#paul lemere

[djkerr]

Filming NCIS 19x02 Nearly Departed

🎥 @mark_harmon_daily via IG

[littlencisthings]

Little NCIS Thing #1290

Paul Lemere

[holyfourthofjulyweenieroast]

It did hurt watching it burn... thanks for bringing up that painful memory

[quanticowrites]

The Love Coach Part 1 (Alden Parker x Reader)

•• Hello everyone, it's been awhile! I had time at work today to pump this out, so enjoy! ❤️ ••

Spring was edging ever closer, as the large snowbanks on the roadsides melted down into the manhole grates down into the sewers below the city streets. A nip in the air reminded those that lived in D.C to beware because another snowstorm was on the way and was set to descend upon the capital later that week. It wasn’t just the weather that told you a storm was coming, it was the droves of people heading to all the grocery stores and mom and pop run shops to stock up, so once the storm hit, they didn’t need to head out into it for at least a few days after, once the plows cleared the streets of the foot of white they were expecting.

But when you’re an NCIS agent you’re seldom stopped by bad weather. The bad guys didn’t wait for snow, sleet, or shine. You were at the very least happy to get one more nice above freezing morning to walk to the Navy yard as you hustled to the squad room. Unlike Gibbs, Parker didn’t mind terribly if you were a little late due to traffic or some mundane reason, but old habits die hard. You were practically hard wired to be at your desk by 7:30, no matter what trouble you may have had going on in your personal life. You didn’t even have a good excuse for your slight tardiness today. Your damn alarm clock decided to run out of battery in the middle of the night. You only had Timothy’s text to ask about your coffee order to thank for getting up at a semi-regular time. The elevator seemed to take forever as you looked at your watch on your wrist, feet tapping along as you watched the seconds tick down. You only had a few minutes until 7:30! If you ended up being late it was going to be so humiliating. You could already hear the relentless teasing that would no doubt last at the very least a few months. The doors finally opened with their signature ding and you sprinted out, almost taking down some poor woman that worked in MTAC. She dodged just in time.

“Sorry, Helen!” You called back as you rounded into the bullpen. Tim was there first, as usual. He looked up as you flopped into the chair at your desk.

“You good, (Y/n)?” You looked down at your wrist with a smile.You nodded.

“Ten seconds to spare.” Tim rolled his eyes, trying to keep himself from smiling.

“You know you don’t need to be here right at 7:30, you know. Life does happen outside these orange walls.” He leaned back as Torress and Knight walked up.

“Hey, after so many years of being under Gibbs’s hardwired leadership my biological clock hasn’t caught up with the times yet.”

“What the hell are you guys talking about?”

“(Y/n) has a complex of being on time to work.”

“I do not have a complex, I’m just used to being here by a certain time!”

“No, that sounds like you have a complex to me.”

“Oh yeah, Nick? What does having a complex mean?” Nick scoffed.

“I know what it means.”

“Then enlighten me.”

“Well-”

“Are you kids done fighting or should I come back and tell you we have a dead Navy Lieutenant another time?” The four of you looked up at Parker as he leaned against the railing of the staircase up to MTAc and Director Vance’s office. You could feel your face flush. You couldn't believe you’d been falling in love with Parker since the day he came to NCIS because of the Paul Lemere case. You’d looked up to Gibbs like a father figure, but Parker….man you wanted to press him up against that railing and kiss him until the both of you couldn’t breathe. Was it the salt and pepper hair? His mustache and beard? Or was it because he was so selfless and caring? You couldn't place it, but you knew for sure you were in love with him. Though, he may not feel the same. Every once and a while you’d catch him giving you a sideways glance before quickly averting his eyes. Was he starting to question why you got so close to him in the elevator? Why did you call shotgun when he drove the van to the crime scene? Did he just think you were weird? You ask yourself those questions constantly, and they could be easily answered, if you just told him how you felt. It seemed childish, but you didn’t want to tell him. Once you told him what’s to stop him from rejecting you? This way he never could.

Everyone grabbed their gear and followed Parker down to the van, this time you opted to sit in the back with McGee and Torres, leaving Knight upfront with Parker.

“What’s up? You always take the front when Parker’s driving.” You cursed. They had noticed that you only called shotgun when he was driving. But, then again, did you really think they wouldn’t notice? They were trained federal agents and had been under Gibbs’s watchful eye for years just like you had.

“Nothings up, McGee.” You tried to brush off his comment. “I can’t just sit back here with the two of you?” They both looked at each other before turning back to you.

“No.” They said in almost perfect unison. You crossed your arms in a huff, nodding toward the window that opened between the front seats and the back of the van.

“Fine, but close that first.” McGee sent a worried look you way before reaching up and closing it. “It’s true, I do take the front when Parker’s driving. It’s because I-” You cut yourself off. Were you really about to tell them? They could keep state secrets, sure, but when it came to gossip like this? Tim and Nick were like tennagers in Highschool. Pure gossip girls.

“The suspense is killing me, just come right out and say it!” Nick said, reaching his leg out and nudging you. “What’s wrong with you?”

“I think I’m in love with Parker, alright!” You kept your voice low as you noticed Knight turn back in her seat and look back at the three of you. She smirked before turning around. Well, she knows. She’s a profiler, and you’re pretty sure she could read lips, so of course she knows! God, you could only hope she wouldn’t tell Parker. Tim and Nick burst out laughing.

“Seriously? That’s what you’ve been so zoned out about?” Nick wiped a tear from his eye. “For a minute I thought you were going to say someone important to you died or something.” He smirked. “Instead Little (Y/n) has a crush on the new guy.” Tim was a bit more mature with his response.

“How long have you felt that way about him?”

“About as long as I’ve known him.”

“So…about as long as he’s been with us?” You nodded. “(Y/n), that’s five months. You gotta tell him.”

“What! Why?”

“For one, you’re just going to feel worse after a while. Especially if something happens to him. I mean, just look at Tony and Ziva.”

“You mean the happily married couple living in Paris?” He let out a chuckle.

“You know what I mean. You were there for the years of romantic pining and heartbreak just like I was.” You hated to admit it, but Tim was right.

“Alright, fine, but what the hell do I say? Hey, I’ve had a stalker-like crush on you for five months now. Do you love me?” Nick undid his seatbelt and hopped over to be beside you, wrapping a hand around your shoulder. His normally charismatic personality seemed non-existent at the moment as he pulled you into him.

“You’ve never talked to a crush before have you?”

“Is it that obvious?”

“Only...a lot.” He smiled, you’d never seen him give such a genuine smile before. Who was this new Torres? Was this how he always was with Bishop? “Leave it to me, I’ll help you talk to him.” You blinked.

“How are you going to do that?”

“I’m going to be your love coach.”

Tag list: @stanathanxoox , @nikkiwierden , @malindacath , @havlindzk , @countrygal17a , @memyselfandmaddox , @octobersmog , @mizzezm , @diaryofafan17 , @emmitheacefangirl , @littlepersonbigworld , @a-sad-excuse-of-everything

[navalcriminalimagines]

Can you do 20, 28 and 30 with Alden please?

20. “You’re so cute when you’re half asleep like this…”

28. “I would’ve had breakfast ready but you were sleeping on my arm and I didn’t want to wake you.”

30. “Are you wearing my shirt?”

Stop fighting

When you and Alden started to date a few years ago, you made a pact: never bring work at home. So, you never talked about your cases with NCIS, and he never talked about his with the FBI.

That was how you were surprised when the team arrested who you thought may be Paul LeMere’s accomplice and realized that it was your boyfriend. Since you saw Nick had punched him, you immediately kneeled down in front of him when you recognized that sweet face, and checked if he was okay. “Undercover.” He told you. “Just arrest me already.”

On the ride back to the headquarters, you explained who he was to your coworkers before talking about the case.

This case caused issues at home. You were not okay with Alden going after Gibbs despite the fact that he was following orders. You were mad at him for being mad at your boss when he left Alden on the side of the road. After that, when you learned about your boss and McGee trip to Alaska, you didn’t say a word to your boyfriend and it caused even more issues.

The case was finally over. Alden had let Gibbs go, knowing he would get in trouble with his superiors. When he got home after a meeting at the Bureau, you decided that it was time to make peace with him. You didn’t want this case to cost your relationship with him, you loved him too much for that.

“So?” You asked, finishing to set up the table.

“I’m officially a former Agent.” He said.

You walked up to him and wrapped your arms around his neck. “Honey, I’m sorry.”

“Don’t be.” He kissed your forehead, “I didn’t agree with them, I made a choice and these are the consequences.”

“What are you going to do?”

“I don’t know and that’s not my priority right now. I want us to stop fighting, Y/N.”

“Me too.” You pressed your lips against his, “let’s have a nice dinner. I made your favorite,” you smiled and he returned it.

Over dinner, you talked about the past week and everything that happened. You understood Alden’s position and he understood yours. He knew how important Gibbs was to you and how loyal you were - which was one of the many things he loved about you.

By the time you were done eating, everything was good between you two. So, he took you to your shared bedroom, laid you down on the bed and got on top of you. You made out for a moment, and clothes flew away. “I love you so much, sweetheart.” He said as he penetrated you, “I don’t want to lose you.” He kissed you.

“You won’t. I love you.”

Makeup sex was amazing - just like everytime you two have sex actually. Afterwards, you showered together and settled in bed. You were both exhausted for the past events, and Alden knew that your boss’ departure hit you more than you wanted to admit.

With your head on his bare chest, you were slowly drifting to sleep. Alden had been scrolling on his phone, and when you opened your eyes again, you saw that he was taking a picture of you. “What are you doing?” You hid your face in his neck.

“You’re so cute when you’re half asleep like this.” He chuckled.

“Erase it.” You growled.

“Not a chance.” He turned off his phone and cuddled you to sleep.

Alden was first to wake up in the morning. You were softly snoring, your back against his chest. At some point during the night, you used his arm as a pillow and there was no way he was waking you up. It didn’t matter that he had to pee, he got closer to you and waited for you to wake up.

Which you did more than an hour later. When he felt you stirring, Alden planted gentle kisses on your neck. “I missed waking up like this.” You said, turning over so you were facing him.

“Me too.” He cupped his cheek and slowly kissed you. “I would’ve had breakfast ready but you were sleeping on my arm and I didn’t want to wake you.”

“How thoughtful.” You smiled.

“But my bladder is about to explode.” He pecked your lips one more time before rushing to the bathroom.

You chuckled and got up. You were going to cook him breakfast. You were getting everything set up to make some pancakes when Alden appeared in the kitchen. You looked at him and did a double take. “Are you wearing my shirt?” You laughed.

“That explains why it’s so small.” You thought he was going to take it off, but he simply shrugged his shoulders and came to hug you from behind. You lifted your arms and ran your hands in his soft hair. Alden inhaled your smell and tighter the hold he had on you.

You both laughed when you heard the shirt ripping off. “I’ll buy you a new one.” He said.

[justtopostmyfic-blog]

a harbor in the tempest

this ncis' parknight imagines is for you @le-amewzing. Thank you for all your gorgeous pk and parkery content! Now it's just 1 more month++ before we see our babes again.

this is an imagine where Parker gets nightmares sometimes, and sometimes Knight is there for him (when she sleeps over). She makes those (k)nightmares almost bearable.

Kasie: And that... Is three days in a row where I've beaten you on sleep score(TM). Bow down before your Highness! Kasie gloats cheerfully.

Knight: I sure will, m'lady! Knight takes Kasie's hand daintily and kisses the back of it, deliberately kissing right where Kasie's halo activity watch sits on her slim wrist.

Jess never likes to bring a cheerful mood down, so she doesn't. If only you knew why my sleep score was 30%ish the past few nights though, she thinks.

The night before, and the night before that, Parker had bad nightmares that she was in bed with him for. Knight remembers them too vividly. Both nights, both nightmares were almost identical. On the second night though, she thinks she had a better plan on how she handled it.

Parker jolted awake harshly. So harshly in fact, that he rocked the bed, and her on the other side of it.

She pretended to still be asleep and kept her eyes mostly shut. In the darkness, she could see the silhouette of his head and chest looming over her, as though to check that he didn't wake her. Since she was pseudo-sleeping, she couldn't tell him how creepy that was (but it was Parker, and she has always felt safe with him), nor could she pet his disheveled hair or face to calm him down.

When he was satisfied in thinking he didn't disturb her, Parker rolled over and curled up facing his side of the bed. He panted in short, wheezing gasps. An unknown length of time passed and he still wasn't asleep yet.

His breaths came out too quickly to belong someone who was sleeping, while she was holding herself still with bated breath so he would think she was asleep. That was her reaction the first night.

The second night, during that point in his traumatic nightmare aftermath, she had to try something different.

------ He was tethered right to the edge of the bed, like he was holding on to something solid for dear life. Parker's warm, furnace-like body goes ramrod stiff when Jess casually rolled over to his side of the bed and Big-Spooned him while she pretended to still be asleep.

After a few moments' hesitation, he clutched tightly at her hand that has snaked comfortingly around his belly. Like an anchor. With her face pressed against his back, she could feel him take a few deep (sniffling?) breaths, then he quieted and settled himself and the tension in his body loosened fractionally.

Parker sobbed a pitiful moan and in that moment, Jess wanted so badly to drop her sleeping pretense and wake up to rub his back and mutter soothing words to him, or at least try to comfort him in some fashion. But she couldn't do that. She knew Parker well enough to know what vulnerabilities he would tolerate being fussed over, but not well enough just yet that he would let her in. And this was as deeply private as all gets.

Parker had bad memories on ships right? Maybe that was what those nightmares...(were about). She almost completed the thought before she fell asleep spooning his long, lanky body.

~~~~~~ A few months later: "The day afters" are days where he definitely won't (or can't) bring in breakfast pastries. Parker stares stonily, or worse blankly, at the team when they make non-case-related chatter. Like he doesn't follow, like he is too exhausted to. For everything case related, he is his usual sharp as a tack, on the ball self. Funny and fascinating how Agent Parker separates himself from Alden.

When Jess was being honest with herself, she almost preferred the slightly abrasive FBI Agent Parker who she first met over this post-nightmare-days version of Parker. He looks like he barely has any energy. At least FBI Parker was doggedly pursuing serial killer Paul LeMere.

She fears thinking of Alden being as lifeless as his weary, vacant face looks now. At least he lets her wake up and comfort him during those bad nights now, after she told Parker to stop feeling bad about his unconscious thoughts he can't control and she showed him that she meant it.

And then on those days after, she steps up her banter smoothly to divert attention so the guys and Kasie don't notice a sullen Parker that much.

That's okay. She has enough joie de vivre to cover the both of them on the days he can't muster enough for himself because his nights have drained him.

Mew, i wrote this imagines before i read your Spabby their dog fic, so this last part doesn't really fit in, but: every time Parker gets nightmares nowadays, he taps his chest and their dog (a light sleeper, always perceptive) jumps onto the bed and curls up against Parker. As Jess spoons him, Parker runs his fingers through the dog's grey, coarse, dense fur. He's starting to see why Jess likes petting her (their?) dog so much, it's comforting. And Spabby definitely enjoys it all the time too.

It's one of the rare times things go over Parker's head. That Jess loves stroking Parker's hair the same reason she enjoys petting Spabby. (But you the reader deffo saw the connection right?)

[the-last-rat-standing]

So beyond the Gibbs exit, let’s go over the plot that led us up to this momentous occasion. (Please correct me if I’m wrong, because admittedly, my attention sort of wandered off at times. And this will be long, so I’ve put it under a cut.)

Sonia and her partner hired Paul Lemere to kill a handful of people who were going to, in their own individual way, put an end to the mine.

Paul Lemere killed a bunch of people in between, to cover the connection between the real intended targets.

Marcie’s friend was one of those ‘covers’. Someone went to prison for that murder, but Marcie was certain the man was innocent.

She and Gibbs somehow got close to finding the identity of the killer who then decides he needs to get rid of Gibbs.

Killer is caught, then torments Gibbs with clues and insight into Gibbs’ life. Tricks Gibbs into taking him to his (the killer’s) wife’s old place. Wife’s dead. Now the killer is, too.

But before he dies, he tells Gibbs of a lake in Alaska. That’s where Gibbs’ll find the answer to who hired the killer.

Gibbs and McGee go to Alaska, they discover the truth about the mine. She tries to get away, but Parker stops her and arrests her. But only after she attempts to call her partner, thus revealing who he is.

Marcie just so happens to be talking to the partner, who is actually the husband of one of the real victims. Torres busts in, case solved.

Is that about right? Okay, so I have questions.

First and foremost, did we need 8 episodes to get us to Alaska??

Were we ever told the connection between the killer and Sonia? Or the killer and Sonia’s partner? Because I’m confused as to how you find a guy to kill a bunch of people.

You know, the FBI has a branch called ViCap, which is a database that connects crimes that have similar characteristics. But no one at the FBI seemed to pick up on half a dozen murders all involving red duct tape?

Did the guy who was in jail for Hanna’s murder get released?

Why didn’t the killer kill Marcie? If he tried to kill Gibbs because he was worried he was getting close, why did he only ransack Marcie’s office?

How exactly did the killer plant the bomb on Gibbs’ boat? Couldn’t have been in the basement, because who in their right mind would see a boat in the basement and even consider the possibility of it getting out? 

Speaking of the boat, here’s a timeline that occurred to me the more I thought about it. Gibbs takes out the boat, leaving a hole in his wall. Like, he doesn’t park the boat for a day so he can rebrick the wall?? Takes the boat to the lake, hole still in the wall. Boat gets blown up, hole still in the wall. Gets rescued by Barn Couple, hole still in the wall. Turns their barn into an office, hole still in the wall. Finds the killer, hole still in the wall. Are we to assume this was all in ONE DAY? That Gibbs came back that night for his things before jaunting off to Alaska, hole still in the wall? That he left Ducky standing in the middle of the living room, hole still in the wall? Jumped into the vehicle with Torres to get to the airport, knowing there was a hole still in the wall?? Like, what the actual fuck??

How did the killer know all about Gibbs’ life?

Are we now to believe Gibbs killed the Russian guy responsible for running down Torres?? Because, holy hell, that’s murder. Killing Hernandez was always a grey morale area, but as Allison Hart said, “I think we could beat it.” No jury in the world would’ve convicted a man who killed the person responsible for the death of his wife and 8 year old daughter. But this Russian dude? Jesus, Gibbs.

What did they find in Alaska that couldn’t have been discovered through a phone call? All the science happened in D.C anyway. And man, FedEx can get shit delivered in a heartbeat if they want! (The watch? In a day? Wow.)

So it was all about the money for the husband? Enough to have his wife killed. Wow.

Other questions involving Gibbs’ decision:

Well, they’re all the same I asked about Jack’s exit. 

Is he selling the house? His truck? HIS CHALLENGER? (Thanks, @justagibbsgirl for that reminder!) What is he doing with all the Shannon/Kelly mementos in the attic? Did he take everything from the office? Is he just going to leave Kelly’s memory box buried in the backyard? He’s now living in a fly-in area. As someone who worked in one for a summer, let me tell you, it’s gonna be a bitch starting from scratch. Is the Native guy gonna find him a place to live or is Gibbs gonna build a cabin? (Better start cutting that wood, because you’re going to wait forever to get it flown in.) Does he plan to never talk to friends ever again, or does he have all the contacts that were in his phone in his head? Who gets to tell Phineas he’ll probably never see Gibbs again?  Who gets to handle all of Gibbs’ paperwork (retirement, taxes, bills, financial responsibilities)?  Who gets to handle transporting Gibbs’ body when he dies, since he’s got a plot beside Shannon and Kelly?

I mean, I get it- it’s fiction. It’s not real life, and a suspension of disbelief is required. But GOOD fiction marries suspension with gravity. This was not good. No, wait. What I should say is, the ending was great. In isolation, it was fitting for the character and gave all the feels it should. But in the context of the arc we had to travel to get there? In the context of ‘what happens next’? This was not good.

[ncisfranchise-source]

IN THEIR ATTEMPT TO HELP FIND THE SERIAL KILLER GIBBS WAS AFTER, THE NCIS TEAM DISCOVERS THAT SOMEONE ELSE HAS BEEN TRACKING THE CASE AS WELL, ON “NCIS,” MONDAY, SEPT. 27

Gary Cole Joins the Cast as FBI Special Agent Alden Parker

“Nearly Departed” – While trying to find the serial killer Gibbs was after, the NCIS team discovers another person has been tracking the case as well, on NCIS, Monday, Sept. 27 (9:00-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+. Gary Cole joins the cast as FBI Special Agent Alden Parker.

REGULAR CAST:

Mark Harmon

(NCIS Special Agent Leroy Jethro Gibbs)

Sean Murray

(NCIS Special Agent Timothy McGee)

Wilmer Valderrama

(NCIS Special Agent Nicholas “Nick” Torres)

Brian Dietzen

(Medical Examiner Jimmy Palmer)

Diona Reasonover

(Forensic Scientist Kasie Hines)

Katrina Law

(NCIS Special Agent Jessica Knight)

Rocky Carroll

(NCIS Director Leon Vance)

Gary Cole

(FBI Special Agent Alden Parker)

RECURRING CAST:

David McCallum

(Dr. Donald “Ducky” Mallard)

GUEST CAST:

Pam Dawber

(Marcie Warren)

Joe Spano

(Tobias “T.C.” Fornell)

Jason Wiles

(Tom Samuels a.k.a. Paul Lemere)

John Hensley

(Phil Hanover)

Emily Berry

(Gladys)

Jaxy Boyd

(Michelle)

Nohely Quiroz

(Carla)

WRITTEN BY: Scott Williams

DIRECTED BY: Terrence O’Hara

[trevorbarre]

Howard’s Way: Riley at 78

It happens to be Howard Riley’s birthday today (born 16th. February 1943), something that I only found out, fortuitously, on commencing this piece. He remains one of our finest-ever pianists, and has stuck with the acoustic version of the instrument: as far as I know, he has never explored the electric piano or any other electronic keyboard, unlike the late Keith Tippett, who famously played the former on his celebrated contributions to King Crimson’s output in the early 70s. Pete Lemer (born 1942) is perhaps the last surviving member of his peer group, Stan Tracey (1926-2013) was arguably the greatest pianist of the previous generation, and of the younger crop, Alexander Hawkins seems to be very convincingly stepping up to this (tem)plate.

The occasion for the blog is an hour-long conversation that I was lucky enough to have with Riley on Saturday afternoon just gone. I felt honoured to have a chance to exchange a few ideas with this great musician, whose health has not been good over the past few years, but who I did manage to catch live relatively recently (remember live gigs?) in a reconfigured Howard Riley Trio, at The Vortex a couple of years back, with Barry Guy and the Swiss percussionist Lucas Niggli. Now, Niggli is a fantastic drummer, but wouldn’t it have been great to have seen Tony Oxley in the drum seat (or even Paul Lytton), both of whom occupied that position (Lytton only on occasion) in the early iterations of the Trio, in the late 60s/early 70s? “Time slides down the wall” (a Dali-esque image that paraphrases John Cooper Clarke) might be an appropriate image for such a meeting?

Riley’s memory, whatever he might think, appeared to me to be fairly unclouded, especially as we were largely discussing events from around 50 years ago. (We were mulling over his input into the Musicians’ Cooperative, for my ongoing project on that very subject.) He clearly remains justifiably proud of the accomplishments of his classic trio, across a decade of performing and recording. (The Howard Riley Trio released around 8/9 nearly faultless albums, that mixed free improv with composed material, the latter a feature that the pianist was at pains to remind me of.) As a series, these recordings can compare to Andrew Hill’s ‘run’ of Blue Notes throughout the 60s, and those of Paul Bley’s various small groups, across six decades. 1970′s The Day Will Come, which garnered a Cook/Morton ‘crown’, is generally considered to be one of the pinnacles of British jazz (of whatever idiom), with Barry Guy on double bass duties and the grossly underrated Alan Jackson on the traps. (And there were four more decades of recordings still to come from Riley, in group and solo formats.) The Trio’s subsequent Flight, from 1971, replaces Jackson with Oxley, whp proved to be an entirely different metro(g)nomic presence.

At 78 years of age, Howard can look back at a jazz/improv life well lived, both as a recording artist and as a regular live performer. (His Trio was one of the only consistent live ‘acts’ in the early free improvisation years, and it regularly performed at many universities and colleges, in support of the many and various ‘progressive rock’ bands of the era, to which Barry Guy’s detailed diaries attest.)

I’d hence like to wish him a ‘happy birthday’, and sincerely hope that his music will become even more recognised than it is already. As with Andrew Hill, Paul Bley and (even?) Herbie Nichols, the sometimes dark, melancholic hues of his music have potentially robbed him of wider recognition. Thelonious Monk is the guiding spirit here, as it is/was for so many pianistic modernists, and this is the bar at which Howard Riley should be ultimately judged.

[updatesnews]

NCIS season 19 episode 4: Will Gibbs kill Paul Lemere? | TV & Radio | Showbiz & TV

NCIS season 19 episode 4: Will Gibbs kill Paul Lemere? | TV & Radio | Showbiz & TV

However, bosses have strenuously denied Mark is leaving the show altogether, with executive producer Steven D Binder suggesting it is merely rumoured. “A lot of things are reported on this show that isn’t necessarily true. What we’re trying to focus on right now is telling the best stories we can with the characters we have. “And Gibbs is a part of that world, he told TV Line but if Gibbs was in…

[nosvemosenprimerafila]

The Art of Noise: "Noise in the City" es el nuevo álbum en vivo de los pioneros británicos del sampler........ Lanzado 35 años después de que la banda tocara por primera vez en Japón, el álbum contiene un concierto completo del Nihon Seinenkan de Tokio grabado en agosto de 1986. Entre los clásicos que podemos escuchar en sus surcos se encuentran los temas "Peter Gunn", "Legs", "Paranoimia" y la primera interpretación en directo (1986) de "Eye Of A Needle" e "In The Mood".  En el escenario están sus miembros fundadores Anne Dudley y JJ Jeczalik con Dave Bronze en el bajo, Simon Moreton en la percusión, Paul Robinson en la batería y The Noisettes (Katie Humble, Pepe Lemer y Linda Taylor) en las voces.  Este LP fue posible que viera la luz pues Anne Dudley, JJ Jeczalik y Gary Langan regresaron a Tokio para tocar de nuevo en vivo en 2017. Descubrieron que el concierto de 1986 había sido grabado para una transmisión de radio FM y el periodista musical Ian Peel (quien escribió las notas interiores del mismo y además se había unido a la banda en la gira de 2017), rastreó los masters multipista originales hasta Londres. Las grabaciones fueron mezcladas de nuevo este año por Gary Langan, y el resto ya es historia.  Este álbum en vivo representa a la perfección la gira "Visible Silence" de mediados de los ochenta de The Art of Noise, al tiempo que documenta a la perfección uno de sus primeros conciertos en Tokio. Se presenta en edición de vinilo de 180 gramos con carpeta desplegable y en una edición en vinilo blanco limitada a 1.500 copias y numerada individualmente. Trackist SIDE A 1     Intro - Peter Gunn       2     Close (to the Edit)       3     Paranoimia       SIDE B 1     Eye of a Needle       2     Legs       3     Moments in Love       SIDE C 1     Beatbox       2     Instruments of Darkness       3     Peter Gunn       SIDE D 1     From Tokyo to Hammersmith and Back       2     Opus III       3     In The Mood Continúa en www nosvemosenprimerafila com #artofnoise #japan #live #japon #directo #visiblesilence #sampler #techno #tecnopop #synthwave #synthpop #electronic #music #vinilo #vinyl #80s #80smusic #zangtuumtumb #ztt (en ZTT) https://www.instagram.com/p/CQiFmARDhON/?utm_medium=tumblr

[weebasaurus]

24 DAYS OF TORTURE from VIK & NES on Vimeo.

Christopher, an advent calendar tries to protect his beloved chocolates over the period of christmas.

Directed By VIK & NES vik-nes.com/ viknescollective@gmail.com

Written and Directed by Ines Pagniez Victoria Jardine

Design and Art Directed by Colin Bigelow

Music Composed by Kenny Wood

Clay Modelling and Photography by Ines Pagniez

Background artists Colin Bigelow Gabrielle Locre Tristan Menard Victoria Jardine Animators Paul Torris Pascale Bories Jean guillaume Culot Emer Phillips

Clean up Artists Paul Torris Jean guillaume Culot Victoria Jardine Ana Obau

Compositing Victoria Jardine Gabrielle Locre

Sound design by Florian Calmer Voice actors Anthony R. Parnther Brian Richy

Musicians Vocals Sergio Vellatti Guitar Daniel Lemer Drums & Percussion Jamie Strowhiro

[cratesofjr]

Soul Singer Garth. Drops "Human Nature" EP Via Sweet Soul Records

"Garth. overlays tight vocal harmonies atop freshly produced tracks that blend 70's soul, 80's pop and 90s R&B. Lyrically, the EP imagines the emotional dissonance of working through and towards love in all its forms." Executive Producer: Garth M. Taylor, Jr. Production, Mixing & Mastering: Donnie Spackman Producers: Mike Irish (Mix & Master Human Nature), CaseyMQ, Connor Schultze Writers: Jessica Best, Mike Irish, CaseyMQ, Connor Schultze, Garth M. Taylor, Jr. & George Watsky Vocals: Jessica Best, Garth M. Taylor, Jr., George Watsky Keys/Synths: Paul Bloom, Mike Irish, Ru Lemer, CaseyMQ Guitar: Gray Hall, Graham Richman, George Risk, Connor Schultze Drums: Jay Elliot, Donnie Spackman Percussion: Ru Lemer, George Risk, Donnie Spackman Bass: Connor Schultze

via Blogger https://ift.tt/2Lj3sp7

[justtopostmyfic-blog]

Parker x Jimmy Palmer slash fic 1

Anal sex; caretaking; 650 words Outside of work, it is Jimmy who wears the pants. Or: Jimmy tops Parker during sex and thinks about his partner a lot. Parker does a lot of thinking about Jimmy too.

Alden is his baby. But only after he has removed his badge that identifies him as a federal agent, and when neither one of them are in their work attire. Those are their implicit rules. Their explicit rule is that Alden is submissive in the bedroom when they have sex.

The expression on Parker's face, lying on his back in bed, will never stop being exquisitely beautiful to him: so open, needy, and eager, like a puppy.

His older man body is just as tantalizing in a totally different way. His pert nipples, his bird-like ropey limbs, his long circumcised dick and his small bit of past-middle-age spread that Jimmy secretly and fondly thinks of as a puppy belly. He loves it almost as much as he worships Parker's elegant cock.

Alden Parker's naked body, willing and writhing for him. That was more than enough to drive the normally docile Jimmy into a heightened state of dominance. Every time; multiple times a week.

Alden's fragile, stick-like legs are hooked over Jimmy's shoulders, supported at his ankles. Jimmy always wants to make things good and comfortable for his baby boy, in and out of the bedroom.

He silently worries that the field stakeouts (and often resulting pursuits) are too gruelling for his baby, but that's a thought for another time. And hey, that implicit rule: Parker is not his baby when he's an NCIS special agent.

When he cums all over his own belly, Alden whines out just a word: a need, a name.

"Jimmy!"

Jimmy thinks that there are parts of Parker he may never get to know; too many storied decades, too complicated, too secretive. But as Alden lies on his back, face squinched tightly with pain but mostly pleasure as Jimmy's cock is buried as far up his anal canal as possible, Jimmy knows with certainty that he knows enough about Alden Parker for the present. Would he like to know more? Sure, every day.

----------------------------

Parker has never known or thought of Jimmy as an autopsy gremlin until Jimmy told him about the origins of that nickname. To him, Jim has always been fully competent, reliable, and in control. Especially when Jim puts a steadying hand on his chest, gently cleans his drying cum off his stomach, and strokes his hair off his sweaty, flushed face.

Jimmy has a sweetness and a caretaking gene that is in the DNA of his nature, he couldn't turn that off even if he tried. It is an absolute turn on to Parker when the younger man's dominant side is… aroused.

It makes him feel secure and taken care of, and Parker likes that a lot.

He likes and he needs Jimmy a lot. Funny to think how less than a year ago, he didn't even know what he didn't have because they both had not known each other yet.

Even funnier to think about the first time they met. Parker recalls himself bursting aggressively into the autopsy basement; he had something to prove by finally closing the Paul LeMere case after so many months.

There was a mummified female vic on the autopsy slab and he remembers his single-minded focus on finding Gibbs then. The cute young medical examiner in scrubs was looking at him with open, wary disdain; Parker barely had time to think much about the man except to note to himself "likewise pal, I will keep you at a ten foot distance too".

And now, now Jimmy is often as close to him as two humans could possibly be, and not only in the biblical sense. He would trust Jimmy to do anything to him, in his life and in his death.

--------------------

In 19x3 during the autopsy scene of the mummified first victim, jimmy really gave parker many "wtf guy" looks.

Ive written more alden parker slash fics on ao3.

[krakowergroup]

PR: Popeye Deluxe Edition Soundtrack

VARÈSE SARABANDE RECORDS TO RELEASE THE ULTIMATE POPEYE - DELUXE EDITION SOUNDTRACK 2CD SET Featuring Harry Nilsson’s Unforgettable Songs Performed By The Film’s Cast (Including Robin Williams, Shelley Duvall, and Ray Walston), A Disc Of Unreleased Demo Tracks Performed by Nilsson, And The Original Score Composed by Thomas Pierson (August 22, 2017 – Los Angeles, CA) – Well blow me down!  Varèse Sarabande will release the most comprehensive version of the POPEYE soundtrack ever assembled, featuring the film’s beloved songs by Harry Nilsson, performed by the cast (including Robin Williams, Shelly Duvall, and Ray Walston), never-before released original score composed by Thomas Pierson, and an entire disc of demos performed by Harry Nilsson. The POPEYE – Deluxe Edition Music From the Motion Picture, which also includes newly-discovered images and extensive liner notes, will be released digitally and on CD on September 29, 2017. Looking for the father (Ray Walston) who deserted him as a baby, a sailor named Popeye (Robin Williams) journeys to the port town of Sweethaven. Popeye befriends an assortment of eccentrics and falls in love with Olive Oyl (Shelley Duvall), who already has a suitor, the bully Bluto (Paul L. Smith). Popeye also discovers an abandoned baby, Swee'Pea, whom he raises as his own. But when the spurned Bluto kidnaps Olive and the child, Popeye takes action, with the help of his magic spinach….

A rare co-production between Paramount Pictures and Walt Disney Productions – the 1980 film POPEYE was a live-action musical version of E.C. Segar’s classic comic strip, directed by Robert Altman and produced by Robert Evans.  The idea was first presented to him by Evans during a party at the producer’s home in mid-1977.  Nilsson’s initial response, “We shared two or three vodkas, and then I told him I didn’t think it was such a good idea to do POPEYE.” Eventually though he came on board – though the team at Paramount still needed convincing.  In May 1979 Nilsson was given three weeks to write three songs for the film.  He would present home demos for the tracks “He Needs Me,” “I’m Mean,” “Swee’Pea’s Lullaby,” amongst other.   “I think Harry liked the working class aspect of it – Popeye, the Man in Crisis,” Van Dyke Parks, who starred as Hoagy the Piano Player and arranged/conducted the music, said of Nilsson’s involvement in the film. “[Director Robert] Altman gave Harry an incredible carte blanche for the music, and that was wonderful. Altman and Harry shared a lot of things, for example, a deep understanding about the abstraction of the creative process, understanding that a concept might be revealed, rather than planned. Both had that skill, that extemporaneous air.” The songs written by Nilsson were recorded on location in Malta, with Parks being charged to “sweeten” the score in Los Angeles.  But a musician’s strike would lead to a change in tactics, with composer Thomas Pierson being brought on board and the recording moved to London.  “They needed somebody to bring things to a conclusion,” Pierson explained. “And they wanted to use a lot of the traditional Popeye/nautical sort of themes, and they basically didn’t have any of that.” For the first time available digitally and on CD, Varèse Sarabande has compiled the original soundtrack recordings, original score by Pierson, and the demo recordings performed by Harry Nilsson for the POPEYE - Deluxe Edition: Music from the Motion Picture two-disc set. Track Listing CD 1: • Sweethaven - Performed by The Citizens of Sweet Haven) • Blow Me Down - Performed by Robin Williams as Popeye • Everything Is Food - Performed by Paul Dooley as Wimpy, Allan F. Nichols as Roughhouse, The Toughs, Barbershop and The Steinettes • Rough House Fight* - Composed by Thomas Pierson • He’s Large - Performed by Shelley Duvall as Olive Oyl • I’m Mean - Performed by Paul L. Smith as Bluto • Sailin’ - Performed by Shelley Duvall as Olive Oyl and Robin Williams as Popeye • March Through Town* - Composed by Thomas Pierson • I Yam What I Yam - Performed by Robin Williams as Popeye • The Grand Finale* - Composed by Thomas Pierson • He Needs Me - Performed by Shelley Duvall as Olive Oyl • Swee’Pea’s Lullaby - Performed by Robin Williams as Popeye • Din’ We ** - Performed by Robert Fortier as Bill Barnacle – the Town Drunk • It’s Not Easy Being Me - Performed by Ray Walston as Poopdeck Pappy • Kids - Performed by Ray Walston as Poopdeck Pappy • Skeleton Cave* - Composed by Thomas Pierson • Now Listen Kid/To The Rescue/Mr. Eye Is Trapped/Back Into Action* - Composed by Thomas Pierson • Saved/Still At It/The Treasure/What? More Fighting/Pap’s Boy/Olive & The Octopus/What’s Up Pop/Popeye Triumphant* - Composed by Thomas Pierson • I’m Popeye The Sailor Man - Performed by Robin Williams as Popeye, Written by Sammy Lemer • End Title Medley* - Composed by Harry Nilsson and Thomas Pierson * Not included on the original soundtrack album CD 2 (The Harry Nilsson Demos): • Sweethaven • I’m Mean • Swee’Pea’s Lullaby • Blow Me Down • Everything Is Food • He Needs Me • Everybody’s Got To Eat** • Sail With Me • I Yam What I Yam • It’s Not Easy Being Me • Kids • I’m Popeye The Sailor Man • I’m Mean – Harry Nilsson with Paul L. Smith • He Needs Me – Shelly Duvall audition Harry Nilsson • Everybody’s Got To Eat** – performed by Paul Dooley (Bonus Track) • Din We** (Bonus Track) • Sailin’ • I’d Rather Be Me** ** Track or song not included in the film # # # www.varesesarabande.com For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter ABOUT HARRY NILSSON Grammy Award-winner Harry Nilsson, hailed as a genius and recognized by his peers as one of the greatest singer-songwriters of the twentieth century, began life humbly in Brooklyn, New York, June 15 1941. Abandoned by his father (his mother said he had been killed in the war – a story Harry found out many years later was untrue), Harry, along with his mother and half-sister, moved to Southern California. The ensuing years found him uprooted again, bouncing from relative to relative and place to place, finally returning to Los Angeles – this time to stay. Back in L.A. and having grown tired of school, Nilsson dropped out and took a job at the Paramount Theater, where he eventually worked his way up to assistant manager. Until it closed in 1960, the Paramount was reputed to be the fourth largest theater in the world and featured live rock and roll shows. During his Paramount years, Nilsson was able to learn piano chords from the musicians who performed there, and soon became a skilled pianist himself. After the Paramount closed, Nilsson started writing songs and singing demos while working in the computer department of a bank. His hard work over the next several years finally paid off when, in 1967, he landed a recording contract with RCA Victor. Soon after, they released Pandemonium Shadow Show, the first of more than a dozen albums he would record for that label. Early in his recording career, Harry’s music was discovered by the Beatles, who were then at their peak, and became his biggest fans. It has since become etched in rock and roll history how – at a huge press conference in New York City to announce the launch of Apple Records – John Lennon announced to the world that Nilsson was his favorite “group!” Later during that same New York visit, he also enthusiastically declared “Nilsson for President!” Ringo Starr, who later became best friends with Harry, at one time proclaimed Nilsson had “the greatest voice on planet Earth!” Paul McCartney and George Harrison were fans and good pals as well. The mutual admiration between Harry and the Fab Four quickly evolved into what would become close and long-lasting personal friendships with each of them. After the Beatles broke up, his escapades with John Lennon during the mid ’70s became the stuff of legend. And it was Ringo Starr who served as best man at his marriage to Una, the mother of Beau, Ben, Annie, Olivia, Kief and Oscar, six of his seven children (Zak, the eldest, was born of a previous marriage). As album after album was released, Nilsson was praised by the critics, not only for his own songs but also for his remarkable performances of those written by others. Two of his biggest hits (“Everybody’s Talkin'” and “Without You”) fall into the latter category, and he won Grammys for both of them. Other artists also recognized Nilsson’s songwriting talents, and his songs were (and still are) recorded by many top performers, from Joe Cocker and Neil Diamond to Diana Ross and Barbra Streisand, Ella Fitzgerald and Johnny Mathis to Glen Campbell and Brian Wilson, as well as many others. Three Dog Night’s recording of Nilsson’s “One” became their breakthrough hit and first Gold Record, and Harry’s “Cuddly Toy” was a hit for the Monkees. Nilsson’s voice and songs have also been featured in countless films and television shows. The Tom Hanks/Meg Ryan hit, You’ve Got Mail, featured five of Nilsson’s songs and performances (one of them, “I Guess the Lord Must Be in New York City,” was performed twice: first by Harry during the film and then by Sinead O’Connor in the closing credits!). And there are films like Midnight Cowboy, Forrest Gump, Practical Magic, Casino, All That Jazz, Contact, The Ice Storm, GoodFellas, Skidoo, The Craft, Reservoir Dogs, A Good Year, Crank, Bottle Shock, Confessions of a Shopaholic, Popeye and many more. Nilsson also wrote the story and songs and did all the singing in the unforgettable animated ABC television movie The Point, which was narrated by Dustin Hoffman, and then by Ringo Starr in the video release. The television shows and TV movies that have utilized Harry’s songs and performances are far too numerous to even begin to describe. As both a songwriter and singer, Nilsson was somewhat of an enigma. His songs embraced such a wide variety of themes and musical styles that there is no way to easily categorize them. And though his voice is known worldwide, he never toured and rarely performed in public, having preferred to work almost exclusively in the studio. Nilsson’s genius and creativity were cut short January 15, 1994, when at the age of 52, he died quietly in his sleep at his home in Agoura Hills, California. Although Harry Nilsson is gone, he is anything but forgotten, with his phenomenal musical legacy continuing to delight, move and entertain millions of people around the world every day. Lee Blackman, May 2013 from www.harrynilsson.com ABOUT VARÈSE SARABANDE RECORDS Founded in 1978, Varèse Sarabande is the most prolific producer of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino, and Brian Tyler. Varèse Sarabande releases deluxe and expanded editions of special soundtracks for the film music aficionado. The Varèse Vintage imprint specializes in releasing new and re-issued albums by classic pop, jazz and country artists. Varèse Sarabande Records is distributed by Universal Music Group. Follow:  twitter.com/varesesarabande Watch:  youtube.com/varesesarabande Listen:  open.spotify.com/user/varesesarabanderecords Like:  facebook.com/varesesarabanderecords Buy:  varesesarabande.com

[ncisfranchise-source]

GIBBS AND PARKER TAKE A ROAD TRIP TO FIND ONE OF THE SERIAL KILLER’S VICTIMS, WHILE AGENT KNIGHT GOES UNDERCOVER AT A LARGE MANUFACTURING COMPANY WITH TIES TO THE MURDERS, ON “NCIS,” MONDAY, OCT. 4

Rocky Carroll Directed the Episode

“Road to Nowhere” – Gibbs and Parker go on a road trip to find one of the serial killer’s victims. Also, Agent Knight goes undercover at a large manufacturing company with ties to the murders, on the CBS Original series NCIS, Monday, Oct. 4 (9:00-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+. Rocky Carroll directed the episode.

REGULAR CAST:

Mark Harmon

(NCIS Special Agent Leroy Jethro Gibbs)

Sean Murray

(NCIS Special Agent Timothy McGee)

Wilmer Valderrama

(NCIS Special Agent Nicholas “Nick” Torres)

Brian Dietzen

(Medical Examiner Jimmy Palmer)

Diona Reasonover

(Forensic Scientist Kasie Hines)

Katrina Law

(NCIS Special Agent Jessica Knight)

Rocky Carroll

(NCIS Director Leon Vance)

Gary Cole

(FBI Special Agent Alden Parker)

RECURRING CAST:

David McCallum

(Dr. Donald “Ducky” Mallard)

GUEST CAST:

Jason Wiles

(Paul Lemere)

Gary Reichman

(Phil Hanover)

Valarie Pettiford

(Sonia Eberhart)

Anna Campbell

(Army First Lieutenant DFAS Andrea Falco)

Allan McLeod

(Ted)

Troy Vincent

(Lawyer)

PJ Johal

(Doctor)

Karina Bonnefil

(Alexis)

Sarah Khasrovi

(Patty)

Kim Reed

(Nurse #1)

Kendra Munger

(Nurse #2)

Karina Noelle Castillo

(FBI Agent Ramirez)

Ashley Dulaney

(Rebecca)

WRITTEN BY: Marco Schnabel

DIRECTED BY: Rocky Carroll