#om lou

[nocreativityfornames]

Lucifer texting everyone else:

Lucifer texting MC:

He's literally the meme

[nocreativityfornames]

Mom come pick me up I'm scared

“Asmo where in the actual fuck are we.”

featuring me and @ceruleanstargaze fucking around in lethal company

[louisfruit]

I've become kinda inactive with playing obey me nightbringer and now that my best friend is dead by suicide I don't know if I can ever get back into it. The depictions of the brothers mourning their dead sibling might be too much for me. Which sucks because obey me has always been one of my comfort medias. Like I'd usually play it whenever my mental health was bad but now I don't know if I can.

On the other hand maybe a media where when good people die they go to heaven could be comforting. I'm agnostic but now I want to believe that's how it works

[parmahamlarrie]

Welcome back to another post for the directory of fic recs on my blog! As Omegaverse fics are one I adore, this will be our first multiparter! If you would like a specific theme or trope, let me know! As always, these are all fics I have read and loved, and think you should read too. **This post will be updated as I have read more fics in this theme to recommend!**

Pretty Please (With Sugar on Top) || @angelichl || 113.6k A/B/O, Sugar baby Harry, Omega Harry, Alpha Louis, Soulmate AU

Make It Up As We Go Along || @lululawrence || 52.2k  A/B/O, Poly, Movie Adaptation, KidFic, OT5

Truebonds || @jacaranda-bloom || 39.6k A/B/O, Truebonds, Omega Louis, Alpha Harry, Farmer Louis, Scenting

Quiet People Have the Loudest Minds || @2tiedships2 || 38k A/B/O, Strangers to Lovers, Mute Louis

voicemail sings a wreck || @falsegoodnight || 37k  A/B/O, College AU, American AU, Enemies to Lovers, Frat AU

Too Young To Know || @2tiedships2 || 35.4k   A/B/O, Exes to Lovers, Lou has a boyfriend, Fluff and Angst

dream about a summer night || @onlythebravest || 33.6k A/B/O, Friends to Lovers, Summer Camp AU

Short and Sweet || 5ft9 || 29.6k   A/B/O, Strangers to Lovers, Tattoo Artist H, Super Soft Lou

Introduction to Dynamics || @juliusschmidt || 29.1k  A/B/O, Omega Louis, Presenting, Coming of Age, Uni AU, Strangers to Friends to Lovers

two sugars || @sun-lt || 21.6k A/B/O, Mental Health, Nesting, Strangers to Lovers

taken by lust’s strange inhumanity || @larrydoinglaundry || 20.6k A/B/O, Alpha Louis, Omega Harry, College AU, Frat Brother Louis, Intersex Omega, Virgin Harry

how do I stay tender || jessicamcqueen || 16.8k A/B/O, Alpha Harry, Omega Louis, Neighbors, Touch Deprivation, Nesting

love so soft, you ain’t had nothing softer Series || @neondiamond || 15.4k  A/B/O, Alpha Louis, Omega Harry, Fluff/Smut

A Fateful Snow || @parmahamlarrie || 13k A/B/O, Christmas, Christmas Tree Farm, Small Business Owners, Fluff

Come In and Change My Life || @lightwoodsmagic || 12.1k A/B/O, Famous/Non-Famous, Mpreg, Strangers to Friends to Lovers

hit me with your sweet love (kill me with a kiss) || @bottomhaztoplou || 11.5k A/B/O, Alpha Louis, Omega Harry, Courting, Fluff, Valentine’s Day

resolutions and lovers in the kitchen || orphan_account || 10.8k A/B/O, Heat, Established Relationship, Fluff and Smut

Cut me up, kiss me harder || @lunarheslwt || 9.4k A/B/O, Alpha Harry, Omega Louis, Enemies to Lovers, Spin the Bottle

Find Me in the Kitchen || @neondiamond || 9.2k A/B/O, Cooking Lessons, Fluff

All I Needed || @fallinglikethis || 9.1k Harry Potter AU, A/B/O, Alpha Louis, Omega Louis

my heart's against your chest, your lips pressed to my neck (I'm in love now) || @bottomhaztoplou || 8.8k A/B/O, College AU, Courting, Friends to Lovers, Roommates

Can We Start Believing || @fearlesslysweetcreature || 8.1k A/B/O, Nesting, Friends to Lovers

young hearts on the chase || @polaroidlouis || 7.4k A/B/O, Courting, Alpha Louis, Omega Harry, Soft Harry

they found the evidence and they found your fingerprints (all on me) || angelsueavenue || 6.6k A/B/O, Alpha Louis, Omega Harry, College AU, Pining, Jealousy, Scenting, Friends to Lovers, Parties, Winter

when we get intimate || rainblou || 6.5k A/B/O, College AU, Ace Harry, Nesting

Lost in your Paradise || @sadaveniren || 6.3k A/B/O, Public Sex, Unplanned Pregnancy

just the two of us (we can make it if we try) || @starryhaze28 || 5.9k  A/B/O, Pregnant Harry, Omega Drop, Established Relationship

Get Nesting & Soft Knots || @pocketsunshineharry || 5.7k A/B/O, Youtuber Louis, Knitter Harry, Nesting, Touch Depri

breathe into your well || turnyourankle || 4.7k A/B/O, Rut Bar, Heat/Rut, PwP

Mr. Tomlinson || @canonlarry || 4.2k A/B/O, CEO Louis

Spring Fever || @kingsofeverything || 4k A/B/O, Mpreg, Unplanned Pregnancy

take you with me every time I go away || starryhaze || 3.6k A/B/O, Established Relationship, Anxious Harry, Portable Nest

my lap is the best place for you to be || @bottomhaztoplou || 2.9k A/B/O, Historical, Intersex Omegas, Pregnant Harry, Established Relationship

The Scarf || @homosociallyyours || 2.6k A/B/O, Nesting, Getting Together

this love is ours || wherewestwood || 2.5k A/B/O, Established Relationship, Chirping

‘cause I built a home for you || angelsueavenue || 2.3k A/B/O, Mpreg, Fluff, Nesting

Baby, Don’t Apologize || @neondiamond || 1.8k A/B/O, Established Relationship, Alpha Louis, Omega Harry, Asexual Harry

Sigh Softly || aalexandravictoriaa || >1k A/B/O, Established Relationship, Nesting

[deeisace]

Ok I'm super interested in those old timey words owo can I get some from pages:

1111, 1213, 1258, and 1260 ?

If that's too many my only request is a Welsh word from page 69 uwu ty for taking the time!

Oh goodness that's a lot, but you can have two from each

1111 is in T, so we have -

turlough (tur'-lou) n. a shallow pool which dries up in summer (Irish)

turn'skin n. a werewolf.

1213 is in Common Foreign Words and Phrases, so we have -

gaiete de coeur (French) gaiety of heart; high spirits; sheer wantonness. (there's accents on the e's, sorry)

gaudeamus igitur (Latin) let us therefore rejoice.

1258 is Weights and Measures, so we have -

36 bushels = 1 chaldron (1 bushel is 4 pecks, and a peck is 2 gallons, apparently)

10 kilometres = 1 myriametre

1260 is,,, lots of mildly incomprehensible maths, tbh, but then -

first dog watch on board a ship is 4pm to 6pm, but we are currently (by my watch) in second dog watch, 6pm to 8pm

and Noon Greenwich meantime is 7.4am in New York by local time, or 7.0am by national time. Bombay (now Mumbai, since the writing of this book) is 4.51pm local vs 5.30pm national, apparently

In the Welsh dictionary, one word from page 69 - pwyth, -au: nm stitch; -o, vn to stitch; talu'r pwyth, to requite; retaliate.

69 in the English dictionary, you can have one - auxanometer (awk-san-om'-e-ter) n. an instrument for measuring the growth of plants [Greek - auxanein, to increase, metron, a measure].

[nocreativityfornames]

And then it's just him going on and on about factories

they're. they're making obey me asmr. with lucifer.

[lesbianrobin]

🙋 for the film asks: 13, 19, and 40!! looking forward to your expert (film degree) opinions <3

hehe hiii lou thank you <3

13. do you have a favorite film in another language?

deeply difficult to pick just one. om shanti om (2007)... cléo from 5 to 7 (1962)... a girl walks home alone at night (2014)... but ultimately i'm gonna say the hole (1998) it is So fucking good. it's the soggiest film of all time. the leads are quarantining from a virus that makes people act like cockroaches. there are musical numbers. i love it so much.

19. name a movie so bad it's good

blue hawaii (1961) it's literally So fucking funny. best watched with a group of people. features elvis the pelvis presley telling a teenage girl that she's too young for him and then bending her over his knee and spanking her. absolutely wild.

40. a film you think everyone should see at least once

because i got annoying and historical with the last one i shall be more normal this time: moonlight (2016). i don't think i even need to explain this one like it's moonlight. it's so beautiful and emotionally complex and i just think everyone should see it.

[whitewaterpaper]

Denna månad har jag sett klassisk SF, klassisk fredriksdal och en remake på en klassisk Hitchcock. Det blir svällande muskler, svingande svärd, sjungande värjor, damer som försvinner och one liners som haglar.

Arnbergs Korsettfabrik (2000) [👍🔁🆓🎭] Eva Rydbergs klassiska omstöpning av Poppes Oskulden från Mölle. En fortfarande genuint charmig och rolig pjäs jag tycker om att återkomma till.

Battle in Outer Space / Uchû daisensô (1959) [👍🆓] Japansk SF, väldigt gediget producerad. Bra story, och bra special effekter. Regisserad och skriven av samma man som skänkte världen Godzilla.

Dark Star (1974) [👎] John Carpenter, över lag bra special effekter och produktion. Dock konstigt manus som gör att jag tappar intresset snabbt.

En dam försvinner / Lady Vanishes, the (1979) [__] Överlag sevärd remake på Hitchcock-klassikern. Mer hysterisk än spännande, Cybil Sheppard (i rollen som Kelly) och Elliott Gould (hennes manliga kärleksintresse) tenderar slå över på överspel men Angela Lansbury gör en bra roll.

Freelance (2023) [__] Vill väldigt gärna vara en "Jakten på Stenen"-actionkomedi, men blir mest konstig.

Gullivers Resor / Gulliver's Travels (1939) [👎🆓] Klassisk animerad film uppskattad av många. Dock då ej mig.

Herrskap och Tjänstehjon (2006) [👍🔁🆓🎭] Ännu mer klassisk fars på Fredriksdal. Rydberg är i högform.

Samson and the Slave Queen / Zorro contro Maciste (1963) [👍🆓] Varför plockade amerikanarna bort Zorro Från titeln kan man undra. Väldigt underhållande film jag med all säkerhet kommer se om.

Sinbad: The Battle of the Dark Knights (1998) [👎🆓] Oinspirerad film som började med att konstatera att Sinbad behöver vara lite mer tonåring...

Sinbad of the Seven Seas (1989) [👎🆓] Rörigt och på gränsen till osebar film med Lou Ferrigno i rollen som Sinbad. Lou Ferrigno som Sinbad är typ det enda positiva som finns att säga om filmen.

Sinbads Tusen Äventyr / 7th Voyage of Sinbad, the (1958) [👍🔁🆓] Klassiskt Sinbad-äventyr.

Warcraft: The Beginning (2016) [🔁] Mindes den som överraskande bra, men upplevde den nu som tämligen avslagen. Kanske för att den här öppnade för uppföljare mot slutet som aldrig kom?

Har man, som jag, en viss fäbless för Zorro tycker jag man skall satsa sina minuter denna månad på Samson and the Slave Girl. Känner man att man vill sikta lite högre ser man med fördel Battle in Outer Space som är väl värd en chans.

Edit: Glömde emojisarna.

[nocreativityfornames]

I like the idea that demons and angels don't need water to survive and most of the cast was deeply confused by MC drinking it so often because "it didn't taste good" and they couldn't wrap their heads around why MC was so "obsessed" with it.

And then they found out that water is crucial for a human's health and humans DIE if they go for a few days without it and suddenly a whole new fridge was installed in the kitchen filled with just water bottles, MC started getting "h2o deliveries" completely unprompted throughout the day, texts from all of them reminding them to hydrate, etc

"MC, here's your water."

“Oi, have you had yer life juice yet?”

"Remember to hydrate."

"I still can't believe you humans depend on this to survive. How stupid is that?"

"MC, do you need some water?"

[nocreativityfornames]

Now, I agree that Solomon would most likely win this fight. I mean, the fucker ( affectionate ) is immortal and has pacts with 72 different demons, with one of them being Asmo, Lucifer's brother who he can't at all fight against for purely "I'd rather have someone tear my every limb 9281 times over than see my family harmed" type of reasons coming from Mr. I'll sacrifice myself to protect my loved ones in a heartbeat over here.

However!! I gotta come to Lucifer's defense here because some people are using S3's "Tiny!Lucifer arc" ( specifically lesson 47 ) as an argument to say that he'd easily lose to Solomon, which I don't really get because the reason Solomon was able to "overpower" Lucifer during that lesson was literally because Lucifer let him??

Like, the game couldn't have made it any clearer.

I mean, what happens is that Solomon puts a binding spell on Lucifer, which makes him pissed so he goes full demon form. And then Beel transforms as well because y'know, "protect the family" instincts, and Lucifer's response is:

Look at that annoying ass smirk, does this look like a man who's being overpowered by anything??

And then he says:

He knows this isn't anything he can't take, he fully has the power to break the spell. But you know why he doesn't?

Man looked fully ready to jump Solomon, but then MC's name is mentioned and poof, he stops.

Right, that's what he came here for, to help MC with their Sorcerer Exams. So he chooses to let it happen, for MC's sake, because he wants them to pass these exams and become a full-fledged sorcerer.

And so Lucifer leaves his demon form and lets Solomon turn him tiny!

( and Magnus ((my mc)) thanks Lucifer by laughing at his tiny self, of course, because annoying his grumpy ass is one of their favorite pass times ((they love him, don't worry)) )

Little bonus ( Simeon learning about what happened ):

!!!

Man doesn't even try to deny it, he just tells Simeon to shut up because can't bring himself to admit it in front of everyone. But yeah, dude cares so much about his chaotic mess of pact mate that he'll let himself look stupid and weak in front of others as long as it makes them happy/helps them somehow.

[dustedmagazine]

Listed: The Spatulas — Part 1

The Spatulas churn out uneasy jangle pop straight from the garage — or, more literally, the storage unit where the band met to play and beat back their pandemic frustrations. Their sound is built on blunt yet psychedelic melodies, chopping guitar, and rhythms that lurch then steady themselves. Assembled in various forms over the last several years, the Oregon-based quartet released March Chant, their first EP,in December of 2023. Alex Johnson found it “raw and charming…a full band record [that pairs] the relief at venting your anger and the goofy waywardness of distracting yourself with a joyful noise.”

Miranda's List: A bunch of songs that seem to make me me...

Mope Grooves — Look At The Time, 2018

Catchiest song ever. My friend Stevie made a bunch of wonderful music in her lifetime and was a beautiful person. Everything she put out on her label, See My Friends Records is great, and she included many of my fellow Oregonians on Mope Grooves albums. Our previous Spats drummer, Kyle closes out this song "Look At The Time" with that wave of nostalgic synth sound.

Pip Proud — De Dum De Dum, 1967

The original recording of this Pip Proud album is golden all the way through. I listened to this alone on a sheep farm in Oregon in the middle of rainy winter in 2021 and it influenced my writing a lot.

Nico — One More Chance, 1983

Nico at her most gothic rock. I love this echoey version — makes me wanna dance! The beat is great. Ambient synth sounds abound; her vocals incredible as ever... The origins of The Drama of Exile, her fifth album — so full of drug-addled dysfunction!

Pearls Before Swine — Playmate, 1967

One Nation Underground is one of my most listened-to records; the grooves are worn. I used to cover the opener song, “Another Time” pre-Spats, with my Partners, Buddies and Pals. “Playmate” is the upbeat, second song on the album, a cover of an old children’s song, which I think is perfect for me. “(Oh Dear) Miss Morse,” is another hit on side A, on side B it's “Uncle John” and “Surrealistic Waltz.”

Grace Slick & The Great Society — Often As I May, 1966

This song propels you along. It sounds so beautiful, like a traditional folk song, yet a Slick original. Great fun to sing along with this gal.

Lou Reed — Waves of Fear, 1981

Robert Quine’s guitar hits the spot, and with Lou’s voice and guitar, those lyrics — so hard!

Yoko Ono & Plastic Ono Band — Why, 1970

The most adventurous and exciting song ever. Yoko’s primal screaming, with John’s guitar wailing, and Klaus, and Ringo clipping along... WHYYYYYY????? A brilliant reminder to LET IT OUT.

The Bats — Made Up in Blue, 1986

Beloved. Great bass. The song that I think put this Flying Nun band on the map, leading up to another special full album, Daddy’s Highway from 1987, the year I was born. The accompanying music video is a treasure!

Broadcast — I Found The F, 2005

We’re so lucky to have the album Tender Buttons, and the band Broadcast. The album was made while singer Trish Keenan’s father was dying of cancer, six years before she herself died of pneumonia from swine flu. Knowing this makes it all the more eerily personal and sweet-sounding for me. Both my parents were dead by the time I was 32, so I’m familiar with making art as a response to grief.

Don Cherry and Organic Music Theater — Om Shanti Om, 1976

This is the full live performance at RAI Studios in Rome, Italy, for television broadcast. Listen to the ~47-minute album Om Shanti Om as much needed meditation. Imagine also all Moki Cherry’s tapestries in full color, as featured in the Blank Forms book I was so engrossed in last summer.

[mangle-my-mind]

Todd Haynes on the Visual Style of Velvet Goldmine

OM: In writing the script, were you afraid that the strong visual style of the film would overwhelm the characters to the point of pushing them to the background and having the film be about its film-making?

TH: I think the film succeeds in exploring the way stylistic tropes and conventions of expression can be taken to an extreme point of self-conscious, ironic, highly theatrical, highly worked presentation without losing emotion - but I'm still not really sure how it works. And yet it's been the thing that I've been drawn to in all my films; Superstar is the best, cleanest example of that. And I completely agree with you that the doll scene in Velvet Goldmine - which is definitely a homage to myself (somebody's got to do it) - does represent the film as a whole, and maybe in the most complete way. A lot of it has to do with the game of laughing and feeling aware of the construct - in a fun way, not in a Brechtian, didactic way. There's humor in glam rock, there's irony and wit, and it's often about its own point of address; it's often about the presentation, the inherent artificiality of our so-called natural world. And yet it ends up being very moving with its rhythm, its meter, its color. And that's something I was going to try to do with this film.

What is so hard about narrative, and our current traditions - which don't even include the musical any longer - or the codified, highly stylized pop culture of the past, is how to avoid the Hollywood gloss - which only gets glossier as budgets soar - as well as the indie gritty "realism" we accept today. So directing this film was all about taking it to a new stylized, self-conscious, artificial extreme, without losing the good old-fashioned emotional connection to the characters. It was the hardest thing about the project, but it was the one thing I demanded from myself throughout the process.

What I really found dangerous about the many aesthetic styles and stylistic choices was the risk of alienating the characters by removing a naturalistic definition from scenes. And yet I find the "Press Soiree" - the scene where everyone's in the gold costumes, which culminates in some strange circus/opera house - is rooted in a more "real" space. And the irony is that this artifice, this scene, comes from something that really happened, that was pushed about as far into the surreal as you could possibly imagine. The scene came from the time when the MainMan management company assembled itself in London, flying over a handful of US critics to introduce the Ziggy Stardust tour. I think it was at the Dorchester Hotel in London where Bowie, Lou Reed and Iggy Pop posed all day long. Bowie changed costumes maybe four times, they served champagne and caviar and fresh strawberries, and everyone literally performed themselves: Iggy played the junky on the floor; Lou Reed played the snide American who is smitten with Bowie; and Bowie played the duchess of the entire event. It was a completely constructed theatrical performance that took place in real life, and so it didn't take that much more imagination on my part to push it to the extremes I did in the film. I kept defining the characters all the time so they wouldn't get lost in the grandeur of it all.

OM: That grandeur, the visual language of the film, is incredibly rich and textured. You use what seems to be a huge arsenal of visual tools. Your cinematic vocabulary (zoom-ins and outs, swish pans, fades, dissolves, superimposition, rack focus, etc.), your use of color (saturated, glittering, bleached, faded, etc.), the use of different genre conventions (the biopic, promo film, documentary, melodrama, musical, period piece, mystery, etc.), and your many choices of lighting styles and camera angles, among other things, create a wonderful sense of serious fun.

TH: A lot of those stylistic decisions came out of a focus on the way film-making styles have changed over the last thirty years. I looked at how so many of the visual motifs in those youth experience movies I mentioned before [like 2001, Clockwork Orange, and Nicolas Roeg's Performance] as well as in some of the best movies of the early seventies - Robert Altman's work, Coppola's and others - have disappeared from our canvases. At that time there was a climate of experimentation with lenses and zooms: they preferred long lenses as opposed to wide lenses. It literally led to an appreciation of the grain of cinema - what isn't completely clear and completely available to an objective assessment. So I wanted to get back to that. I also had a nasty desire to break rules that were deemed tacky, to reintroduce all the potentially hokey devices that have gone out of style. I wanted all that fun stuff to become commonplace in the overall style of the film and then for it to be highly sutured with music, voice-over, and fractions of narrative.

OM: I know you put together a big scrapbook to define the look of Safe. Did you do the same with Velvet Goldmine?

TH: Yes. Three scrapbooks, actually. Big ones. It really is part of my way of working as a film-maker. Because glam was such a visual application of rock, the clothes, the hair, the make-up - both on and off stage - were going to be an essential part of how to imagine the collage of looks for this film. The scrapbooks helped inform me how the film would be shot, how it would be designed, costumed, color-coded, etc. I put together pure images of the bands and album covers, from the most throw-away backstage snap shots to the most theatrical Roxy Music cover. I wanted to have it all in one place, to have a great source of information for everybody. We pulled out those books at every stage, from casting to costume design to make-up and hair. They were really an essential part of the process from the script stage on.*

OM: Each scene is very specific, and I remember when you came back from London the first thing you told me was that you shot the script, which is quite an accomplishment.

TH: It's funny because I never write the script just for myself, even though it may read like it sometimes. I try to explain with the script as meticulously as possible - and it does sometimes verge on the insanely meticulous - exactly what I am seeing in my head and hearing in my ears - which includes every minute description of the score in the very first draft of the script, and all the fades and optical effects. To me, film is about all of its elements together; it's not about some piece of truth that I'm immortalizing on celluloid and which later I can finesse with clever little tools. It's all constructed! It's all working together to present to you, the reader, something that is an experience as well as a blueprint. That's where my scripts go overboard. And they often require more technical discussion than other scripts because I am paying attention to such specific details at an early stage. I don't really know how to write a screenplay without acknowledging all the elements of film-making I want to use... In a way it's impractical; I admire the simplicity of directors who can say, "At this stage, we just need to know the dialogue and the location." In most films that's enough; it gives you enough sense of the rhythm, pace, the overall body of it. But my scripts are always loaded with excessive descriptions of music and subtleties that you may never even perceive when you're watching the film but that I choose to put in the writing. I have to go completely sensory in my descriptions, as if I'm describing, in semi-technical language, a film I am watching.

OM: It probably has something to do with your need to control the medium when you direct. You also storyboard every film you make from beginning to end, which is completely unusual. Why do you insist on sketching every shot?

TH: What can I tell you? I'm a control freak. But I have my reasons. I think most people who work in film - technicians and directors alike - agree that the clearest way to describe what you're seeing in your head is to have a sketch of it... If you have something very specific in mind, which I usually do, you have to be able to show it... [If] I don't feel I see the scene, I feel like it hasn't been written. And if I do see the scene in my head - which ultimately I must in order to direct it - I'm going to show it on the storyboard. I have to make it visual.

Velvet Goldmine has so many scenes that are indescribable in terms of visual reality. Take the scene where the character of Devine is introduced, with that line of executives sitting at a long table. Both Maryse [Alberti], the DP, and Christopher Hobbes, the designer, were very patient with me as I got closer and closer to being able to make this imaginary space concrete. It was supposed to be an empty, strange space - possibly a big studio room - but, for the most part, I wanted it to be defined by the lighting and by this absurdly large conference table that would be tilted and floating in space. That's a scene I'm particularly proud of because all of the angles, the lighting, the costumes work so well together that there is this assumption that we know exactly where we are. All the elements come together but it starts with a clear understanding among the crew of what every shot is going to look like.

Source - "Superstardust: Talking Glam with Todd Haynes", Oren Moverman

Edits and highlights my own :)

*Bonus: For anyone in/near New York City, there will be a Todd Haynes retrospective and exhibit at the Museum of the Moving Image starting this November. It'll include his production archive, which means there might be a chance to see the Velvet Goldmine scrapbooks in person!

[kosmos2999]

Star Trek: The Animted Series 50th Anniversary Episode Review

Episode: Yesteryear

Season: 1

Episode: 2

Stardate: 5373.4

Original airdate: September 15, 1973

Written by: D.C. Fontana

Directed by: Hal Sutherland

Music by: Yvette Blais and Jeff Michaels

Executive producers: Lou Scheimer and Norm Prescott

Studio: Filmation Associates

Network: NBC

Series created by: Gene Roddenberry

Cast:

Captain James T. Kirk (voice by William Shatner)

Mr. Spock (voice by Leonard Nimoy)

Dr. Leonard “Bones” McCoy (voice by DeForest Kelly)

Lt. Uhura (voice by Nichelle Nichols)

Lt. Hikaru Sulu (voice by George Takei)

Eng. Montgomery Scott, Guardian Voice, Thelin, Erickson, Bates, Aleek-Om, Vulcan healer (voices by James Doohan)

Amanda Grayson, Grey (voices by Majel Barrett)

Guest stars:

Sarek (voice by Mark Lenard)

Young Spock (voice by Billy Simpson)

Sepek (voice by Keith Sutherland)

Synopsis:

The Enterprise is in orbit around the planet of the time vortex, where the Guardian of Forever is located. They are in a mission of assisting a group of historians in the investigation of Federation history. Captain Kirk, Mr. Spock and historian Erickson and return from a time travel to observe the dawn of the Orion civilization while Doctor McCoy alogside historians Grey and Aleek-Om and they notice something strange. It seems that they does not know who Spock is.

Aboard the Enterprise, thet are received by Engineer Scott and he also does not recognize who Spock is. The First Officer's position is occupied by an Andorian named Thelin instead of Spock. After consulting the memory banks from the Enterprise's library computer, they learn that Mr. Spock was killed at the age of seven and his mother died in a shuttle accident.

Kirk and Spock are beamed down again to the planet. They asked Grey and Aleek-Om if they used the Guardian while Spock was in Orion's past. They have found that both historians were 30 years in the past of planet Vulcan where Spock died on his maturity test.

He remembers that a mysterious cousin named Selek saved him from death at that age. Spock assumes the role of that cousin and travels to his native planet Vulcan back in time using the Guardian of Forever.

Spock arrives to his hometown, the city of ShiKar, close to the twentieth day of the month of Tasmeen, shortly before his younger self was ready to enter the Kahs-Wan maturity test. As Selek, adult Spock met his father, Sarek, his mother, Amanda and his pet shelat, I-Chaya.

Young Spock enters the maturity test followed by I-Chaya and secretly followed by adult Spock. In the journey thru the desert, the young Spock face the attack of a ferocious creature, le-matya. During the ordeal, adult Spock saves the life of his younger self by applying the nerve pinch to the creature. During the battle, I-Chaya was hurt by the poison of the le-matya. Young Spock has to run across the desert to find a healer to cure I-Chaya. He has to choose between to give his pet a longer but painful life, or release him from his suffering. With the advice from his adult self, young Spock choose to put to sleep I-Chaya. Then, the young Spock decides to follow the Vulcan ways of his father, Sarek.

As the life his his younger self and his mother were saved, the timeline was restored and Spock returns to the present thru the Guardian of Forever.

Fascinating Facts:

This is the only story written by D.C. Fontana for The Animated series. Fontana's main duties on this series were Story Editor and Associate Producer. At The Original Series, Dorothy Fontana served as Writer and Story Consultant. She wrote four stories, co-wrote three stories and scripted four stories.

D. C. Fontana wrote this story to look back her experience on The Original Series. Spock was her favorite main character and she made her focus on two stories he wrote on him, “Journey to Babel” and “This Side of Paradise”. She wanted to explore on Spock's formative years, specially on his early relationship with his family.

The shelat pet, I-Chaya was mentioned first in the TOS episode “Journey to Babel” as “a fat teddy bear” with six-inch fangs.

In addition to the mention of Spock's pet in “Journey to Babel”, another source of inspiration Fontana used for I-Chaya, was her cat named Bobby McGee. His name is inspred by a song from Janis Joplin.

The Guardian of Forever appeared for the first time in the first season episode of TOS, “City on the Edge of Forever. In TOS, it was voiced by Bartell La Rue but in this episode was voiced by James Doohan.

Jane Wyatt was not available at the time for recording for the character of Amanda Grayson. Mark Lenard was one of three guest stars to voice their characters on both TOS and TAS. The other two were Roger C. Carmel as Harry Mudd and Stanley Adams as Cyrano Jones.

[rotterdamvanalles]

De Hef in 1978. De foto is gemaakt na de aanvaring door de Nedlloyd Bahrein.

De Koningshaven scheidt het Noordereiland van de wijk Feijenoord. De brugdelen van de Koningshavenbrug aan de wederzijdse oevers stammen uit 1878. Het middengedeelte was oorspronkelijk een draaibrug. Dit was echter een forse hindernis voor de scheepvaart. In de smalle doorvaart voeren meerdere schepen zich vast, in 1918 voer het Duitse schip Kandelfels tegen de pijler. Dit laatste ongeval gaf de doorslag voor de aanleg van een hefbrug ter vervanging van de draaibrug.

De brug is ontworpen door ingenieur Pieter Joosting en opengesteld op 31 oktober 1927. Deze brug was de eerste van haar soort in West-Europa. Joris Ivens maakte in 1928 een avant-gardistische film over De Hef met als titel De Brug. Onder meer door deze film werd Ivens internationaal bekend. Arij de Boode en Pieter van Oudheusden schreven De Hef, biografie van een spoorbrug (1985, met een woord vooraf door Joris Ivens).

Op 14 januari 1933 dook Lou Vlasblom van de hefbrug. Twee weken later sprong Jan Tabbernee vanaf een punt zes meter hoger dan dat van Vlasblom. Tabbernee kwam verkeerd terecht en overleefde de duik niet.

Op 14 mei 1940 raakte tijdens het bombardement op Rotterdam de brug zwaar beschadigd. Om weer treinverkeer mogelijk te maken werd ze als een van de eerste kunstwerken in de vernielde stad hersteld.

Op 10 mei 1978 is de hefbrug aangevaren door de Nedlloyd Bahrein tijdens sleep vanaf de scheepswerf Van der Giessen-de Noord, waar het schip gebouwd was, naar Wilton-Fijenoord. Gedurende 14 dagen was het spoorwegverkeer gestremd.

De fotograaf is Bouke van Huis en de foto komt van de site feijenoordsemeesters.nl http://www.feijenoordsemeesters.nl/Rotterdam7.htm De informatie komt van Wikipedia.

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