#Derek Conway

[augustusaugustus]

15.50 Critical Mass

There’s a bomb in the station, Andrew is (mostly) brave, Derek is (entirely) tactless, and Jack doesn’t realise the obvious until it’s too late.

[forensicated]

05x36 - Communications

Derek enters CAD in a good mood. It's a much better mood than everyone else! He's only too happy to ask how everything is going and tells them all to keep up the good work.

Tom: : "What on earth was all that about?" June: "Did he just-" Tom: "Smile and say good morning(!?)" June: "Something's wrong I don't like it!" Tony: "He smiled!!!" June: "Exactly, it's like a vampire sniffing blood!"

It all feels a bit mean because Derek is routinely seen as one of the team members who has their backs against Brownlow, etc. He's also seen as the one who knows everyone's names and problems/ambitions, etc. They also moan about the notices he's been putting up with June explaining to Ken that they essentially say they're not talking to each other enough. "Can't be aimed at Reg Hollis!" Tom pouts, adding that Derek should shut his 'always open' door lest he get a chill. Ken points out that he [Derek] attended a stress counselling course the week before at Bramshill.

Derek tells Charles that the course he attended was big on communication and senior officers being accessible. Because of this, he has made an effort to get around and see everyone. The next step is response. "And if I don't get one, there's going to be trouble!"

Claire and Taffy attend the Woodvale Estate and talk to the parents of a missing child. They're going to start the house-to-house calls and promise to update the parents as soon as they hear anything.

Christine enters Derek's office. She tells him she's not entirely sure she understands his posters. He explains that they need to start being more open and discussing the problems that their colleagues might be facing, including problems at home. Christine is amused that that appears to be the total sum of the week-long course he attended. Derek asks Christine if there are any problems she can think of with the team at the moment. She can't and reminds him that not everyone wants to talk about their problems. "They must, it's important! We need honesty around here!" He's drawn up a rota and wants to speak to everyone.

One of the Pickard Twins (I think it's the one that played David in 2.4 Children with Gary Olsen/Dave Litten) answers the door to Taffy and simply says 'Not today, ta' before he closes it. "Charming..." Taffy tuts, knocking again. Claire is having a more communicative time at least as the residents stop to listen. Claire's questions an elderly woman who recognises the missing girl as Ingrid. Claire corrects her on the name and the elderly woman says she saw the girl playing by the bins on Friday. She was speaking to a black man who gave her sweets and she followed him into a car. The woman's son comes to the door and tells Claire that his mother has dementia and was in her care home on Friday - he'd only picked her up that morning. Claire apologises and moves on.

Tom finds the rota for people to see Derek and laughs as he tells Ken - who appears to be reading a comic! 💗 - that Mr Conway wants to see him. Ken isn't happy and puts his head in his hands. Tony mocks him before Tom tells him he's next on the list!

Reg complains to June that everyone is in a bad mood and that he blames Derek for it. Derek magically appears behind Reg whilst he's bad-mouthing him. Reg tries to cover quickly when he finally catches on and claims he's talking about the enormous amount of interest that his notices have created. Derek says it hasn't translated into actual visits yet, not even from Reg, who quickly makes his excuses and leaves. Derek asks June if she wants to have a chat and June responds that it's exactly what she'd like to do.

Taffy and Claire have finally meet in the middle after their house-to-house enquiries. Taffy declares it was useless; they either weren't in or didn't want to help. He decries the lack of community, even for a missing child. Claire points out she's 13, probably off with a boyfriend, and will return in a day or two. "You're just as bad as everyone else. Nobody cares! We're looking for a missing child and nobody gives a damn!"

Derek reassures June that anything she says is confidential. She asks him what he thinks her chances of promotion are. [Note: June passes her Sergeant exams in 12x111 so a while yet...] "Oh... right... Sergeant..." Derek tells her that he doesn't consider her mentally tough enough. June says she is and that people always tell her she's good Sergeant material. Derek says that a good Sergeant should be able to sort out any problem without it reaching his ear. He asks her how well she handles problems, including her own and brings up the death of her father and how it was brought into work. She claims she talked to Sergeant Cryer about it, but Derek points out she didn't. Bob found out and approached her about it. "That's why he's a Sergeant, and a good one." June insists she faced up to it in her own way and Derek tells her he's not criticising. June gets upset and storms out, cutting off Derek trying to tell her to apply if she really wants to be a Sergeant!

Reg doesn't see why he should tell Conway about his private life. "You don't want to tell him about that hunky bloke you live with then?" Ken grins.

It seems out of character for Reg to be complaining about talking to a senior officer about anything! Normally he'd kill for the ear of those upstairs! He claims he's going to talk to the Federation about it because it's an invasion of privacy. Tom claims it's a waste of time - in the old days, people would talk to their Sergeants about problems - he thinks they should tell him! Ken just turns around tactfully!

A car alarm is now going off in the car park of the flats, and a man is threatening to damage the car if it's not stopped. He's gathered an audience who are loving it! The man works nights and was woken by the alarm. He doesn't know who the owner is, but if it isn't stopped in 30 seconds, he's going to break in and stop it.

Reg backs away from Derek who has cornered Tom to ask him to encourage people to come up to see him for a chat. Tom is enthralled.

He asks him if he knows where Reg is...

Taffy asks the angry man not to damage the car. The man counts down from 30, and as he reaches 1, Taffy shouts at him to stop and that he'll run the registration through the PNC. The man agrees to wait whilst he does so, but he winds the crowd up by swinging the hammer around. Tom treats it as a joke, but runs the check.

Ken and Bob wind Reg up by talking about him running away from Conway. Bob suggests he might be guilty about something. Reg admits he's dodging Conway because he doesn't want to talk to him. Ken tells him it's better to get on with it - he was asked if he had any worries, said no, and Derek let him go. "But what if you were worried?"

The crowd are encouraging the angry man whilst Claire and Taffy wait for the answer from Tom. Finally, the owner of the car makes himself known and despite threatening the angry man with violence if he touches his car, he refuses to turn the alarm off because of said angry man! Taffy warns him he'll nick him if he doesn't. The man doesn't care as no one threatens him. It becomes clear why the man is so upset - and why there's a crowd - it goes off frequently and the man leaves it going because people protest about it to him and he refuses to be told what to do (!). What a prince! He runs off into the house. Just hammer it, mate! (ahem!)

Ken is sent back to the CAD room because Reg isn't talking. Reg is sure Mr Conway knows, and that's why he's chasing him. Bob asks again, and Reg confesses that he put the proceeds of the Body Scanner Appeal on a 'hot tip' at Newmarket [Horse racing]. Bob tells him that it's a serious disciplinary matter and asks how much he has lost. Reg says nothing - the race was abandoned. Bob says he still has to tell Derek about it and he will be kicked out if he does it again.

Reg is concerned when Derek approaches him 'about the scanner appeal'. He quietly says he was going to come and see him. Derek hands over a tenner, saying it wouldn't do to leave him out of the donations!

With the car owner refusing to turn the alarm off, the man flips and smashes the car up. The owner comes running and is held by back crowd members and Taffy, leaving Claire to tackle Angry!Man and his hammer! Taffy asks where the keys are and the man tells hm he's flushed them down the toilet. The van appears and the man with the hammer and car owner are put in the back of it. This will end well, I'm sure. The alarm is still going until Taffy finally pulls a wire out of the bottom. A man approaches him and tells him that the missing girl was seen in the market on one of the fruit stalls. The two men are led into Custody, still going for each other. Taffy finally gets it out of him why he didn't stop the alarm. No one said please. Men!

Taffy is asked to go up to see Derek so he has to pass on the message about the missing girl to Tom. Tom sends June down to the market to check it out. Derek asks Taffy if he has a problem and soon regrets it. Taffy tells him that he isn't happy at Sun Hill and he's tried not to let it affect work, but it isn't easy. His wife doesn't like London, and she's nagging him to move back home to Wales and the Welsh community. Derek suggests he has a barbecue as a way of meeting the neighbours! Derek shoots to his feet and tells him to reconsider. Taffy tells him he can't as their house is now on the market. Derek is regretting his plan to talk about problems, now he has an actual problem....! Derek tells him to reconsider and angrily shouts 'COME IN!' when there's a knock at the door. Unfortunately for him, it's Brownlow who seems to be in a good mood! He tells Taffy that the missing girl has been found. Derek warns Taffy to think hard before he does anything else.

"How's it all going?" "As well as can be expected, sir."

Taffy goes to speak to the young girl and asks her how she is. Her parents say she won't tell them either why she ran away. Taffy deduces that it's likely to do with the attacks on her flat. The parents look shifty as they hadn't complained about them [They are Sri-Lankan] and Taffy tells them he'd guessed and for them not to be afraid to approach the police.

The episode ends with Derek storming into CAD and removing and screwing up his posters about Communication much to the laughter of Tom. "Normal service has been resumed!"

[derekconway]

14.65 Watching the Detectives

[rodskase]

14.36 Powder My Nose

[steveloxton]

10.151 An Unconventional Approach

[inspectormonroe]

9.128 Behind Closed Doors

[reghollis]

13.1 The Old Pals’ Act

[jimcarver]

13.1 The Old Pals’ Act

[taylor-on-your-dash]

Anthology Credits

THE BLACK DOG

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Laura Sisk and Oli Jacobs at Electric Lady Studios (New York, NY) and Conway Recording Studios (Los Angeles, CA) / Assistant Engineered by Jon Sher and Jack Manning / Sean Hutchinson’s performance recorded by Sean Hutchinson and Michael Riddleberger at Hutchinson Sound (Brooklyn, NY) / Bobby Hawk's performance recorded by Jack Manning at Electric Lady Studios (New York, NY) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Drums, Bass, Juno, Acoustic and Electric Guitars, Programming, Piano, M1, Polysix, Mellotron, Cello, Rhodes, Vocoder by Jack Antonoff / Drums by Sean Hutchinson / Strings by Bobby Hawk / Lead Vocals, Background Vocals, Piano by Taylor Swift

IMGONNAGETYOUBACK

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI), Sony/ATV Songs LLC / Ducky Donath Music (BMI) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Laura Sisk and Oli Jacobs at Electric Lady Studios (New York, NY) / Assistant Engineered by Jack Manning, Joey Miller and Jozef Caldwell // Percussion, Drums, Programming, Juno 60, Prophet 5, M1 Keyboard, Piano, Acoustic Guitars by Jack Antonoff / Piano by Jack Manning / Lead Vocals by Taylor Swift

THE ALBATROSS

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung by Aaron Dessner / Drums and Percussion by Glenn Kotche / Drum Machine Programming by James McAlister / Modular Synth by Benjamin Lanz / Lead Vocals by Taylor Swift // London Contemporary Orchestra: … // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

CHLOE OR SAM OR SOPHIA OR MARCUS

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Rob Moose at Long Pond (Hudson Valley, NY) / Taylor Swift's performance recorded by Christopher Rowe at Prime Recording (Nashville, TN) / Assistant Engineered by Derek Garten / Aaaron Dessner's performance recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, Keyboard, Mandolin, Piano and Synthesizer by Aaron Dessner / Drums by JT Bates / Drums and Percussion by Glenn Kotche / Modular Synth and Trombone by Benjamin Lanz / Lead Vocals by Taylor Swift

HOW DID IT END?

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass, Synth, Drum Machine Programming, Electric Guitar, Keyboards, Piano and Synthesizers by Aaron Dessner / Bass Drum, Keyboards, Omnichord and Synthesizers by James McAlister / Drums by JT Bates / Drums and Percussion by Glenn Kotche / Keyboards, Piano and Synthesizers by Thomas Bartlett / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Leader) / Eloisa-Fleur Thom / Sophie Mather / Marianne Haynes / Alicia Berendse / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen// Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

SO HIGH SCHOOL

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / James McAlister's performance recorded by Bella Blasko at Long Pond (Hudson Valley, NY) and James McAlister (Los Angeles, CA) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Bass Synth, Drum Machine Programming, Electric Guitar, Keyboards, Percussion, Piano and Synthesizers by Aaron Dessner / Drums, Drum Machine Programming, Electric Guitar and Synthesizers by James McAlister / Modular Synth and Synthesizer by Benjamin Lanz / Lead Vocals by Taylor Swift

I HATE IT HERE

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Banjo, Mandolin and Synthesizer recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Banjo, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung Guitar, Mandolin, Percussion, Piano and Synthesizer by Aaron Dessner / Acoustic Guitar, Bass Guitar, Bass Synth, Percussion and Synthesizer by James McAlister / Keyboards, Piano and Synthesizers by Thomas Bartlett / Modular Synth by Benjamin Lanz / Drums and Percussion by Glenn Kotche / Lead Vocals by Taylor Swift

THANK YOU AIMEE

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff, Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) and by Laura Sisk and Oli Jacobs at Sharp Sonic Studios (Los Angeles, CA) /Assistant Engineered by Jozef Caldwell / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Banjo and Mandolin recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Banjo, Bass Synth, Drum Machine Programming, Keyboard, Mandolin, Percussion and Synthesizer by Aaron Dessner / Drums and Percussion by Glenn Kotche / Keyboards, Piano and Synthesizers by Thomas Bartlett / Programming, Cello, Percussion, Drums, Electric Guitar, Background Vocals by Jack Antonoff / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Soloist & Leader) / Eloisa-Fleur Thom/ Sophie Mather / Marianne Haynes / Alicia Berendse / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman/ Matthew Kettle / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

I LOOK IN PEOPLE'S WINDOWS

© 2023 Taylor Swift Music (BMI) administer by Songs Of Universal, Inc. / Sony/ATV Songs LLC / Ducky Donath Music (BMI) / Indiscipline AB (STIM), administered by Kobalt Music / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff, Patrick Berger and Taylor Swift | Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer for Mix - Bryce Bordone / Recorded by Laura Sisk and Jack Antonoff at Electric Lady Studios (New York, NY) and Conway Recording Studios (Los Angeles, CA) / Assistant Engineer Jon Sher and Jack Manning // Acoustic Guitars, Juno, Cello, Programming by Jack Antonoff / Acoustic Guitar by Patrick Berger Lead Vocals by Taylor Swift

THE PROPHECY

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Drum Machine Programming, Programming and Electric Guitar by Aaron Dessner / Autoharp, Drum Machine Programming, Omnichord, Percussion and Synthesizer by James McAlister / Piano and Synthesizers by Thomas Bartlett / Drums and Percussion by Glenn Kotche / Drums by JT Bates / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Soloist & Leader) / Eloisa-Fleur Thom/ Sophie Mather / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // Bass Clarinet / Max Welford // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

CASSANDRA

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Synth, Electric Guitar, Keyboards, Percussion, Piano and Synthesizer by Aaron Dessner / Drum Machine Programming, Keyboards, Modular Synth, Percussion and Synthesizers by James McAlister / Modular Synth and Trombone by Benjamin Lanz / Snare Drums and Vibraphones by Glenn Kotche / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Eloisa-Fleur Thom (Leader) / Sophie Mather / Marianne Haynes / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

PETER

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Drum Machine Programming, Keyboards, Piano and Synthesizers by Aaron Dessner / Lead Vocals by Taylor Swift

THE BOLTER

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung, Percussion, Piano and Synthesizers by Aaron Dessner / Omnichord, Percussion and Synthesizers by James McAlister / Keyboards, Piano and Synthesizer by Thomas Bartlett / Drums and Percussion by Glenn Kotche / Violin and Viola by Rob Moose / Lead Vocals by Taylor Swift

ROBIN

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Drums and Synthesizer recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / James McAlister's performance recorded by Bella Blasko at Long Pond (Hudson Valley, NY) and James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Drum Machine Programming, Drums, Electric Guitar, Keyboards, Percussion, Pianos and Synthesizer by Aaron Dessner / Buchla, Clava, Percussion and Synthesizer by James McAlister / Keyboards, Piano and Synthesizers by Thomas Bartlett / Modular Synth and Synthsizer by Benjamin Lanz / Drums and Percussion by Glenn Kotche / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Co-Leader) / Eloisa-Fleur Thom (Co-Leader) / Sophie Mather / Marianne Haynes / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion & Timpani // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

THE MANUSCRIPT

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / Bryce Dessner's performance recorded by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Synth, Piano and Synthesizers by Aaron Dessner / Drum Machine Programming, Filtered Brass and Winds, Piano and Synthesizer by Bryce Dessner / Drum Machine Programming and Synthesizers by James McAlister / Synthesizer by Thomas Bartlett / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Eloisa-Fleur Thom (Leader) / Sophie Mather / Marianne Haynes / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Natasha Humpries // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Meghan Cassidy / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

[eludin-realm]

Character Name Ideas (Male)

So I've been browsing through BehindTheName (great resource!) recently and have compiled several name lists. Here are some names, A-Z, that I like. NOTE: If you want to use any of these please verify sources, meanings etc, I just used BehindTheName to browse and find all of these. Under the cut:

A: Austin, Aiden, Adam, Alex, Angus, Anthony, Archie, Argo, Ari, Aric, Arno, Atlas, August, Aurelius, Alexei, Archer, Angelo, Adric, Acarius, Achilou, Alphard, Amelian, Archander B: Bodhi, Bastian, Baz, Beau, Beck, Buck, Basil, Benny, Bentley, Blake, Bowie, Brad, Brady, Brody, Brennan, Brent, Brett, Brycen C: Cab, Cal, Caden, Cáel, Caelan, Caleb, Cameron, Chase, Carlos, Cooper, Carter, Cas, Cash, Cassian, Castiel, Cedric, Cenric, Chance, Chandler, Chaz, Chad, Chester, Chet, Chip, Christian, Cillian, Claude, Cicero, Clint, Cody, Cory, Coy, Cole, Colt, Colton, Colin, Colorado, Colum, Conan, Conrad, Conway, Connor, Cornelius, Creed, Cyneric, Cynric, Cyrano, Cyril, Cyrus, Crestian, Ceric D: Dallas, Damien, Daniel, Darach, Dash, Dax, Dayton, Denver, Derek, Des, Desmond, Devin, Dewey, Dexter, Dietrich, Dion, Dmitri, Dominic, Dorian, Douglas, Draco, Drake, Drew, Dudley, Dustin, Dusty, Dylan, Danièu E: Eadric, Evan, Ethan, Easton, Eddie, Eddy, Einar, Eli, Eilas, Eiljah, Elliott, Elton, Emanuel, Emile, Emmett, Enzo, Erik, Evander, Everett, Ezio F: Faolán, Faron, Ferlin, Felix, Fenrir, Fergus, Finley, Finlay, Finn, Finnian, Finnegan, Flint, Flip, Flynn, Florian, Forrest, Fritz G: Gage, Gabe, Grady, Grant, Gray, Grayson, Gunnar, Gunther, Galahad H: Hale, Harley, Harper, Harvey, Harry, Huey, Hugh, Hunter, Huxley I: Ian, Ianto, Ike, Inigo, Isaac, Isaias, Ivan, Ísak J: Jack, Jacob, Jake, Jason, Jasper, Jax, Jay, Jensen, Jed, Jeremy, Jeremiah, Jesse, Jett, Jimmie, Jonas, Jonas, Jonathan, Jordan, Josh, Julien, Jovian, Jun, Justin, Joseph, Joni, K: Kaden, Kai, Kale, Kane, Kaz, Keane, Keaton, Keith, Kenji, Kenneth, Kent, Kevin, Kieran, Kip, Knox, Kris, Kristian, Kyle, Kay, Kristján, Kristófer L: Lamont, Lance, Landon, Lane, Lars, László, Laurent, Layton, Leander, Leif, Leo, Leonidas, Leopold, Levi, Lewis, Louie, Liam, Liberty, Lincoln, Linc, Linus, Lionel, Logan, Loki, Lucas, Lucian, Lucio, Lucky, Luke, Luther, Lyall, Lycus, Lykos, Lyle, Lyndon, Llewellyn, Landri, Laurian, Lionç M: Major, Manny, Manuel, Marcus, Mason, Matt, Matthew, Matthias, Maverick, Maxim, Memphis, Midas, Mikko, Miles, Mitch, Mordecai, Mordred, Morgan, Macari, Maïus, Maxenci, Micolau, Miro N: Nate, Nathan, Nathaniel, Niall, Nico, Niels, Nik, Noah, Nolan, Niilo, Nikander, Novak, O: Oakley, Octavian, Odin, Orlando, Orrick, Ǫrvar, Othello, Otis, Otto, Ovid, Owain, Owen, Øyvind, Ozzie, Ollie, Oliver, Onni P: Paisley, Palmer, Percival, Percy, Perry, Peyton, Phelan, Phineas, Phoenix, Piers, Pierce, Porter, Presley, Preston, Pacian Q: Quinn, Quincy, Quintin R: Ragnar, Raiden, Ren, Rain, Rainier, Ramos, Ramsey, Ransom, Raul, Ray, Roy, Reagan, Redd, Reese, Rhys, Rhett, Reginald, Remiel, Remy, Ridge, Ridley, Ripley, Rigby, Riggs, Riley, River, Robert, Rocky, Rokas, Roman, Ronan, Ronin, Romeo, Rory, Ross, Ruairí, Rufus, Rusty, Ryder, Ryker, Rylan, Riku, Roni S: Sammie, Sammy, Samuel, Samson, Sanford, Sawyer, Scout, Seán, Seth, Sebastian, Seymour, Shane, Shaun, Shawn, Sheldon, Shiloh, Shun, Sid, Sidney, Silas, Skip, Skipper, Skyler, Slade, Spencer, Spike, Stan, Stanford, Sterling, Stevie, Stijn, Suni, Sylvan, Sylvester T: Tab, Tad, Tanner, Tate, Tennessee, Tero, Terrance, Tevin, Thatcher, Tierno, Tino, Titus, Tobias, Tony, Torin, Trace, Trent, Trenton, Trev, Trevor, Trey, Troy, Tripp, Tristan, Tucker, Turner, Tyler, Ty, Teemu U: Ulric V: Valerius, Valor, Van, Vernon, Vespasian, Vic, Victor, Vico, Vince, Vinny, Vincent W: Wade, Walker, Wallis, Wally, Walt, Wardell, Warwick, Watson, Waylon, Wayne, Wes, Wesley, Weston, Whitley, Wilder, Wiley, William, Wolfe, Wolfgang, Woody, Wulfric, Wyatt, Wynn X: Xander, Xavier Z: Zachary, Zach, Zane, Zeb, Zebediah, Zed, Zeke, Zeph, Zaccai

[augustusaugustus]

10.143 Fly on the Wall

Catherine Tate guesting in a surprisingly unexciting episode for one that includes an explosion.

[forensicated]

05x35 - Only A Bit Of Thieving

Ted arrives at an address and notes that a panel on the front door has been broken and covered up with a thin piece of wood. He introduces himself to the house owner, Mrs Power. She is confused by his arrival as she's already spoken to an officer about her recent break-in. She thought she was safe as she had all the - at that time - mod cons and non-electric security features available to secure the house. She's now very paranoid as she and her husband moved from their last home due to a burglary. Her husband is away on business, so she's home alone. Ted tells her there has been a spate of burglaries in the area. There is a pattern that shows the burglars return soon after to take what they missed. Ted asks if she has a room that overlooks the back garden, she tells him she has a sewing room on the top floor that does and agrees for them to use it for an obbo.

Ken has a three-day secondment with CID and is very excited because he doesn't see himself ending his days in uniform. [Oh, Kenneth 😪]. He's very excited to stake out the house with Ted, despite Alistair's claim of there being no available overtime. Ted has told Ken that he will get them overtime, so Ken is waiting for him. "The wily old pole cat! He sleeps, you keep watch, and he gets paid for it! How does he do it?!" Alistair exclaims. Alistair and Ted declare the first two rules of CID. 1 - from Ted - know your angles. 2 - from Alistair - don't believe anything that comes from Ted! Ted confirms that, through telling a 'minor untruth,' he's managed to get 4 hours of overtime approved by Brownlow.

At the house, Ted tells Mrs Power that they'll let themselves out of the house when they're done and won't disturb her so she can go to bed as normal. Ted smokes whilst Ken keeps watch, telling him that he can see right into other people's houses with the night sight. "Dirty minded berk!" "Not like that!" Ken asks how Ted managed to swing the overtime, and all he replies is 'politics'. Ken asks again and we get the third rule of CID. "Ask no questions, you get told no lies" He pauses before smirking that Ken was right about seeing right into people's houses. Who was it with the dirty mind?

The night sight allows them to spot three dodgy-looking teens creeping into the garden and taking a ladder. They approach the house and climb onto a flat roof, and start to break in. Ken and Ted leave the house and creep into the garden to see what they're doing. Ken is told to stay out of sight whilst Ted climbs the ladder to disturb the criminals as they break in. Ted warns them to keep still and then shouts to Ken to get the van. Two edge to the side of the roof, whilst one that Ted tackles brings out a knife and threatens to cut him. Ted asks him to give him the knife. The kid contemplates jumping off, but Ted tells him not to as it's too high. Moments later, there's the sound of a scuffle and the lad falls to the ground with a scream. Ken checks on him and shouts for Ted. Ted tells him to call an ambulance.

Uniform arrive and arrest the other two suspects whilst the paramedics load the injured lad into the ambulance. Bob tells Ken to go to the hospital with the injured lad as he's technically a prisoner. "I can feel it already..." Tony tells the uniformed officers. "Nasty...."

Mrs Power feels sorry for the lad, but Ted is unmoved. "He shouldn't have been up there, should he?!" Christine enters without knocking and tells Ted to follow her. Ted charms Mrs Power and thanks her for everything, but Christine cuts in with "Now!" She tells him the lad was only 14. "Old enough to go out stealing!" insists Ted. Christine demands a full report from him for what happened and tells him she'll be getting one from Ken too, and she'll know if he's intimidated Ken.

At Sun Hill, the other two teens are overwhelmed as they're led into a loud and chaotic Custody. Claire and Tony call the boys' parents and inform them of their arrests and that they need appropriate adults. One of the dads, Mr Wilson, Is furious that he's been woken in the middle of the night and is even more angry to be asked if he knew where his son was. Bob tells him his son he is being charged with attempted burglary. "Didn't get inside, didn't have a chance because of that poxy copper!" Paul then alleges that Ted pushed his friend from the roof.

Bob orders Ken to return to Sun Hill after replacing him at St Hughes. He asks Claire to bring Ken straight to his office and to not let him talk to anyone, especially anyone from CID. Upstairs, Ted is writing his statement and has a call from Christine to go down to her office. Ken returns and goes straight to the Duty Sergeant's office whilst Ted signs his statement and heads down to Christine's office. Their paths do not cross.

Bob asks Ken to tell him exactly what happened, without the aid of his notes. Ken admits that he was in the garden, but he couldn't see what was happening on the roof from where he was. Bob asks him if he realises how serious it is, because it could mean Ted being up for attempted murder. Ken repeats that he was on the ground and couldn't see it. Bob calls it convenient(?!?!) He then suggests that in the 5-10 minutes before the ambulance arrived that Ken and Ted 'compared stories.' If he didn't see it it is the kid's word against his. "You don't have to cover up for him!" It's obvious he's trying to break him to get to the truth and Ken is visibly upset.

Ted hands Christine his statement and she asks if it "displays his usual use of imagination". Considering their past, she's really harsh on Ted and calls Brownlow in. Ted thinks it can wait, but Christine doesn't - especially as CIB are going to be involved.

In an interview room, June recaps Paul's statement, which details Ted moving toward his friend in a threatening manner and his arm being thrown out before his friend fell. She asks him to sign the statement and he hesitates. June asks him if he doesn't agree with the statement and his father tells her that he can't read or write. June tells him to put a cross against it instead and has his father sign the statement. He asks if his son is going to be prosecuted and June says it's up to the juvenile department and the inspector and may take several weeks until they know the answer. Tony updates Bob that the injured lad is now in a coma.

CIB arrive the next day and are greeted by Alec, who leads them to their office for the day.

Ted packs up his things into a briefcase. It's difficult to get the pics to show everything, but the essentials are there: a newspaper, scotch and aspirin.

Derek tells him off for causing aggravation over a juvenile thief. His bollocking is very unlike a Brownlow one as it's obvious he very much has his back and has knowledge of him as a person rather than a pawn in the station. Ted, being Ted, is very defensive and points out that he is there to arrest criminals, no matter who or what they are.

"I hope for your sake CIB sees it the same way!"

The father of Ted's accuser enters the station and asks to see the boss. He refuses to tell Claire what it's about and demands to see Bob. Alec tells Bob that Ken is getting a right grilling from CIB. Bob reveals the hidden biscuits....

... and tells Alec he has no faith in CIB making the right decision. "You know who and what I mean." He suspects that Ken is going to end up as the loser. "If they put Ken off being a copper, they're not doing anyone any favours." "You've got to admit he's a bit soft sometimes." Bob sums up that Ken is 'dead honest' which won't make him a lot of friends in the long run.

Claire brings Mr Wilson some tea and tells him that Bob has been delayed. He tells her to shove the tea because 'he wants to make a complaint.' Paul looks unsure and wants to leave, but Wilson shouts at him to shut up twice. Bob finally makes it over and tells him that he needs to see the Chief Inspector and CIB, and as CIB are being very thorough, there's no end to the length of time they'll have to wait. Paul looks very uncomfortable and clearly doesn't want to be there. Bob tells him that anything that is found to be untrue will add a charge of perjury to his offences. Wilson snaps that that's a threat and Bob tells him it's a warning and asks Paul again if he's sure. He clarifies that whatever is said has serious consequences for either him or Ted. Wilson accuses him again of threatening his son. Paul looks very uncomfortable and tells Bob that his friend is a nutter and jumped of his own accord. "I'll have you for this!" Wilson snaps at Bob.

At the end of the day, Derek arranges for CIB to be seen out and goes into CID, where Ted is unpacking his suitcase. "Any comments?" "He'd never have made it stick." Ted shrugs. Derek advises him to fork out for a few pints for Bob to thank him for what he did. He tells him he's been very lucky considering his record and how close he came to suspension. "Just get back to your duties."

In CAD, Alec takes a telephone call and tells the caller that he's very sorry to hear that. He goes up to CID and has to tell Ted that the boy has died from a haemorrhage. "I'm sorry, Ted." "What are you looking at me for? Don't go on about it. It wasn't my fault!" Ted says - but his face says a different story.

[derekconway]

14.39 Shattered

[pleistocene-pride]

Happy Halloween: Anomalocaris is an extinct genus of radiodont, an order of early-diverging stem-group arthropods which lived during the Cambrian period around 521 to 497 million years ago. Anomalocaris has been misidentified several times, in part due to its makeup of a mixture of mineralized and unmineralized body parts; the mouth and frontal appendage was considerably harder and more easily fossilized than the delicate body. Anomalocaris fossils were first collected in 1886 and 1888 by Richard G. McConnell of the Geological Survey of Canada, these specimens were described and named in 1892 by paleontologist Joseph Frederick Whiteaves.The specimens are now known to represent isolated frontal appendages, but Whiteaves interpreted them as the abdomens of phyllocarid crustaceans. Noting its unusual anatomy for the abdomen of a crustacean, Whiteaves gave it the name Anomalocaris, meaning "unlike other shrimps". In 1928, Danish paleontologist Kai Henriksen recongnized that Tuzoia, a Burgess Shale arthropod which was known only from the carapace, represented the missing front half of Anomalocaris. In 1966, the Geological Survey of Canada began a comprehensive revision of the Burgess Shale fossil record, led by Harry B. Whittington. In the process of this revision, Whittington and his students Simon Conway Morris and Derek Briggs would establish the true nature of Anomalocaris and its relatives formally in 1985. Today at least 4 named species are known from Australia, Canada, China and the USA, including A. Canadensis, A. whiteavesi, A. gigantean, and A. cranbrookensis. ‬Reaching 1.5 to 3.5 feet in length, anomalocaris had a percular appearance, with two up to seven inch long hard but flexible Frontal appendages which protruded out of the head of the animal above an unusual disk-like mouth known as oral cone, and infront of two huge oval shaped compound eyes. It had a softer, wide body which sported flexible flaps on the sides. Each flap sloped below the one more posterior to it, this overlapping allowed the lobes on each side of the body to act as a single "fin", which when used in conjunction with its rudder like tail furcae and telson, allowed anomalocaris to swim quiet efficiently. In life anomalocaris dwelled in a variety of habitats from shallow coastal seas to the open ocean, and would have occupied the niche of apex predator, however the idea that Anomalocaris fed on hard-bodied animals such as trilobites, has been questioned, as its relatively weak radiodont mouthparts may not have been able to handle strong mineralized exoskeletons. Instead anomalocaris may have fed primarily upon jellyfish, worms, and other softer bodied creatures. Another possibility is that Anomalocaris fed by grabbing one end of their prey in its oral cone while using its frontal appendages to twist and rock the other end of the animal, causing the prey's exoskeleton to rupture and allow the predator to access its innards. This behavior may have provided an evolutionary pressure for trilobites to roll up, to avoid being flexed until they snapped.

Art can be found at the following links

[kwebtv]

The Tomorrow People  -  ITV  -  April 30, 1973 -  February 19, 1979

Science Fiction (68 episodes)

Running Time:  30 minutes

Stars:

Nicholas Young as John

Elizabeth Adare as Elizabeth M’Bondo

Philip Gilbert as Tim

Stephen Salmon as Kenny

Sammie Winmill as Carol

Dean Lawrence as Tyso Boswell

Mike Holoway as Mike Bell

Misako Koba as Hsui Tai

Nigel Rhodes as Andrew Forbes

Francis de Wolff as Jedikiah

Peter Vaughan-Clarke as Stephen Jameson

Anne Curthoys as Patricia Conway

Bryan Stanyon as Professor Cawston

Richard Speight as Peter

Philip Gilbert as Timus Imok Mosta

Michael Standing as Ginger “Ginge” Harding

Derek Crewe as Lefty

Trivia: Dave Prowse portrayed an android named Coppin in 1973.  

[inspectormonroe]

9.115 A Life in the Day Of