#thank goodness for colm meaney right?

[camembertlythere]

Unfortunately from here in the future, Get Him to the Greek is just a parade of shit tier humans and no longer hits the same

[sshbpodcast]

Top Five Star Trek DS9 Episodes

by Ames

Oh my prophets, we’ve made it back through the wormhole and concluded all of Star Trek: Deep Space Nine, and you know what? Overall it’s pretty damn good! Arguably the best as a series, we might say (and we did say), and all we’ve left to do is wrap it up in a nice hasperat burrito now.

In doing so and in typical A Star to Steer Her By fashion, we’ve also assembled the best episodes of the whole series into one big list. Check out the discussion in our DS9 finale episode here (series discussion starts at 1:58:12 after the season chatter), featuring even more bests from our special guest star Liz. And open up the Orb of Prophecy to read all the highlights below; you don’t have to be emissary to the prophets to enjoy these.

[images © CBS/Paramount]

“Blood Oath”: Caitlin The Klingons have been one of the most popular races in the galaxy, and Klingon episodes are just as fun, especially when they put in the work to feature some blasts from the relative past whom we saw in The Original Series! And some extra respect to this one because Kor says Trans Rights.

“Hard Time”: Ames Miles suffered a whole lot through the years, so the best of his suffering deserves to be on the best list, doesn’t it? Colm Meaney acts his ass off, the storytelling is clean and interesting, and we actually acknowledge mental health (just a little bit) for a change!

“The Wire”: Ames Speaking of actors who act their ass off. Andrew Robinson’s portrayal of Garak was something we just couldn’t get enough of (can we push for Star Trek: Garak perhaps?), and this episode takes the cake with just sublime acting from one of our favorite assassi–  er, tailors.

“Rejoined”: Caitlin She started off rough, but Jadzia really began to bring it at some point in the show and we’ve targeted this episode as where we really started giving a damn about her. Finally, we see both the emotional weight of being a joined Trill and the actual acting chops of Terry Farrell all in one place!

“The Quickening”: Jake Similarly, Julian also started off really rough, but when that bright-eyed, bushy-tailed outlook started losing its brightness and bushiness (and when he stopped creeping on women for a while), we got to really see him as a character, and this episode highlights how great he can really be.

“Far Beyond the Stars”: Ames What more can we say about “Far Beyond the Stars,” an episode that we totally changed guest star Justus’s mind about when we covered it? What could have been a detrimental trope turns into a captivating and pertinent inspection of racism, storytelling, and history. Thank the prophets for this one!

“In the Pale Moonlight”: Chris It’s not a fake: our love for this episode is 100% real! It’s so excellent to see some really difficult ethical decisions get made on this show, highly contrasting the angelic Starfleet portrayals of the past. Science fiction is all about debate – is all about reflecting on the issue – and those are discussions we love to have!

“Duet”: Chris, Jake Two votes for this stellar two-hander that is just an actor’s banquet for excellent character development and every opportunity to utterly devour the scenery. Om nom nom scenery. Kira Nerys started off as one of the most well-written and consistent characters on the show, and she only got better and better from there.

“Second Skin”: Caitlin, Jake Speaking of Kira! Here’s some more well-deserved love for Nana Visitor who donned some Cardassian makeup and really went with it in this excellent character piece that turned her into everything she hated. Talk about an identity crisis!

“It’s Only a Paper Moon”: Caitlin, Chris At the start of the series, who would have thought that the juvenile delinquent character Nog would grow to be one of the most beloved on the show, with one of the most developed arcs? Credit to Aron Eisenberg for the nuance, heartbreak, struggle, and joy that he brought to Nog over the years.

“The Visitor”: Ames, Chris, Jake The Ben-Jake relationship proves again and again to be one of the strongest tenets at the core of Deep Space Nine and this episode really goes for it in telling a spellbinding tale of a boy’s love for his father. With added alternate realities, subspace shenanigans, and excellent guest acting thrown in to boot!

“Captive Pursuit”: Ames, Caitlin, Chris, Jake The one episode that made it on all our lists is actually one of the earliest in the series because we all just loved Tosk so much. What an excellent beginning to the series that starts exploring the ethics of how we treat other people and what we can do about that right out of the gate. We are Tosk!

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See also: our Bottom Five Star Trek DS9 Episodes list for the less glowing but still fun to hate on stuff!

Considering the wormhole aliens’ nonlinear existence, can Deep Space Nine really be over? Well, I guess yes it can, because our journey through Star Trek must continue! We’ve got more fun planned for this page, so keep watching us here, listen to weekly episodes at our home on Soundcloud, follow us on Facebook and Twitter, and we’ll see you in the Delta Quadrant soon!

[calliecat93]

ST: TNG S5 Watchthrough Episodes 14-17

(Trigger Warning: The episode Ethics contains the theme of suicide. While I will try to not go too in-depth, as it is part of the episode I will be discussing it. If this topic makes you uncomfortable or is triggering to you even in the slightest, please skip the section of the watchthrough. Thank you)

Conundrum: So we have us an amnesia episode. Who’s the poor individual who gets hit with it? Everyone! Yes, some weird scan thingy causes everyone to lose their memories. They still know how to perform their jobs and all that, but otherwise, they remember zilch. I’m kind of mixed on how they did it. Overall, they are intelligent and calm about the situation, which on the one hand feels unrealistic. You’d expect far more panic and tension if you suddenly found yourself on a ship among people you don’t know. On the other hand at this point even without their memories, they’re probably used to weirdness like this (the S4 episode Clues had a similar thing happen) and it’s kind of refreshing to see people handle a situation without becoming paranoid assholes. Also… they make some kind of awkward Troi/Riker/Ro love triangle. Troi has some familiarity with Riker due to their past, which makes sense… but why add Ro to the mix? The only time they really interacted outside this episode was Ro’s intro, where Riker was a hypocritical asshole who made her take her earring off. They really don’t seem to agree and I guess the writers went ‘well they argue… so it must be love’! Which… no, going with this with Ro makes zero sense and it really makes it feel like Riker is playing both women, which both feel OOC for him, and even taking amnesia into account makes him look worst. Why does S5 want me to hate Riker? Otherwise, it was fine. Just kind of eh. Again we kinda sorta did this plot already (differently but still) and it doesn’t become hard to figure out who the one behind this is when you realize that they’re the only one getting prominent screentime who isn’t a pre-established character. Still, it’s just alright, but yeah that love triangle nonsense, while by no means the worst I’ve ever seen, really was unnecessary. 2.5/5.

Power Play: In this one, Troi, Data, and O’Brein get posessed on an Away Mission (Riker almost did as well, but it flew away before it could posess him). They take Ten-Forward hostage which includes Worf and Keiko, and later Picard. This had to be fun for Marina Sirtis, Brent Spiner, and Colm Meaney since they ge to act all evil… though Spiner’s already done it with Lore, but still XD So it was fine. It was tense and had some disturbing moments like Posessed!O’Brein forcing himself on Keiko. Dear God I hope the Enteprise has a counselor (aside from Troi since she was partially involved in this) cause neither of them deserved that. It was also scary to see Data acting like… well, Lore pretty much. Seeing Riker, Crusher, Geordi, and Ro trying to figure out how to save them without anyone getting killed was also interesting, it’s the first time we’ve seen a hostage situation like this in a ST show (Space Seed in TOS kinda counts, but that was an entirely different scenario and was more ‘hostile takeover’ than ‘hostage situation’). That’s honestly all I’ve got/ IDK, S5 has just been painfully average thus far where none of the episodes have been particularly bad, but only like… three so far (Ensign Ro, Disaster, Unification) have kept me interested. Maybe that’ll change here soon bu it’s just like ‘…it’s fine but I feel nothing otherwise’. 3/5.

Ethics: I again point to the trigger warning above. The episode contains the theme of suicide (though it is NOT carried out) so if this topic at all is uncomfortable/triggery, please skip this section. So what happened? An accident has left Worf paralyzed. Crusher has called in a neurologist while Worf, believing that he can no longer be a warrior in his condition, wants to be killed. Needless to say, we’re dealing with some heavy stuff in this one. We kind of have a similar thing going on as in Half a Life where Worf wants to die as according to his Klingon beliefs, his life is over since he is paralyzed. He asks Riker to help commit it as he’s his friend and naturally Riker is appalled at this. Picard breaks it down for Riker and that while we don’t understand it we should respect it… but again we’re talking about assisted suicide. I get what Picard is saying but just… no. The episode makes it clear that we’re supposed to be conflicted, however, and in the end, Worf decides against it due to both an experimental procedure and because Riker uncovered that Alexander would be the one who’d have to assist in the suicide if Worf did it. Needless to say, Worf ain’t letting that happen. It does make Worf’s feelings clear, however. His anger, his fear, it’s very hard to watch Worf in such a state. The neurologist, Dr. Russell, offers him a procedure that may work… but it’s a procedure that is still in the experimental stage and turned down by Starfleet Medical. Needless to say, Crusher’s not exactly happy with the idea of using a medically untested procedure on one of her patients… but to be fair, Worf has refused all other treatment and the use of implants and with suicide the only other option, I can see why Russell would be willing to offer. But at the same time, it does come across her just using this as an excuse to use said treatment which also has plenty of risks on said patients life/further well-being, and Crusher telling her off repeatedly is very satisfying especially at the end when Worf almost died due to her, and she seemed more concerned with noting it than what her actions caused and said that Crusher was jealous. Yeah, Russell sucks. It does bring up a lot of medically ethical questions, however: is it right to use an experimental procedure on a patient when all other options have been turned away or are available? Especially when said patient is suicidal or when it comes to said patient's beliefs? I side with Crusher at the end of the day especially since Worf is very lucky to have survived/recovered his mobility afterward, but the questions are still ones to point out. Then there’s poor Alexander whose on the verge of losing his father and Worf not wanting him to see him like he is and… God yeah. Just as I complain about the lack of impactful episodes, this one comes in. It’s a very tough episode with everything going on with Worf, the theme of medical ethics, and it’s heavy on the emotions. IDK how well I can say that the episode portrays it, but it certainly hit hard and brings up a lot of questions for the viewers. It certainly reaffirms how much I love Crusher XD 4/5.

The Outcast: /sighs/ Okay… how to go about talking about this one? In this episode, we meet a species of aliens that don’t use gender identity, and if they show signs of identifying as male or female, they undergo ‘treatment’. One of these individuals is Soren, who identifies as female and falls in love with Riker. So… there are many things that this can be associated with, but this was made as a gay rights episode. Now… let us remember when this was made. S5 was airing during the early ’90s. This was not a good time for gay individuals. We were very much anti-LGBT+ in those times and the AIDS epidemic where they were scapegoated as a public menace still being rampant didn’t help. In many ways, doing this episode was a bold move and I can respect them for at least is trying to tackle the topic seriously. If there’s any franchise that you’d expect to tackle these kinds of issues it would be this one. But the question is does it hold up 30 years later? Well… unfortunately, no. First, if they really wanted to get the gay rights message across… why was Soren played by a female actress? Maybe it was the only way they would have been allowed to do this, but because of it, it keeps a heterosexual angle that causes the message to be lost. We also don’t have any regular/reccuring characters as queer which would be pretty important to have in this episode. Considering that TOS took the risk with making PoC equal to white people at a time it wasn’t at all welcomed, TNG not doing so with LGBT+ individuals is rather unfortunate to put it nicely. Not to mention it sticking to standard male/female stereotypes as the norm when breaking them down to Soren, as well as Worf’s sexist/bigoted comments. That’s no even going into other identities such as transgender and non-binary. I’d really like to know what they think of this one considering the themes. As I am a bi/demisexual cis woman and this was meant to be a gay rights episode I will look at it as such and from that POV, the episode does not at all look great in a modern light.

Maybe I’m just far too nice and should be harsher on this, and I’m not gonna lie I’m horrible at addressing these things so I apologize if any of this came out wrong. But between this and The Host, it’s clear that the show was ill-equipped to handle LGBT+ topics. But at the same time, back then even considering addressing the topics in any way would have been risky. I do believe that there was a good faith effort and maybe in some ways, it helped when we improved later. It’s always hard to say if people should tackle topics they don’t understand or not. Naturally, it’s rage-inducing when they get it wrong, but it can also open the door to getting people to learn and to improve. Maybe this was needed in the ’90s and they did it the best way that they could, and maybe the fact that we can look at it and go ‘we know better’ is a sign that we’re better than when we were 30 years ago… or again, I am far too nice/too much of a doormat and I give the benefit of the doubt way too much. People who are more knowledgeable/know how to address this far better than I have here have likely done so and I’d encourage others to read more into those perspectives. Regardless, the episode overall is okay I guess. I certainly felt horrible for Soren at the end as she’s taken to undergo ‘treatment’ and Riker trying to help her get out of it. Her speech, wanting to just be treated as a person and not be treated as horrible due to who she is during the trial did really hit me and is why I think that the show did mean well. If she wanted to identify as female and be with Riker, she should be free to and then how she was forced to conform to her society’s views at the end when Riker tried to save her, it’s just... hard to watch. I wish that the ending was more optimistic/hopeful but I can’t say that the message wasn’t loud and clear. It very much reflected society at that time, and in many ways it’s still relevant today concerning how society treats those deemed outside the norm. But it also has issues due to the execution as I already mentioned, and I can only hope that Modern Trek (Discovery, Picard, soon SNW) and whatever they do in the future are/will be better at handling these kinds of themes because there’s no excuse to get it wrong in today’s time. 2.5/5.

I hope that I addressed things properly concerning the last episode. But it’s now done. We have nine more to go for the season. Let's see how it turns out.

[melodramatic--blog]

Star Trek: Deep Space Nine (Unofficial HD Teaser) Season 4

Tensions arise in the Alpha Quadrant. The Dominion is trying to divide the factions to destabilize the region and take over. Klingons against Cardassians, Federations against Klingons – the more they fight amongst themselves, the weaker they get against the Dominion.

We are David Frank and Christian Lerch and this is a fun project we do in our spare time. We are Motion Designers, Star Trek Fans and Sci-Fi nerds.

Special Thanks to Tobias Richter for his support with the ships.

This video is based on and inspired by the „Star Trek: Deep Space Nine“ Episodes „The Adversary“, „The Way of the Warrior“, “Homefront”, “Paradise Lost“, „Return to Grace“, „To the Death“ and „Broken Link“.

Quotes from „The Adversary„,“The Way of the Warrior“, „Paradise Lost“, „To the Death“, „Broken Link“ written by Ira Steven Behr & Robert Hewitt Wolfe, „Return to Grace“ Teleplay by Hans Beimler, Story By Tom Benko. With the voices of Jeffrey Combs, René Auberjonois, J.G. Hertzler, Colm Meaney, Brock Peters, Alexander Siddig, William Dennis Hunt, Herschel Sparber, Robert Foxworth, Marc Alaimo, Nana Visitor and Avery Brooks.

We want to thank Gary Hutzel, Dan Curry, Michael Okuda, Denise Okuda, Rick Sternbach, John Eaves, Doug Drexler, Adam Howard, Jim Martin, Herman Zimmerman, Michael Westmore, Ron Wilkinson, Laura Richarz, Joe Longo, Anthony Fredrickson, Reza Badiyi, Les Landau, Alexander Singer, James L. Conway, Gene Roddenberry, Rick Berman, Michael Piller, Ira Steven Behr, Ronald D. Moore, Robert Hewitt Wolfe, René Echevarria, Avery Brooks, Michael Dorn, René Auberjonois, Nana Visitor, Alexander Siddig, Colm Meaney, J.G. Hertzler, Marc Alaimo, Robert Foxworth, Jeffrey Combs, Brock Peters, Herschel Sparber and all the people who worked on “Star Trek: Deep Space Nine” who inspired us to create this teaser.

This is an unofficial and non-profit teaser. Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use. No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.

Music from Makara, ARISE by E. S. Posthumus Music from STAR TREK: DEEP SPACE NINE COLLECTION – THE ORIGINAL TELEVISION SOUNDTRACK, BROKEN LINK – Music by Jay Chattaway, WHAT YOU LEAVE BEHIND – Music by Dennis McCarthy

This Teaser was released in July 2017. Created by David Frank and Christian Lerch. Produced in Germany. Likes: 98 Viewed:

The post Star Trek: Deep Space Nine (Unofficial HD Teaser) Season 4 appeared first on Good Info.

[quotespicture]

https://quoteswithpicture.com/tolkien-best-movie-quotes-its-a-story-about-journeys/

Tolkien Best Movie Quotes – ‘It’s a story about journeys.’

Starring: Nicholas Hoult, Lily Collins, Colm Meaney, Tom Glynn-Carney, Anthony Boyle, Patrick Gibson, Colm Meaney, Genevieve O’Reilly, Craig Roberts, Derek Jacobi, James MacCallum, Guillermo Bedward, Pam Ferris

OUR RATING: ★★★☆☆

Story:

Bio-drama directed by Dome Karukoski, based on the life of English professor, philologist and author J.R.R. Tolkien (Nicholas Hoult). The story explores the formative years of the orphaned author as he finds friendship, love and artistic inspiration among a group of fellow outcasts at school. This takes him into the outbreak of World War I, which threatens to tear the “fellowship” apart. All of these experiences would inspire Tolkien to write his famous Middle-Earth novels.

  Our Favorite Quotes:

‘I can die in any way the fates choose, that’s not up to me. But what is within my power is to decide how I live. Courageously or timidly.’ – Robert Gilson (Tolkien) Click To Tweet ‘Things aren’t beautiful because of how they sound. They’re beautiful because of what they mean.’ – Edith Bratt (Tolkien) Click To Tweet

  Best Quotes   (Total Quotes: 31)

  Mabel Tolkien: “Ubi bene ibi patria.” Remember that, my darling? Young Tolkien: Wherever you feel happy, that’s your home. Mabel Tolkien: We will find our place, sweetheart, we will. Lock all this all in your heart. Lock it tight, and it will be there forever, I promise.

  Mabel Tolkien: Do you know what impecunious circumstances are? Young Tolkien: They’re what we’re in? Mabel Tolkien: When I was a little girl, all the new novels began like this. A family of good and brave people who suddenly find themselves in impecunious circumstances. Young Tolkien: How did they escape? Mabel Tolkien: By coming across some marvelous treasure. Or else by marrying well. Hilary Tolkien (Young): I’m not marrying anyone. Mabel Tolkien: Well, it’ll have to be the treasure then, won’t it? Young Tolkien: But, um, people don’t find treasure, mother. Not in real life. Mabel Tolkien: There’s no fooling you, is there, John Ronald? Let’s just say there’s treasure, and there’s treasure, and leave it at that.

  English Master: Tolkine. Young Tolkien: It’s Keen, sir. English Master: What? Young Tolkien: It’s pronounced Tolkeen, sir. Not Tolkine. Sorry. English Master: Sit down.

  Headmaster Gilson: Men should be comrades, wherever they come from. From the highest, to the lowest. You and Master… Robert Gilson (Young): Tolkien. Headmaster Gilson: …will demonstrate this to the rest of the school. You will do everything together for the rest of the term. Robert Gilson (Young): But, sir… Headmaster Gilson: Everything. Robert Gilson (Young): Yes, sir.

  Young Tolkien: He’s made us liegemen. Isn’t that a little excessive? Robert Gilson (Young): It’s an impossible standard. It’s designed to humiliate me. Young Tolkien: Doesn’t it also humiliate me? Robert Gilson (Young): You’re irrelevant. Young Tolkien: Why do you keep on saying that? Robert Gilson (Young): Because it’s true. Young Tolkien: No, listen. I may not come from a respectable background… Robert Gilson (Young): It’s not that, you idiot. You’re irrelevant to the headmaster. Young Tolkien: And you’re not? Robert Gilson (Young): No. Young Tolkien: Oh, because you’re special? Robert Gilson (Young): Because I’m his son.

  Christopher Wiseman (Young): My father is a perfect example. He knows about music. He loves it. He spent the greater part of his youth studying and composing music. Geoffrey Smith (Young): [to Tolkien] Christopher has had several musical pieces published. Christopher Wiseman (Young): Not several. One. Robert Gilson (Young): Pass me the sugar. Christopher Wiseman (Young): And yet when it comes to pursuing a life as a composer, no. “Musical dreams are a fantasy. You will do as I did. You will put them aside.” Robert Gilson (Young): And where does the stick come in? Christopher Wiseman (Young): The stick was a metaphor. Move on from the stick. Geoffrey Smith (Young): My mother’s exactly the same. She values poetry. She loves it. She refuses to see it as a potential career. She sees me as a lawyer, or an accountant. Robert Gilson (Young): Does she carry a stick? Christopher Wiseman (Young): I’m going to go outside and fetch a stick, how about that? Robert Gilson (Young): Thank you. Well, at least your parents discuss it. If I even mentioned becoming a painter, I’d be disowned. No. I’d be decapitated. Christopher Wiseman (Young): There! That’s the stick.

  Young Tolkien: What about you? Edith Bratt (Young): What about me? Young Tolkien: There must be something that you want? Edith Bratt (Young): To get out of here. To be free. I would go somewhere where I wouldn’t feel like a poor orphan, and everybody would be dressed like kings and queens. I wouldn’t be there to play piano. Or to carry Mrs. Faulkner’s purse. I’d be greeted and appreciated. Young Tolkien: Welcomed. Edith Bratt (Young): Welcomed.

  Robert Gilson (Young): Gentlemen, a thought. You know what the trouble is with all these legends Tolkien reads? Young Tolkien: Enlighten me, Robbie. Robert Gilson (Young): They don’t have any women in them. I’m not talking about pale, shivering maidens sitting in towers. I’m talking about plump, red-blooded women. Man: Could you sit down, please? Robert Gilson (Young): The women of Southern Europe. Women with large flagons of wine on their heads. Geoffrey Smith (Young): Robbie, are you incapable of sitting in silence? Robert Gilson (Young): Like our waitress, just over there.

  Robert Gilson (Young): What are you reading now? Young Tolkien: I’m reading about the realm of the dead. Or at least trying to. Robert Gilson (Young): See what I mean? Young Tolkien: Presided over by a giant woman, as it happens. Hel, a huge and ruthless goddess. Is that not red-blooded enough for you? Christopher Wiseman (Young): It is our waitress. Robert Gilson (Young): Hel? Young Tolkien: Yes, she rules over the realm of the dead. Helheimr. It’s a place where warriors are sent if they die in the wrong way. Christopher Wiseman (Young): What’s the wrong way? Young Tolkien: Peacefully. Illness, old age. Anything other than battle. Robert Gilson (Young): Now, that’s an idea I can get behind. Christopher Wiseman (Young): I’m sorry, you’re getting behind dying in battle now? Robert Gilson (Young): Not literally. I can die in any way the fates choose, that’s not up to me. But what is within my power is to decide how I live. Courageously or timidly.

  Robert Gilson (Young): Helheimr! It should be our warning. Our challenge. Young Tolkien: Yes, I know. But you should learn how to pronounce it first. Robert Gilson (Young): Come on. Challenge me. Set me a quest. I’ll show you how to avoid Helheimr. Geoffrey Smith (Young): I challenge you to sit in silence for twenty-five minutes. Robert Gilson (Young): Shut up, Geoffrey. I’m serious. Christopher Wiseman (Young): Propose to the waitress. Geoffrey Smith (Young): Christopher. Young Tolkien: What? Robert Gilson (Young): An excellent idea. Geoffrey Smith (Young): Robbie, don’t you dare do anything of the kind. Robert Gilson (Young): That’s what I call a quest against Helheimr. [as he begins to approach the waitress, he turns back] Robert Gilson (Young): Helheimr!

  Young Tolkien: We should form a club. Robert Gilson (Young): What? Young Tolkien: A brotherhood. Christopher Wiseman (Young): Aren’t we already a club? A tea drinking club. Robert Gilson (Young): A tea drinking club, sounds like something my stepmother would go to. Christopher Wiseman (Young): The Tea Club. Robert Gilson (Young): It doesn’t sound any better just because you repeated it. Geoffrey Smith (Young): The Birmingham Boys. Robert Gilson (Young): That sounds like a circus act. The Boys of Barrow’s Stores. Young Tolkien: Barrovians. The Tea Club and Barrovian Society. Geoffrey Smith (Young): I think that’s far too long. Christopher Wiseman (Young): The TCBS. Young Tolkien: The TCBS. Geoffrey Smith (Young): Are you sure that doesn’t sound like a disease? Young Tolkien: No, listen, I don’t care what it’s called. As long as we pledge our loyalty to each other. Robert Gilson (Young): Exactly. Christopher Wiseman (Young): TCBS. That’s settled. Now what do we do? Robert Gilson (Young): We change the world. Geoffrey Smith (Young): Oh, good. Something simple. Robert Gilson (Young): Through art, you clown. Through the power of art.

  Young Tolkien: Brothers, will you join your comrades in this act of changing the world? Robert, Christopher, Geoffrey: We will. Robert Gilson (Young): Helheimr!

  [Tolkien is speaking in his made up language] Edith Bratt: What does it mean? J.R.R. Tolkien: Oh, it’s nonsense. It’s about an old man who’s watching an unlucky frog who can’t land softly, so he gets eaten by a dog. Edith Bratt: [laughs] And you invented that? J.R.R. Tolkien: Yes. Edith Bratt: The entire language? J.R.R. Tolkien: Verb structures, vocabulary, everything.

  J.R.R. Tolkien: My next language will have a music to it. Cellar door. Edith Bratt: Cellar door? J.R.R. Tolkien: That’s the most musical word I can think of. Cellar door, there’s something about the fall of it. The rounding of the mouth. Edith Bratt: Cellar door. J.R.R. Tolkien: If you say it over and over, it starts to be something magical. Edith Bratt: Cellar door. Cellar door. I think that’s nonsense. J.R.R. Tolkien: I mean, it is if you say it like that. Edith Bratt: A word isn’t beautiful just because of its sound. J.R.R. Tolkien: Cellar door. Edith Bratt: It’s the marriage of sound and meaning. The door to the cellar, a place where something magical and mysterious might happen. J.R.R. Tolkien: I’m sorry, have you just dismissed the basis of my entire language? Edith Bratt: But your language isn’t worth anything unless you remember this important fact. J.R.R. Tolkien: Oh, is that right? Edith Bratt: It is, yes.

  Edith Bratt: Listen. [she holds up her hand] Edith Bratt: Hand. That might be a beautiful word… J.R.R. Tolkien: Yes, it is. Edith Bratt: But it means so much more because of what we associate it with. [she touches her hand to Tolkien’s] Edith Bratt: Touch. Things aren’t beautiful because of how they sound. They’re beautiful because of what they mean.

  Edith Bratt: Tell me a story. J.R.R. Tolkien: What? Edith Bratt: The story of Cellar Door. J.R.R. Tolkien: No, I can’t. Edith Bratt: Why not? When someone asks me to play the piano… J.R.R. Tolkien: That’s a different thing altogether. Edith Bratt: Tell me a story. In any language you want. J.R.R. Tolkien: Don’t be ridiculous. Edith Bratt: The legend of Cellar Door. J.R.R. Tolkien: No, I’m not a performing monkey.

  Edith Bratt: It begins with the arrival of a proud and opinionated princess. J.R.R. Tolkien: Yes, you’re right about that. Edith Bratt: She demands entertainment. Princess Cellardoor is bored. Bored of cakes and muffins and exquisite china… J.R.R. Tolkien: No. Edith Bratt: She longs for another life. J.R.R. Tolkien: It’s not a name. Edith Bratt: What? J.R.R. Tolkien: It’s something else. Cellardoor. It’s not a princess’s name, it can’t be.

  J.R.R. Tolkien: Cellardoor is a place. It’s a place. An ancient place. Impossible to reach, except by the most treacherous climb. It hangs, no. Edith Bratt: No? J.R.R. Tolkien: It’s not a climb. It’s not a climb. It’s not a… Door. Road. Path. It’s a path. A path through a dense, dark forest. Edith Bratt: Oh, is it, now? J.R.R. Tolkien: And at the heart of Cellardoor, which is actually a shrine, there stands an extraordinary sight. Edith Bratt: Is it a proud and opinionated princess? J.R.R. Tolkien: It is a place which is revered by all who know of it. A sacred place, marked at its center by… Edith Bratt: By? J.R.R. Tolkien: By trees. Edith Bratt: Trees? J.R.R. Tolkien: One is the purest black, like ebony, the other white as bone. They each contain a deadly poison in their sap. But they have grown together over thousands of years. Leaning into each other, like they were fighting, or the roots. The branches of two trees reaching, twisting, gnarling around each other, have finally become a single knotted trunk. Their poisoned saps commingled to create a powerful, life-giving potion. The water of Cellardoor. Edith Bratt: What does it do? J.R.R. Tolkien: What does it do? Edith Bratt: Yes. What does it do? J.R.R. Tolkien: To drink it. Edith Bratt: Yes? J.R.R. Tolkien: The water of Cellardoor, to taste it, is to possess the power of sight. Sight beyond sight. Sight into the deepest, darkest parts of the human heart. It’s a hungry, potent magic. A magic beyond anything anyone has ever felt before.

  [after Father Frances has told Tolkien to stop seeing Edith in order to go to Oxford] J.R.R. Tolkien: I can’t fail it again. And you know what will happen if I don’t get into Oxford. I could become a priest, but I don’t think a life of celibacy is what either of us had in mind. [Edith is looking away from him] J.R.R. Tolkien: Edith? Edith, it’s just until I reach my majority. [Edith looks at Tolkien with tears in her eyes] Edith Bratt: Oh, for God’s sake, Ronald. Don’t be so dramatic. It doesn’t matter. J.R.R. Tolkien: No, don’t say that. Of course, it matters. Edith Bratt: I don’t know why you’re taking it so hard. Things are just returning to normal, that’s all. To reality. J.R.R. Tolkien: No, I won’t give up on our future. That’s why I’m, I refuse to give up on that. Edith Bratt: Of course, you will. More quickly than you think. So will I. J.R.R. Tolkien: No, that’s not true. Edith, please. Look… Edith Bratt: I let myself believe that there were happy endings for people like us. But there aren’t. There can’t be. But you get your happy ending. I hope you enjoy Oxford. [she opens the door and leaves] J.R.R. Tolkien: No. Edith.

  Christopher Wiseman: I apologize for my friend. He’s pining for someone. Beryl: What? Christopher Wiseman: He’s pining for the delectable Miss Bratt. J.R.R. Tolkien: Take no notice of him. Beryl: Who’s the delectable Miss Bratt? J.R.R. Tolkien: She’s no one. Christopher Wiseman: Oh, is she, Tollers? The way you’ve been moping around for the past couple of months. Beryl: It’s not very nice to talk about another lady when you’re with someone. J.R.R. Tolkien: No, you’re absolutely right. I apologize, Myrtle. Beryl: It’s Beryl. Christopher Wiseman: See? See? Sitting in the arms of a beautiful girl and he can’t even remember her name. J.R.R. Tolkien: Yes, well, I’m sorry if my difficulties are getting in the way of your diversions.

  Christopher Wiseman: You made a decision, Tolkien. Nobody forced you into it. J.R.R. Tolkien: What? Christopher Wiseman: Edith or Oxford. You chose Oxford, and here you are. Sat on a commandeered bus with three beautiful girls and your best friends. For God’s sake, enjoy yourself! J.R.R. Tolkien: Nobody forced me! Christopher Wiseman: Oh, yes. J.R.R. Tolkien: Nobody forced me! Christopher Wiseman: The priest. Your benefactor. Geoffrey Smith: Chris, this is getting out of hand. J.R.R. Tolkien: No, don’t talk about things you don’t understand. Beryl: Thank you. This was wonderful. Christopher Wiseman: You let her go. You didn’t want her more than you wanted Oxford. J.R.R. Tolkien: No. I didn’t have a choice, Christopher. Christopher Wiseman: Does that make you a rotter? Does that make you something else? What’s the matter with you? J.R.R. Tolkien: Christopher, you have no idea. Just shut up! [he punches Christopher]

  [after punching Christopher] J.R.R. Tolkien: No, that was horrible of me. I’m sorry. Robert Gilson: What you need to understand, Tolkien, you poor lawless orphan, is that we are your brothers. Through everything. Geoffrey Smith: Yes, absolutely. Christopher Wiseman: Exactly. Robert Gilson: This is more than just a friendship. It’s an alliance. An invincible alliance. Helheimr! Tolkien, Christopher, Geoffrey: Helheimr. J.R.R. Tolkien: Still Helheimr. Every time he gets it wrong.

  J.R.R. Tolkien: Since childhood, I have been fascinated with language. Obsessed with it. I’ve invented my own. Full, complete languages. Look. This is, it’s everything. [he hands Wright his notebook] J.R.R. Tolkien: From the Breost-hord. My heart. The treasure of the breast. Professor Wright: And the drawings? J.R.R. Tolkien: I made stories. Legends. After all, what is language for? It’s not just the naming of things, is it? It’s the lifeblood of a culture, a people. Professor Wright: Yes. Exactly.

  Professor Wright: The way you follow the rhythms of the poetry, your sensitivity to it. I have to tell you, Mr. Tolkien, I’ve never come across anything like it. Never.

  J.R.R. Tolkien: There is something I have to say… Edith Bratt: Ronald. J.R.R. Tolkien: I made the biggest mistake of my life, and there hasn’t been a day, a moment, I’ve never stopped thinking about you. You are the most remarkable spirit I have ever met. You have courage and resourcefulness, talent. You’re proud, maddeningly, wonderfully so. And you are cunning and vibrant, and completely alive. You deserve every happiness you find. [pauses] J.R.R. Tolkien: No. No, you don’t. You don’t deserve happiness. That’s not what I… What I mean is, you deserve much more. You deserve magic.

  [as Tolkien is about to go join the war he kisses Edith] J.R.R. Tolkien: Edith. I love you. Edith Bratt: I love you. J.R.R. Tolkien: I love you so much. Edith Bratt: I know. J.R.R. Tolkien: There’s nothing I could do about it. Edith Bratt: I know. I can’t either. [they kiss again] J.R.R. Tolkien: I have to go. Edith Bratt: Stay alive. [they kiss again] Edith Bratt: And come back to me. Stay alive and come back to me. [they kiss again before Tolkien leaves]

  [Tolkien wakes up in hospital with Edith at his side] Edith Bratt: Don’t try to sit up. [she embraces him in bed] Edith Bratt: You’ve been asleep for a very long time. You’ve had trench fever, but you’re alright. You’re home. J.R.R. Tolkien: I tried to find him. Edith Bratt: Who? J.R.R. Tolkien: Geoffrey, I heard him. I could hear him. Edith Bratt: Geoffrey is dead. He died weeks ago. J.R.R. Tolkien: What? No. Edith Bratt: Robert Gilson, he was hit. He’s also dead. J.R.R. Tolkien: Robbie and Geoffrey. Edith Bratt: I’m sorry. Ron, I’m so sorry. But you’re fine. You’re home. Everything’s going to be fine. I promise.

  Father Francis: I spend my every afternoon with mothers, widows. What can I say to them? “Your sons have died in the war to end all wars.” J.R.R. Tolkien: What do you say? Father Francis: Words are useless. Well, modern words, anyway. I speak the liturgy. There’s a comfort, I think in distance, ancient things. Throughout the whole of your illness, Miss Bratt never left your bedside. Not once. You were right to pursue her. J.R.R. Tolkien: Thank you.

  [Tolkien reads his last letter from Geoffrey] Geoffrey Smith: [voice over] My dear John Ronald, it is my chief consolation that if I am scuppered tonight there will still be left a great member of the TCBS to voice what I dreamed and what we all agreed upon. That the death of one of its members cannot, I am determined, dissolve the TCBS. Death can make us loathsome and helpless as individuals, but it cannot put an end to the immortal four. May God bless you, my dear John Ronald, and may you say the things I have tried to say long after I am not there to say them.

  J.R.R. Tolkien: I want you to listen to a story. John Tolkien Jnr.: What story? Michael Tolkien: Is it a good story? J.R.R. Tolkien: I hope so. John Tolkien Jnr.: Is it long? J.R.R. Tolkien: Extremely long. Edith Bratt: Has it been started? J.R.R. Tolkien: Yes, I think, I think, up here, yes, I think it has. John Tolkien Jnr.: What’s it about? J.R.R. Tolkien: It’s about journeys. Adventures. Magic, of course. Treasure. And love. It’s about all kinds of things really. It’s hard to say. I suppose it’s about quests, to a certain extent. The journeys we take to prove ourselves. About courage. Fellowship. It’s about fellowship. Friendship. Little people just like you. Michael Tolkien: I’m not little! J.R.R. Tolkien: No. Little in stature. Not little in spirit. It’s about wizards, too. Michael Tolkien: Wizards? J.R.R. Tolkien: Wizards, yes. And mountains, and dragons, and journeys…

  [last lines; we see Tolkien begin writing his book] “In a hole in the ground, there lived…” J.R.R. Tolkien: Hobbit.

Total Quotes: 31

  What do you think of Tolkien quotes? Let us know what you think in the comments below as we’d love to know.

  Trailer:

[melodramatic--blog]

Star Trek: Deep Space Nine (Unofficial HD Teaser) Season 4

Tensions arise in the Alpha Quadrant. The Dominion is trying to divide the factions to destabilize the region and take over. Klingons against Cardassians, Federations against Klingons – the more they fight amongst themselves, the weaker they get against the Dominion.

We are David Frank and Christian Lerch and this is a fun project we do in our spare time. We are Motion Designers, Star Trek Fans and Sci-Fi nerds.

Special Thanks to Tobias Richter for his support with the ships.

This video is based on and inspired by the „Star Trek: Deep Space Nine“ Episodes „The Adversary“, „The Way of the Warrior“, “Homefront”, “Paradise Lost“, „Return to Grace“, „To the Death“ and „Broken Link“.

Quotes from „The Adversary„,“The Way of the Warrior“, „Paradise Lost“, „To the Death“, „Broken Link“ written by Ira Steven Behr & Robert Hewitt Wolfe, „Return to Grace“ Teleplay by Hans Beimler, Story By Tom Benko. With the voices of Jeffrey Combs, René Auberjonois, J.G. Hertzler, Colm Meaney, Brock Peters, Alexander Siddig, William Dennis Hunt, Herschel Sparber, Robert Foxworth, Marc Alaimo, Nana Visitor and Avery Brooks.

We want to thank Gary Hutzel, Dan Curry, Michael Okuda, Denise Okuda, Rick Sternbach, John Eaves, Doug Drexler, Adam Howard, Jim Martin, Herman Zimmerman, Michael Westmore, Ron Wilkinson, Laura Richarz, Joe Longo, Anthony Fredrickson, Reza Badiyi, Les Landau, Alexander Singer, James L. Conway, Gene Roddenberry, Rick Berman, Michael Piller, Ira Steven Behr, Ronald D. Moore, Robert Hewitt Wolfe, René Echevarria, Avery Brooks, Michael Dorn, René Auberjonois, Nana Visitor, Alexander Siddig, Colm Meaney, J.G. Hertzler, Marc Alaimo, Robert Foxworth, Jeffrey Combs, Brock Peters, Herschel Sparber and all the people who worked on “Star Trek: Deep Space Nine” who inspired us to create this teaser.

This is an unofficial and non-profit teaser. Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use. No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.

Music from Makara, ARISE by E. S. Posthumus Music from STAR TREK: DEEP SPACE NINE COLLECTION – THE ORIGINAL TELEVISION SOUNDTRACK, BROKEN LINK – Music by Jay Chattaway, WHAT YOU LEAVE BEHIND – Music by Dennis McCarthy

This Teaser was released in July 2017. Created by David Frank and Christian Lerch. Produced in Germany. Likes: 98 Viewed:

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