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#intruder series
gunsatthaphan · 8 months
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"let the music do the work."
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rayandgay · 20 hours
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tai x kram I episode 6
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deadscell · 1 month
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would you???
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coolgenie · 1 year
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I can’t believe the series finale of Star Trek The Original Series is a body swap episode in which Kirk’s ex (Dr. Lester) hijacks his body, leaving our dear captain trapped in her own as he makes vain attempts to alert his crew to what’s transpired but is continuously thwarted. & OF COURSE Spock is the 1st to suspect something’s amiss. OF COURSE Spock is the 1st to be convinced because –
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While other members of the crew start to come around as they observe their “Captain’s” questionable behavior, no one is as sure of the truth and resolved to return Kirk to himself as Spock. Without external evidence, with the charge of mutiny, and with the sentence of death - Spock boldly stands by Kirk while others continue to hesitate and doubt.
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There was no galaxy ending threat but the tension of this episode was completely worthy of a series finale & the bond featured in this episode between Kirk and Spock was such a wonderful ode to an absolutely iconic duo.
Spirk Bonus:
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HAND HOLDING! Wrist holding? Meh. Yeah, that may be the body of Dr. Lester but that body contains the life entity of Captain Kirk so it counts as Spirk. I take no criticism.  
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your-name-is-jim · 1 year
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I'm still not over Kirk explicitly saying this in the last Star Trek TOS episode. They have other things to focus on (like obviously Kirk being in the wrong body), but this is such a romantic line <3
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tango-but-everywhere · 6 months
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the secret silly
Impulse, Secret Life (!!!) episode 1
[ID: a minecraft screenshot from secret life, taken in the cherry blossom biome. Tango is looking at the viewer, walking down the hill toward and to the right. He’s in his normal skin, wearing diamond boots and iron armour, though there’s a texture pack for minimal armour on. He’s holding a shield and a bed. End ID]
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mycroft-1697 · 1 year
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forenhypens · 9 months
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heeseung + given-taken (260421)
evolution series: [fever] / [tamed-dashed] / [future perfect] / [bills]
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bird-inacage · 1 year
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Fort x Peat for Scentio Milk Collection
Aka the moment that sent Fortpeat fans into meltdown. I’m not going to lie, this needed to be on my dash somewhere for *cough* easy access.
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angelsanarchy · 7 months
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It's THAT time again! Who's next for the Culkin Series
Plots for the characters:
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Ollie (Song of Sway Lake) Returns to the cabin and his grandmother is on a vacation so she’s got someone there taking care of the lake house. Once she talks to his grandmother she tells her he can stay. They co-exist and get to know one another.
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Danny (Intruders) Dan has to be in physical therapy after what happened at that woman’s house. He has a physical therapist/nurse that visits to help him and bring him food while he heals. He doesn’t like to talk about what happened but he likes his nurse and eventually he lets her help him recover mentally and physically.
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Charlie (Scream 4) Scream 4 takes place in 2011 so I would set it at least two years back, Charlie is a freshman/sophomore and is trying to get the Cinema club off the ground. He seeks the help of a girl who works in a media store that offers merch, DVD’s and collectibles. He tries to get her to join the cinema club but she doesn’t “join” things. He suggests just hanging out. (Possible relation with original characters)
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Euronymous (Lords of Chaos) As I haven’t been able to watch LOC all the way through, I’ve got a rough idea about both what kind of person Euronymous is but generally I would probably just write a love/hate situation where they’re mean to each other but he’s the first person to jump to defend her. I would write a much softer Euronymous like how you see him with his sister in the start of the movie. I also know very little about black metal so there’s that haha I won't even attempt to pretend to know about it either so Y/n will more than likely not care for the music itself but he'll absolutely want to make her see what he sees.
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shmorp-mcdurgen · 2 years
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Mandela catalogue doodles for the funnies
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bandaidfingers · 6 months
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my little inktober illustration series this year ✨SPARKLE SLASHERS✨
drawing various slasher villains every other day for the month of October on some sparkly card stock I got my hands on
I've been adding them (originals! not prints!) to my ✨ Ko-fi shop✨ as I draw them, all priced at $50 rn, but! on Halloween everything in my shop will be 15% off with the code SPOOKY23, so mark you calendars if you want to get one a little cheaper as a treat ^__^
v my full slasher lineup under the cut also v
Peeping Tom (1960) -Oct 1
Twisted Nerve (1968) -Oct 3
Texas Chainsaw Massacre (1974) -Oct 5
Halloween (1978) -Oct 7
My Bloody Valentine (1981) -Oct 9
Prom Night (1980) -Oct 11
Friday the 13th (1980) -Oct 13
Slumber Party Massacre 2 (1987) -Oct 15
Sleep Away Camp (1983) -Oct 17
A Nightmare on Elm Street (1983) -Oct 19
Hellraiser (1987) -Oct 21
Maniac Cop (1988) -Oct 23
Child's Play (1988) -Oct 25
Alice Sweet Alice (1976) -Oct 27
Candyman (1992) -Oct 29
Scream (1996) -Oct 31
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Star Trek TOS’s Finale, The Turnabout Intruder 03X24: Just Sexist, or More Than Meets The Eye?
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Bear with me here, most folks immediately condemn Star Trek TOS’s final episode and conclusion as it’s most embarrassing, cringe worthy and sexist of the original series episodes. I’m not here to disagree with some of those sentiments, either.
But hear me out: I have another perspective on this episode to offer, if anyone is interested in exploring another take on it with me.
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Read on if you’re interested!
I always felt that this episode was kind of clever in that Gene pushed to have women on the bridge and in command roles originally and was denied. It could even be seen as an allusion to how Una, Number One played by Majel Barrett, was intended to be second in command but denied that right.
It was shot down, largely by other women on the viewing panel who responded negatively to how "aggressive" or "assertive" Una was.
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Basically, production shot down Gene's wish to portray a woman in a command role despite it being one of the first ideas Roddenberry pushed. Apparently there was the feeling of "well we are in the future and yet we are forced to portray women as if they are in the 60s, how does that work out?"
I always wondered if The Turnabout Intruder was a very cheeky way of slapping back at production for forcing the shutting down of women in command roles in Starfleet.
Perhaps not and I read into it too much, but it seems a snide, shady way of trying to explain this absolutely absurd rule they forced upon Gene and the crew on-screen. People were going to notice women did not have a balance of power due to this rule, so in a way, I always thought of this episode as a clever way to address it and criticize how stupid that looks in practice. It highlights how utterly unfair it was that production tied Gene and the crew of TOS's hands whenever they tried to push to give women prominent, strong roles.
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As a woman, I felt a sear of almost indignant camaraderie when Janice ranted about how unfair and ridiculous the rules were -- the same kind of rules that oppressed my mother and her sisters as they grew up in the 60s. Sure she was absolutely unhinged and insane, but what she lived through and the unfairness of it all eroded away at her until it ate her up. That was the genuine, real-world fate of so many ambitious women of that time period. I know as an ambitious woman myself, I too might have lost my mind at the injustice of it all as Janice did.
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In a way, I felt like the episode tackled an extremely uncomfortable topic which was pervasive in the 60s and socio-culturally relevant at that time. Women living in that time largely didn't have power or control over their identities or futures, and many of them, like Janice, were furious about their ambitions and opportunities being stifled due to gender alone.
It also highlighted another powerfully controversial gender topic: The belittling of men who are on the receiving end of abuse from women. We see Jim being laughed at, his manhood and authority questioned for being "bested" by a woman. It shows how society likes to mock and laugh at men or the suggestion that they could be abused by women.
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We get to see a rare, vulnerable portrayal of domestic abuse and terrorism perpetrated against a man that we all know, admire and recognize as a beacon of strength, competence and intelligence. Even with all his strength, courage and power, Jim is overpowered, assaulted, victimized, gaslit, and nearly murdered by an ex lover. To me, this was a story that direly needed to be talked about somewhere. I think very few pieces of media were allowing men to be portrayed in such a vulnerable position at that time, especially one portrayed as typically macho and strong as Jim; it was an episode that made some interesting observations and criticisms of how we ultimately hurt and diminish one another with gender roles and stereotypes. In this episode, both Janice and Jim suffered for it.
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To even hear Kirk proclaiming loudly as a man in a position of power about the unfairness of it all -- to me, that was a testament to the absurdity of that mindset held in the 60s towards women: They were called "hysterical", drugged, subdued, belittled, made to feel like their hobbies and lives were trivial or unimportant, told they were weak, and beaten into submission. They were unfairly institutionalized for "hysteria" and depression brought about by the restrictiveness of their lives due to their gender. Women were often chained to their marriages and homes, often stunted by gender alone in the workforce, not due to their abilities as an employee. And they needed the support of men in order to get out of the oppressive situation they were strong-armed into. 
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To hear a man displayed in a position of power speak out in defiance against that unfairness when women were seldom permitted a voice of their own in the media at that time. Jim paralleled those men of the 60s who spoke out against injustice and inequality when they saw it.
That was a rare and direly needed sentiment at that time, even if by today's standards the episodes content seems dated and misguided. 
Even when his ex-partner was cruel, violent and did not even perhaps deserve his empathy, Jim made a point of highlighting that Janice might have had a rich and fulfilling life as a valuable captain in the fleet had the rules not done her life's work such a callous and unfair injustice. 
Both Jim and Janice ultimately suffered for this Starfleet rule; and as an interesting parallel, the original series itself suffered due to this production rule. 
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The episode looks sexist now, maybe even then -- but back then it dared to touch on several controversial gender topics and socio-cultural elephants in the room that very few had the gall or interest in tackling on a public platform at that time.
I’m not saying the episode isn’t inherently sexist or misogynist in nature, but I am saying that there is more to offer here than what is glaringly obvious at surface level. 
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it-spirk-to-me · 3 months
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gift fic for wren-of-the-woods
Here's my @startrekwintergiftexchange gift to @wren-of-the-woods!
I enjoyed writing these guys, first time I've wrote for the TOS side of things!
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your-name-is-jim · 1 year
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Star Trek TOS doesn't have a lot of references to previous episodes, so it's always good to see it happening! Kirk in Janice's body being like "hey Spock, remember that thing you did in that episode? That was very gay, can you do it again? :)" Spoiler: he'll do it again.
[s3 e24 - Turnabout Intruder | s3 e9 - The Tholian Web]
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thatgirl4815 · 2 years
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Dominance
There is obviously much more to be said about that last scene, but I find it interesting how Kinn puts himself in the dominant position--constantly putting himself above Porsche, caging him between his arms--up until Porsche slaps him. Then he naturally (and what looks to be subconsciously) looks up at Porsche for the rest of the scene. I think the majority of it is motivated by his mistake/wanting to prove how sorry he is. But I also think part of it is a reflection of the guilt he showed last episode. He took advantage of Porsche when he was unable to properly consent once before, but he’s giving Porsche all the control here. When Porsche turns around to look at him, Kinn’s still got his arms on either side of him, but it no longer feels like he’s forcibly caging him in; the motion conveys something gentler. It’s as if he’s pleading with him not to leave, to understand all the baggage he carries, and even though they haven’t worked through these trust issues, what happens after conveys all the desperation and vulnerability they feel with each other--perhaps more than the words ever could. Not to say that they don’t need to have an actual conversation about their issues, but in the heat of the moment, I think the mood change transitioned nicely.
Here, we see them face to face, height to height. No one is looking up at the other. This is just before Kinn puts himself in a lower position. The most vulnerable position he could possibly be in, a position he probably hasn’t allowed himself to occupy since Tawan (or, dare I say, maybe ever).
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And that golden light shining through the back, overcoming the green warning light pervading the scene? The way it illuminates the space between them as they meet each other’s eyes?? The way their gazes search every part of each other’s expression, taking it all in??? There’s an understanding there.
They will doubtlessly exchange more harsh words with each other before the season is over, but in my opinion, this moment where they look at each other is proof that they will be able to overcome it all. 
(***I’ve finally gotten my thoughts together a bit more on the cinematography and color of this scene, which I’ve written more about here.)
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