CGI-version of the original Romulan Bird of Prey in the remastered Star Trek: The Original Series episode Balance of Terror.
Other than re-used footage in second season episode The Deadly Years, the Bird of Prey model was never seen in the series again. Instead, when the Romulans re-appeared in the third season episode The Enterprise Incident, they were using Klingon D-7 cruisers outfitted with cloaking devices.
Spock's line in that episode stating that intelligence reports indicated Romulans had acquired Klingon ships suggested an alliance. however brief, between The Klingon and Romulan Empires. This explained why later on in the Star Trek films Klingon ships were all equipped with cloaking devices.
This alliance might never have come to be if it were not for the fact that the original Bird of Prey model was destroyed by its creator.
Producer Robert Justman loved the work of prop builder Wah Chang. Chang had designed and or built several props for the show, including the communicators, the Salt Vampire, and the Tribbles.
There was just one teeny weeny little problem, though: Chang was not a member of the prop makers' union, nor was he eligible to join. Star Trek, as a studio production, was obligated to only use items designed and built by union members.
However, Justman considered Chang's work superior to that of studio prop makers. He conceived of a scheme to have Chang design and build the Romulan ship, but the studio would be invoiced for a pre-existing item, not something built specifically for the production. That would allow them to bypass the union requirement.
Chang built the 2 1/2 foot-wide, internally lit model out of vacuum-formed plastic, plaster, and metal in approximately two weeks. It was delivered to TOS production studio and filmed for the Balance of Terror episode. Because he was non-union, Chang would not get a credit for building the model.
Eventually the prop makers' union found out that Chang had built the model and filed a grievance. After much wrangling between the two sides, the union agreed to drop the grievance as long as Chang was not paid for his work. The studio agreed and Chang received the model back instead of the money he was owed.
Understandably angry, Chang smashed the model with sledgehammer when he returned home. Chang apparently confirmed this in 1982 during a radio interview.
When The Deadly Years was filmed stock footage of the Bird of Prey was used because there was no one to rebuild the prop (Star Trek's budget kept getting slashed each year). By the time The Enterprise Incident was being prepped the producers decided to forego the limited stock footage they had, and instead made use of the Klingon D-7, the model of which was still in the warehouse.
And thus, the brief Klingon-Romulan Alliance was born.
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Favorite Movies I Watched in 2023
Mona Lisa Smile (2003, dir. Mike Newell)
"But not all who wander are aimless, especially not those who seek truth beyond tradition, beyond definition, beyond the image."
Barbie (2023, dir. Greta Gerwig)
"We mothers stand still so our daughters can look back to see how far they have come."
Avatar: The Way of Water (2022, dir. James Cameron)
"The way of water has no beginning and no end. The sea is around you and in you. The sea is your home, before your birth and after your death. Our hearts beat in the womb of the world. Our breath burns in the shadows of the deep. The sea gives and the sea takes. Water connects all things, life to death, darkness to light."
Taylor Swift: The Eras Tour (2023, dir. Sam Wrench)
"It's been a long time coming."
No Hard Feelings (2023, dir. Gene Stupnitsky)
*Andrew Barth Feldman belting Maneater by Hall & Oates*
The Hunger Games: The Ballad of Songbirds & Snakes (2023, dir. Francis Lawrence)
"What happened in there? That's humanity undressed. Filled with the terror of becoming prey. See how quickly we become predator? See how quickly civilization disappears?... I was talking about you. Oh your fine manners, education, background, stripped away in the blink of an eye. Leaving a boy with a club who beats another boy to death to stay alive."
Saltburn (2023, dir. Emerald Fennell)
"I don't think you're a spider, you're a moth. Quiet, harmless, drawn to shiny things, banging up against a window, and begging to get it."
Anyone But You (2023, dir. Will Gluck)
"Trust me, bro. We're all in 7th grade when it comes to this BS."
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Jennifer Kelly’s 2023 in Review: Still Human FWIW
I finally saw Sun Ra Arkestra
I first heard about Chat GPT in January this year, and it sounded bad from the start. I make most of my living writing things for big faceless corporations who view me as a cost. Cut that cost to zero and I’m out of a job. But for the first five months of 2024, I continued to be busy and I thought, well maybe it’s nothing. Then in May, like a light switch, everything stopped. I had one regular client who continued to pay a monthly retainer. Nothing else. And the usual mailings, pleadings with old clients, etc. had no effect. I’m close to retirement age. This summer, I thought I had arrived early.
Things have picked up since then, and right now, I’m in a good place. People are starting to notice Chat GPT’s ignorance of anything post 2021, its refusal to factcheck or footnote and its relentless blandness. Clients are coming back, but the floor doesn’t feel very solid under my feet. It could all go away at any time. (This is the lesson we all learned from COVID-19…that you could fall into the pit any time.)
The one thing that didn’t stop was Dusted, and for that I am very grateful. As I’ll explain to anyone who asks, there’s never been any money in Dusted, so there can’t be any less. We are more or less immune to economic pressures. And as long as we’re here, there is lots and lots of good music to write about.
My year started with two records that blew me away in January (and maybe December 2022) and held #1 and #2 slots all year. They were Meg Baird’s Furling and Robert Forster’s the Candle and the Flame. Next, came an email from Rob from Sunburned with a link to Stella Kola’s extraordinary debut, and then gosh, Sub Pop still sends me promos and here’s one from Mudhoney! Every time 2024 succeeded in getting me down, I’d get music from someone.
Live music was another solace. Shows that made me happy this year included Warp Trio, Sunburned Hand of the Man, Dear Nora, Vieux Farka Toure, Bridget St. John with Stella Kola, Sun Ra Arkestra, Kid Millions with Sarah Bernstein, Faun Fables, Sweeping Promises, Daniel Higgs, Constant Smiles, Baba Commandant (RIP), Xylouris White, Joseph Allred with Ruth Garbus and Ryan Davis with his Roadhouse band. Special mention goes to the always astonishing Thing in the Spring with Editrix, Rough Francis, Thus Love, Gorilla Toss, Equipment Pointed Ankh. Susan Alcorn, Marisa Anderson and Jim White and Bill Callahan.
The best show of the year, however, came late in the summer with William Tyler and the Impossible Truth band, an unbelievably talented, seasoned crew with Luke Schneider on pedal steel, Third Man mainstay Jack Lawrence on bass and Brian Kotzgur on drums. The way they opened up and fired up Tyler’s songs was a revelation, even to someone, like me, who’s been a fan since Behold the Spirit. Garcia Peoples opened, and they were great, too.
I should mention that we have recently been blessed with a bunch of excellent music venues nearby—Nova Arts in Keene and Epsilon Spires and the Stone Church in Brattleboro. Going to music used to always mean driving back from at least Northampton, sometimes further, late at night, and, as I get older and my night vision fades, it has been really nice not to have to do that. (Also, to all my Dusted-reader-musician-friends, if you play one of these venues, thank you, and let me know when you’re coming.)
With that, it’s time to talk about 2023 favorites. I’ll write about the first ten and then just list the rest.
Meg Baird — Furling (Drag City)
Meg Baird’s gorgeous solo album alternates between ghostly, inward-looking piano songs and bright swirls of 1960s psychedelia. Her extraordinary voice, high, pure, and unearthly, joins lush, burnished guitar grooves. Sometimes I think I like the swaggering bounce of “Will You Follow Me Home,” the best, but other times, the disembodied otherness of “Ashes, Ashes” is the prettiest thing I know.
Robert Forster — The Candle and the Flame (Tapete)
Forster’s solo records are always good, wry and funny and stuttering with strummy punk energy, but this one, recorded with family while his wife battled cancer, is his best yet. “She’s a Fighter,” a group sing-along is prickly and defiant, the only song specifically written about Karin’s illness, but threads of enduring, life-long love run all through this album. “Tender Years” is especially moving, as Forster sings, “I’m in a story with her, I know I can’t live without her, I can’t imagine why,” in a voice cracked with sincerity and feeling. Very few albums make me cry, but this one does.
Anohni and the Johnsons—My Back Was a Bridge for You to Cross (Secretly Canadian)
The sound on Anohni’s fifth album with the Johnsons smolders in the pocket, its textures a nod to Marvin Gaye’s classic What’s Going On? It’s velvety smooth but taut with urgency, as the artist contemplates climate disaster and personal struggles. “It Must Change,” trills with the coolest falsetto, while “Sliver of Ice” reverberates with a low, hushed passion. Every song lands a punch, soft when it happens but ringing for days in your ears.
The Drin — Today My Friend You Drunk the Venom (Feel It)
“Venom” lurches and blurts, bass thumping, drums clashing, monotone vocals drenched in menace. It’s a punk song distilled to essence, a world in itself, a short, brutal blast that is also somehow psychedelically expansive. The Fall, the Swell Maps and Adrian Sherwood haunt this disc in various places, but the Drin is its own mysterious thing.
Wreckless Eric — Leisureland (Tapete)
“Get yourself a one-way ticket for the merry-go-round,” sings the Bard of Hull on the last and most exhilarating song from his ninth full-length. That’s “Drag Time,” with its indelible hook, its enveloping harmonies, its hint of Amy Rigby in the chorus. Let’s just go way out on a limb here and say it’s as good, maybe better, than “Whole Wide World.”
En Attendant Ana — Principia (Trouble in Mind)
Good lord, was Trouble in Mind on a roll this year or what? I could put Melanas or Tubs here, with FACS not far behind, but instead, let us contemplate the light-and-dark wonder of “Black Morning,” with its giddy counterpoints, its bright, sustaining trumpet, its boppy beat and its underpinning, somehow, of shadowy melancholy. Or the skanky bass that kicks off “Same Old Story,” in a prickly way, the lone element of dissonance that gives a daydream teeth.
Stella Kola—S-T (Self-Release)
Everybody who’s anybody in W. Mass alt.folk does a turn on this magical LP—centered around Beverly Ketch and Rob Thomas but including PG Six, Wednesday Knudson, Jeremy Pisani, Willy Lane and Jen Gelineau. Despite the expansiveness of the ensemble, these songs are feather light and lucid, like Pentangle sprinkled with magic dust.
Mudhoney — Plastic Eternity (Sub Pop)
Psychedelic overload meets raw punk and potty humor in this 12th album from the grunge godfathers. I like the sheer rush and swirl of cuts like “Almost Everything” and “Souvenir of my Trip” best, but bare, belligerent “Flush the Fascists” is grade-A too, and how can anyone resist Mark Arm paying tribute to his best bud on “Little Dogs.”
Beirut — Hadsel (Pompeii)
Hadsel is surprisingly cheery for an album recorded on a remote Norwegian island in the dead of winter, with swoony harmonies and counterpoints, intricate synthesized beats and blares of an antique pipe organ. “We had so many plans,” Zach Condon sings, both mourning and subtly sending up his cohort’s response to the COVID pandemic, but this remarkably pretty album seems more like a happy accident.
The Feelies—Some Kinda Love (Bar None)
What a total pleasure it is when one jangly, drone-y, indie rock phenomenon pays tribute to the wellspring. In this case, it’s the Feelies covering many of the Velvet Underground’s best known songs at a live show in 2018 where everyone had a blast. Now you can, too.
More albums that I loved in the order that I thought of them.
Iron & Wine—Who Can See Forever Soundtrack (Sub Pop)
Melanas—Ahora (Trouble in Mind)
Sleaford Mods — UK Grim (Domino)
The Tubs — Dead Meat (Trouble in Mind)
Sky Furrows—Reflect and Oppose (Feeding Tube/Cardinal Fuzz)
Lonnie Holley — Oh Me Oh My (Jagjaguwar)
Yo La Tengo—This Stupid World (Matador)
The Toads—In the Wilderness (Upset the Rhythm)
Dan Melchior—Welcome to Redacted City (Midnight Cruiser)
James and the Giants—S-T (Kill Rock Stars)
Ben Chasny and Rick Tomlinson—Waves (VOIX)
Bonnie Prince Billy—Keeping Secrets Will Destroy You (Drag City)
CLASS—If You’ve Got Nothing (Feel It)
The Clientele—I’m Not There Anymore (Merge)
Devendra Banhart—Flying Wig (Mexican Summer)
Kristin Hersh—Clear Pond Road (FIRE)
Sally Anne Morgan—Carrying (Thrill Jockey)
FACS—Still Life in Decay (Trouble in Mind)
Setting—Shone a Rainbow Light On (Paradise of Bachelors)
Airto Moreira & Flora Purim—A Celebration (BBE)
Sweeping Promises—Good Living Is Coming For You (Feel It)
James Waudby—On the Ballast Miles (East Riding Acoustic)
Emergency Group—Venal Twin (Centripetal Force)
Ryan Davis and the Roadhouse Band—Sing Dancing on the Edge (Sophomore Lounge)
Tyvek—Overground (Gingko)
Wurld Series—The Giant’s Lawn (Melted Ice Cream)
Various Artists—STOP MVP (War Hen)
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Deadline’s Read the Screenplay series spotlighting the year’s most talked-about scripts continues with Nimona, Netflix‘s animated feature based on ND Stevenson’s 2015 National Book Award-nominated graphic novel about finding friendship in the most surprising situations and accepting yourself and others for who they are.
Nick Bruno and Troy Quane (co-directors of Spies In Disguise) directed the film, which was adapted by Big Hero 6 scribe Robert L. Baird and Spies co-writer Lloyd Taylor and features the voices of Riz Ahmed and Chloë Grace Moretz in the lead roles. Frances Conroy, Lorraine Toussaint, RuPaul Charles, Eugene Lee Yang, Indya Moore, Sarah Sherman and Beck Bennett also have voice roles.
A family-focused film with authentic queer themes set in a vibrant techno-medieval world (credit to teams at Blue Sky Studios and DNEG Animation), the plot centers on Ballister Boldheart (Ahmed), a knight in a futuristic medieval world, who is framed for a crime he didn’t commit. The only one who can help him prove his innocence is Nimona (Moretz), a mischievous teen with a taste for mayhem — who also happens to be a shapeshifting creature Ballister has been trained to destroy.
Baird and Taylor said their main challenge in the adaptation was to stay true to Stevenson’s story while morphing it from the episodic form of the novel to a feature-length narrative – in itself a process of shapeshifting that mirrors one of the novel’s core themes.
Nimona, which was just nominated for Best Animated Film at the Critics Choice Awards, had a long path to travel to get to its world premiere at the Annecy Animation Festival in June, followed by a theatrical run ahead of its release on Netflix on June 30.
Then-20th Century Fox’s Blue Sky originally optioned Stevenson’s novel the year it was published, and the project moved forward despite the Disney-Fox merger and then the pandemic. But it almost didn’t survive a third blow: Disney shuttered Blue Sky in April 2021, halting Nimona mid-production.
Blue Sky principals Baird and Andrew Millstein kept pushing on the the project however and eventually found a partner in Annapurna’s Megan Ellison, who sparked to its themes. Baird and Millstein became EPs and created Shapeshifter Films to complete the movie, which then landed at Netflix. The pair have since joined Ellison at her company, forming Annapurna Animation.
Click here to read the script.
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