actually. There is a series of Webisodes that were
created for Virtuality. Webisodes are not just your traditional hereís
an extra piece of story that you didnít see on the show and hereís
another little segment to tease you. The Webisodes for Virtuality are
actually segments of the reality show within the show itself, so when
you would log onto the Web site what you would see when you tagged on
the Webisodes is you would see pieces of the reality show as it was
broadcast back to earth, which was in the pitch when we sold it to the
network originally. We said, ďEveryone is always looking for this sort
of interaction between the broadcast show and driving people to the Web
site.Ē Itís always been sort of an uncomfortable marriage and they never
seem to quite marry up in an interesting way for the audience. Ours has
this really sort of organic way to do that where you could go to the Web
site and experience Edge of Never is the name of the show, so you could
go see Edge of Never on the Web site.
The concept and the plan would have been if the show went to series that
every week you could log in on the Web site and see pieces of the
reality show and buried within those pieces of the reality show would be
actual information and clues that would not be accessible to the people
watching the broadcast of the show. There was going to be a deliberate
effort to sort of say, ďReally, if you want to get all of the idea of
whatís going on and to even crack some of the underlying mysteries to
what the series is about, you would have to go and watch these pieces of
Edge of Never,Ē because the idea within the show was that the astronauts
may not be aware of how the show itself is being viewed back on earth.
They may not understand certain things, but the audience back on earth
might understand certain things.
There was this interesting relationship between the Webisodes and the
series. My understanding is that right now Fox is going to put them up.
There is a Facebook page for Edge of Never and I think in the next few
days, if not early next week, certainly by early next week, you can go
to the Facebook page and you can start downloading or streaming or
however theyíre going to make it available to you, these Webisodes,
which would sort of build interest in the show and show you chunks of
Edge of Never only on Fox. It would have the logos and it would have the
astronauts behind the scenes of their reality show, sort of content for
viewers to check out. I would encourage people to go and take a look at
it, because I think itís a unique bit of Virtuality.
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Page updated 4/17/15