-⭐️outlooker⭐️-

I’ll start:

to mark this blog hitting 125,000 posts I thought I'd throw together a fic rec post of some of my favorite spirk fics! There are so many recommendations I could make, but I tried to recommend ones I don't see recommended as often. Fics are included under the read-more, enjoy!

Great thought, but for those unaware, Kate Mulgrew’s gorgeous tux from The Killing Game was 100% a reference to Dietrich’s suit in Blonde Venus (1932) with Cary Grant, a pre-Code film directed by Josef von Sternberg. It’s hard to tell in Killing Game, but Mulgrew’s lapels are also sequined. So is the stripe in the trousers. It is basically a replica of Dietrich’s suit, no question.

Okay, so I have a PhD in queer fashion and media. So this is something I happen to know a lot about. So let me explain a few things.

For starters, You cannot get a more explicitly queer-coded woman than Marlene Dietrich.

Cary Grant (another closeted Queer in Hollywood) is also in Blonde Venus, and although their chemistry is great, their romance is unbelievable because it’s very clear that they are both absolutely queer. Hattie McDaniel appears in this film, another Queer in Hollywood (and the first Black person ever to win an Oscar). In both Blonde Venus and Morocco (1930), Dietrich flirts with both men and women. Dietrich was considered a Drag King in her day. She famously proclaimed, ‘I am a gentleman at heart.’

Dietrich often refused to wear trousers, and openly declared that she had plenty of women lovers. She is an iconic staple for queer sexuality even today. She famously kissed a woman in Morocco whilst wearing a tuxedo- with an audience watching and cheering. She then kisses a man, the audience applauds, and she exits. This scene (below) was added at Dietrich’s own behest. The scene was extremely controversial, and they had to defend it against the censors for months.

This very scene is one of the many reasons The Hays Code was enacted (rules from a super-Catholic man who bribed his way into Hollywood and forced the religious ideologies onto the screen), and this scene was one that The Hays Code often pointed to as ‘immoral’ and ‘perverted’ and ‘sexually explicit.’ You can thank the Hays Code for the split beds Lucy and Ricky had, for rules that a kiss must not last longer than a certain amount of time, that, absolutely, NO queer ANYTHING could be acknowledged to exist. Everything had to be subtext, and that’s why so many old black and white films feel really queer.

But Dietrich openly proclaimed herself queer, dressed in men’s clothing, kissed women on screen- and became a Queer icon not just in fashion, but in sexuality, decadence, and identity. The so-called famous ’Dietrich’s Sewing Circle’ (of which Hattie McDaniel was a member) was essentially every Queer woman in Hollywood who all had affairs with each other. Books have been written on this. Here’s a brief article about one of those books that goes through some of the basics.

Okay, Queer Fashion Film Academic, what’s your point?

The point is that by wearing a duplicate of a Dietrich suit- one where she openly flirted with women, no less–Janeway is 100% coded as queer in The Killing Game.

Especially with that tuxedo scene and the way she’s talking to Seven. In fact, most of the scenes in those episodes where she is talking to Seven, you will notice that Mulgrew plays Janeway with a bite- her eyes linger on Seven just a bit longer, her body language is just a bit more open and fierce than usual.

Even in Paris, for a woman to wear what Mulgrew/Janeway is clearly coding herself as a Queer person through that specific outfit. She is wearing a giant billboard that says I AM QUEER.

By putting Kate Mulgrew in a replica of a Dietrich 1940s tuxedo, Janeway is visually coded as queer through replication and imitation of one of the most Queer icons in cinematic history. That suit is too famous, too iconic, too specifically loaded with subtext and text of queerness through Dietrich.

I am convinced that the costume department 100% knew what they were doing, and part of me wonders if Kate Mulgrew herself had pushed for that suit. Why? Because Kate Mulgrew herself was the one who pushed for Janeway to have a same-sex relationship.

Above quote from this article.

Watch Blonde Venus. Watch Morocco. Then, watch Kate Mulgrew in The Killing Game. She imitates Dietrich’s body-language, her mannerisms, the smirk, in that opening scene. There is no question- Janeway has been possessed by Dietrich’s characters.

Funnily enough, for the rest of those two episodes, Kate Mulgrew is also very clearly imitating another Queer woman through her voice intonation and mannerisms, general fashion and hairstyles: Katharine Hepburn.

Because of her absurd visual and voice similarity to Katharine Hepburn (another Queer in Dietrich’s sewing circle), Mulgrew once played Hepburn in Tea at Five.

Like Dietrich (bisexual), Hepburn was very clearly Queer coded, as she was a lesbian. She was also famous in Hollywood for her male-coded attire, though she preferred regular suits to Dietrich’s tuxedos.

She, like Dietrich, had the same problem whenever they teamed up with Cary Grant- watch Philadelphia Story and tell me that the real ending of that movie is not Hepburn’s character, Grant’s character and Stewart’s character all ending up in a thruple together. The movie makes no sense if that’s not the real ending.

Hepburn wore trousers on film sets and this upset the studio so much they literally stole her trousers, trying to force her into a skirt. Hepburn just walked around in her knickers, refusing to wear the skirt. Eventually, the studio gave her back the trousers.

Okay, I’m going off tangent. Here’s your takeaway:

Kate Mulgrew, (because she’s an absurdly amazing talent), is very heavily is influenced in mannerism, voice, accent and appearance by two of the most Queer-Coded women in cinematic history in The Killing Game. Through fashion and performance, she embodies Dietrich’s Blonde Venus and Morocco characters, and through appearance, voice and body language, she gives that image an additional layer of of Hepburn’s fierce, Queer persona.

Conclusion: Arguably throughout all of Voyager, but specifically In The Killing Game, Kathryn Janeway is visibly Queer.

By the way, although she never got credit for it, the person who wrote Blonde Venus was Dietrich herself. Both she and von Sternberg were suspended for several months because the movie was considered too salacious by the Hays code, and it caused production problems for over a year.

The BFI has a great write-up on Dietrich’s queerness and fashion, you can read it here: https://www.bfi.org.uk/features/my-best-girlfriend-queer-dietrich-screen

That AND people have always always always been overly defensive or Spock, especially on this website imo.

Like, what if he really is more of an asshole? Even if people disagree, and/or believe he still is or is actually more of a jerk in TOS. Isn’t the point that Spock learns to be better in the time spanning between Discovery Season 2 all the way to The Undiscovered Country and beyond?

Does it make him irredeemable if we watch him screw up more before he’s learned lessons that haven’t happened yet? Does that magically nullify his positive qualities? These are things I don’t quite get.

I think one of the things that makes Spock so charming is that he’s full of contradictions! He’s got a massive ego but also kinda hates himself. He’s profoundly empathetic but also the most condescending person on screen. He’s very deeply emotional but rejects it in himself and looks down upon it in others. He’s a hypocrite as much as he is a well of wisdom!

even if you're a tos purist, you have to admit that spock is

a bitch

a cunt

a little shit

chaotic to an almost scary degree

•✦ーーーーーー✦•

✦ 𝙶𝚘𝚕𝚒𝚌 𝚅𝚞𝚕𝚌𝚊𝚗 𝚊𝚕𝚙𝚑𝚊𝚋𝚎𝚝 (𝚐𝚘𝚕-𝚟𝚞𝚑𝚕𝚔𝚊𝚗𝚜𝚞) ✦

𝙶𝚘𝚕𝚒𝚌 𝚅𝚞𝚕𝚌𝚊𝚗 𝚒𝚜 𝚘𝚗𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚌𝚘𝚗𝚜𝚝𝚛𝚞𝚌𝚝𝚎𝚍 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎𝚜 𝚘𝚏 𝚝𝚑𝚎 𝚅𝚞𝚕𝚌𝚊𝚗 𝚛𝚊𝚌𝚎.

•✦ーーーーーー✦•

𝚃𝚑𝚎 𝚌𝚘𝚛𝚎 𝚏𝚎𝚊𝚝𝚞𝚛𝚎𝚜 𝚘𝚏 𝚝𝚑𝚎 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚗𝚌𝚕𝚞𝚍𝚒𝚗𝚐 𝚝𝚑𝚎 𝚙𝚑𝚘𝚗𝚘𝚕𝚘𝚐𝚢, 𝚜𝚢𝚗𝚝𝚊𝚡 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚋𝚊𝚜𝚒𝚜 𝚏𝚘𝚛 𝚝𝚑𝚎 𝚖𝚘𝚛𝚙𝚑𝚘𝚕𝚘𝚐𝚢.

✦ 𝙽𝚘𝚝𝚊𝚋𝚕𝚎 𝚏𝚎𝚊𝚝𝚞𝚛𝚎𝚜 𝚘𝚏 𝚝𝚑𝚎 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎✦

✦ 𝙻𝚎𝚡𝚒𝚌𝚘𝚗 𝚘𝚏 12,000+ 𝚝𝚎𝚛𝚖𝚜.

✦ 𝚅𝚂𝙾

✦ 𝙿𝚛𝚘-𝚍𝚛𝚘𝚙 𝚊𝚗𝚍 𝚌𝚘𝚗𝚝𝚎𝚡𝚝𝚞𝚊𝚕𝚕𝚢 𝚘𝚖𝚒𝚝𝚝𝚎𝚍 𝚌𝚘𝚙𝚞𝚕𝚊.

✦ 𝙿𝚎𝚛𝚟𝚊𝚜𝚒𝚟𝚎 𝚌𝚘𝚖𝚙𝚘𝚞𝚗𝚍𝚒𝚗𝚐 𝚒𝚗 𝚗𝚘𝚞𝚗𝚜.

✦ 𝚂𝚝𝚊𝚗𝚍𝚊𝚛𝚍 𝚊𝚗𝚍 𝚜𝚑𝚘𝚛𝚝/𝚏𝚕𝚊𝚝 𝚟𝚘𝚠𝚎𝚕 𝚌𝚘𝚗𝚝𝚛𝚊𝚜𝚝𝚜 𝚊𝚛𝚎 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕𝚕𝚢 𝚌𝚘𝚖𝚖𝚘𝚗 𝚋𝚞𝚝 𝚗𝚘𝚝 𝚜𝚑𝚊𝚛𝚙𝚕𝚢 𝚍𝚒𝚜𝚝𝚒𝚗𝚐𝚞𝚒𝚜𝚑𝚎𝚍 𝚒𝚗 𝚊𝚕𝚕 𝚌𝚊𝚜𝚎𝚜 𝚒𝚗 𝚖𝚘𝚍𝚎𝚛𝚗 𝚜𝚙𝚎𝚎𝚌𝚑. 𝙻𝚘𝚗𝚐 𝚟𝚘𝚠𝚎𝚕𝚜 𝚊𝚕𝚜𝚘 𝚎𝚡𝚒𝚜𝚝, 𝚋𝚞𝚝 𝚊𝚛𝚎 𝚏𝚊𝚛 𝚕𝚎𝚜𝚜 𝚌𝚘𝚖𝚖𝚘𝚗.

✦ 𝙴𝚗𝚌𝚕𝚒𝚝𝚒𝚌 𝚊𝚍𝚟𝚎𝚛𝚋𝚒𝚊𝚕 𝚙𝚛𝚎𝚏𝚒𝚡𝚎𝚜 𝚊𝚗𝚍 𝚙𝚛𝚎𝚙𝚘𝚜𝚒𝚝𝚒𝚘𝚗𝚜.

✦𝚄𝚗𝚞𝚜𝚞𝚊𝚕 𝚘𝚗𝚜𝚎𝚝 𝚌𝚘𝚗𝚜𝚘𝚗𝚊𝚗𝚝 𝚌𝚕𝚞𝚜𝚝𝚎𝚛𝚜.

•✦ーーーーーー✦•

✦ 𝙽𝚘𝚝𝚊𝚋𝚕𝚎 𝚏𝚎𝚊𝚝𝚞𝚛𝚎𝚜 𝚘𝚏 𝚝𝚑𝚎 𝚘𝚛𝚝𝚑𝚘𝚐𝚛𝚊𝚙𝚑𝚢 ✦

✦ 𝙰𝚕𝚙𝚑𝚊𝚋𝚎𝚝𝚒𝚌 (𝚏𝚛𝚘𝚖 𝚕𝚘𝚐𝚘𝚐𝚛𝚊𝚙𝚑𝚒𝚌 𝚛𝚘𝚘𝚝𝚜)

✦ 𝚅𝚒𝚜𝚞𝚊𝚕𝚕𝚢 𝚖𝚘𝚍𝚎𝚕𝚎𝚍 𝚘𝚗 𝚌𝚊𝚗𝚘𝚗𝚒𝚌𝚊𝚕 𝚜𝚘𝚞𝚛𝚌𝚎𝚜 𝚏𝚛𝚘𝚖 𝚝𝚑𝚎 𝚋𝚒𝚐 𝚊𝚗𝚍 𝚜𝚖𝚊𝚕𝚕 𝚜𝚌𝚛𝚎𝚎𝚗.

✦ 𝙳𝚒𝚛𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝚠𝚛𝚒𝚝𝚒𝚗𝚐: 𝚏𝚕𝚎𝚡𝚒𝚋𝚕𝚎 𝚋𝚞𝚝 𝚖𝚘𝚜𝚝 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕𝚕𝚢 𝚛𝚎𝚗𝚍𝚎𝚛𝚎𝚍 𝚝𝚘𝚙 𝚝𝚘 𝚋𝚘𝚝𝚝𝚘𝚖. 𝚆𝚑𝚎𝚗 𝚠𝚛𝚒𝚝𝚝𝚎𝚗 𝚑𝚘𝚛𝚒𝚣𝚘𝚗𝚝𝚊𝚕𝚕𝚢 𝚝𝚑𝚎 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝚌𝚊𝚕𝚕𝚒𝚐𝚛𝚊𝚙𝚑𝚢 𝚒𝚜 𝚜𝚒𝚖𝚙𝚕𝚢 𝚛𝚘𝚝𝚊𝚝𝚎𝚍 𝚊𝚗𝚍 𝚏𝚕𝚘𝚠𝚜 𝚒𝚗 𝚝𝚑𝚎 𝚜𝚊𝚖𝚎 𝚍𝚒𝚛𝚎𝚌𝚝𝚒𝚘𝚗 𝚘𝚏 𝚝𝚑𝚎 𝚙𝚛𝚎𝚍𝚘𝚖𝚒𝚗𝚊𝚝𝚎 𝚌𝚘𝚗𝚌𝚞𝚛𝚛𝚎𝚗𝚝 𝚜𝚢𝚜𝚝𝚎𝚖. 𝚆𝚒𝚝𝚑 𝙴𝚗𝚐𝚕𝚒𝚜𝚑 𝚒𝚝 𝚛𝚎𝚊𝚍𝚜 𝚕𝚎𝚏𝚝 𝚝𝚘 𝚛𝚒𝚐𝚑𝚝.

𝚆𝚒𝚝𝚑 𝙷𝚎𝚋𝚛𝚎𝚠 𝚒𝚝 𝚠𝚘𝚞𝚕𝚍 𝚛𝚎𝚊𝚍 𝚛𝚒𝚐𝚑𝚝 𝚝𝚘 𝚕𝚎𝚏𝚝. 𝚃𝚑𝚎 𝚂𝚝𝚊𝚗𝚍𝚊𝚛𝚍 𝚜𝚌𝚛𝚒𝚙𝚝 𝚌𝚊𝚗 𝚛𝚘𝚝𝚊𝚝𝚎 𝚒𝚗 𝚝𝚑𝚎 𝚜𝚊𝚖𝚎 𝚖𝚊𝚗𝚗𝚎𝚛 𝚒𝚏 𝚗𝚎𝚌𝚎𝚜𝚜𝚊𝚛𝚢 𝚒𝚗 𝚌𝚘𝚗𝚝𝚎𝚡𝚝. 𝙷𝚘𝚛𝚒𝚣𝚘𝚗𝚝𝚊𝚕 𝙷𝚊𝚗𝚍𝚠𝚛𝚒𝚝𝚒𝚗𝚐 𝚒𝚗𝚟𝚘𝚕𝚟𝚎𝚜 𝚝𝚠𝚘 𝚍𝚒𝚏𝚏𝚎𝚛𝚎𝚗𝚝 𝚙𝚕𝚊𝚌𝚎𝚖𝚎𝚗𝚝 𝚖𝚘𝚍𝚎𝚕𝚜 𝚏𝚘𝚛 𝚝𝚑𝚎 𝚟𝚘𝚠𝚎𝚕𝚜; 𝚒𝚗𝚕𝚒𝚗𝚎 𝚊𝚗𝚍 𝚍𝚒𝚊𝚌𝚛𝚒𝚝𝚒𝚌. 𝙸𝚗 𝚟𝚎𝚛𝚝𝚒𝚌𝚊𝚕 𝚑𝚊𝚗𝚍𝚠𝚛𝚒𝚝𝚒𝚗𝚐, 𝚟𝚘𝚠𝚎𝚕𝚜 𝚊𝚛𝚎 𝚞𝚜𝚎𝚍 𝚖𝚘𝚛𝚎 𝚘𝚛 𝚕𝚎𝚜𝚜 𝚊𝚜 𝚒𝚗𝚕𝚒𝚗𝚎 𝚕𝚎𝚝𝚝𝚎𝚛𝚜 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎 𝚎𝚡𝚌𝚎𝚙𝚝𝚒𝚘𝚗 𝚘𝚏 𝚝𝚑𝚎 /𝚊/. 𝙸𝚝 𝚋𝚎𝚑𝚊𝚟𝚎𝚜 𝚜𝚘𝚖𝚎𝚠𝚑𝚊𝚝 𝚕𝚒𝚔𝚎 𝚊𝚗 𝚊𝚋𝚞𝚐𝚒𝚍𝚊 𝚟𝚘𝚠𝚎𝚕 𝚍𝚒𝚊𝚌𝚛𝚒𝚝𝚒𝚌.

✦ 𝙻𝚎𝚝𝚝𝚎𝚛𝚏𝚘𝚛𝚖𝚜 𝚊𝚛𝚎 𝚒𝚗𝚟𝚊𝚛𝚒𝚊𝚋𝚕𝚎, 𝚋𝚞𝚝 𝚌𝚘𝚗𝚓𝚘𝚒𝚗𝚎𝚍 𝚠𝚒𝚝𝚑𝚒𝚗 𝚠𝚘𝚛𝚍𝚜. 𝚃𝚑𝚎 𝚃𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝙲𝚊𝚕𝚕𝚒𝚐𝚛𝚊𝚙𝚑𝚢 𝚜𝚞𝚙𝚙𝚘𝚛𝚝𝚜 𝚊𝚙𝚙𝚛𝚘𝚡𝚒𝚖𝚊𝚝𝚎𝚕𝚢 60 𝚌𝚘𝚗𝚜𝚘𝚗𝚊𝚗𝚝 𝚌𝚕𝚞𝚜𝚝𝚎𝚛𝚜 𝚠𝚒𝚝𝚑 𝚞𝚗𝚒𝚚𝚞𝚎 𝚕𝚒𝚐𝚊𝚝𝚞𝚛𝚎𝚜, 𝚖𝚘𝚜𝚝 𝚘𝚏 𝚠𝚑𝚒𝚌𝚑 𝚘𝚌𝚌𝚞𝚛 𝚘𝚗𝚕𝚢 𝚊𝚝 𝚜𝚢𝚕𝚕𝚊𝚋𝚕𝚎 𝚘𝚗𝚜𝚎𝚝.

✦ 𝚄𝚜𝚎𝚍 𝚝𝚘 𝚠𝚛𝚒𝚝𝚎: 𝙿𝚛𝚒𝚖𝚊𝚛𝚒𝚕𝚢 𝙶𝚘𝚕𝚒𝚌 𝚅𝚞𝚕𝚌𝚊𝚗, 𝚝𝚑𝚘𝚞𝚐𝚑 𝚘𝚝𝚑𝚎𝚛 𝚅𝚞𝚕𝚌𝚊𝚗 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎𝚜 𝚊𝚗𝚍 𝚕𝚘𝚊𝚗𝚜 𝚏𝚛𝚘𝚖 𝚘𝚝𝚑𝚎𝚛 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎𝚜 𝚌𝚊𝚗 𝚊𝚕𝚜𝚘 𝚋𝚎 𝚛𝚎𝚗𝚍𝚎𝚛𝚎𝚍 𝚒𝚗 𝚊𝚕𝚕 𝚘𝚏 𝚝𝚑𝚎 𝚜𝚌𝚛𝚒𝚙𝚝 𝚟𝚊𝚛𝚒𝚊𝚝𝚒𝚘𝚗𝚜.

✦ 𝙽𝚘 𝚛𝚎𝚐𝚞𝚕𝚊𝚛 𝚌𝚊𝚙𝚒𝚝𝚊𝚕𝚒𝚣𝚊𝚝𝚒𝚘𝚗, 𝚋𝚞𝚝 𝚙𝚛𝚘𝚙𝚎𝚛 𝚗𝚘𝚞𝚗𝚜 𝚊𝚛𝚎 𝚌𝚘𝚖𝚖𝚘𝚗𝚕𝚢 𝚖𝚊𝚛𝚔𝚎𝚍 𝚠𝚒𝚝𝚑 𝚊𝚗 𝚊𝚑𝚖-𝚐𝚕𝚊𝚝 (‘𝚗𝚊𝚖𝚎-𝚜𝚒𝚐𝚗’) 𝚜𝚒𝚐𝚗𝚒𝚏𝚢𝚒𝚗𝚐 𝚝𝚑𝚎 𝚌𝚘𝚖𝚖𝚘𝚗/𝚙𝚛𝚘𝚙𝚎𝚛 𝚍𝚒𝚜𝚝𝚒𝚗𝚌𝚝𝚒𝚘𝚗.

•✦ーーーーーー✦•

✦ 𝚃𝚑𝚎 𝙶𝚘𝚕𝚒𝚌 𝚅𝚞𝚕𝚌𝚊𝚗 𝚊𝚕𝚙𝚑𝚊𝚋𝚎𝚝𝚜 ✦

𝙸𝚗 𝚝𝚑𝚎 𝚏𝚘𝚕𝚕𝚘𝚠𝚒𝚗𝚐 𝚝𝚊𝚋𝚕𝚎 𝚝𝚑𝚎 𝚂𝚝𝚊𝚗𝚍𝚊𝚛𝚍 𝚂𝚌𝚛𝚒𝚙𝚝 (𝙶𝚘𝚝𝚊𝚟𝚕𝚞-𝚣𝚞𝚔𝚒𝚝𝚊𝚞𝚗) 𝚕𝚎𝚝𝚝𝚎𝚛𝚜 𝚊𝚙𝚙𝚎𝚊𝚛 𝚝𝚘 𝚝𝚑𝚎 𝚕𝚎𝚏𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚃𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝙲𝚊𝚕𝚕𝚒𝚐𝚛𝚊𝚙𝚑𝚢 (𝚅𝚊𝚗𝚞-𝚝𝚊𝚗𝚊𝚏-𝚔𝚒𝚝𝚊𝚞𝚗) 𝚕𝚎𝚝𝚝𝚎𝚛𝚜 (𝚗𝚞𝚑𝚖) 𝚊𝚗𝚍 𝚝𝚑𝚎 𝙷𝚊𝚗𝚍𝚠𝚛𝚒𝚝𝚒𝚗𝚐 (𝙴𝚕’𝚛𝚞-𝙺𝚒𝚝𝚊𝚞𝚗) 𝚟𝚊𝚛𝚒𝚊𝚝𝚒𝚘𝚗𝚜 𝚊𝚙𝚙𝚎𝚊𝚛 𝚒𝚗 𝚝𝚞𝚛𝚗 𝚊𝚝 𝚝𝚑𝚎 𝚛𝚒𝚐𝚑𝚝 𝚒𝚗 𝚎𝚊𝚌𝚑 𝚌𝚕𝚞𝚜𝚝𝚎𝚛.

𝚃𝚑𝚎 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝚗𝚊𝚖𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚂𝚝𝚊𝚗𝚍𝚊𝚛𝚍 𝚂𝚌𝚛𝚒𝚙𝚝 𝚕𝚎𝚝𝚝𝚎𝚛 𝚒𝚜 𝚐𝚒𝚟𝚎𝚗 𝚊𝚕𝚘𝚗𝚐 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎 𝙸𝙿𝙰 𝚏𝚘𝚛 𝚎𝚊𝚌𝚑 𝚜𝚘𝚞𝚗𝚍. 𝙽𝚘𝚝𝚎 𝚝𝚑𝚊𝚝 𝚏𝚘𝚛 𝚝𝚑𝚎 𝚃𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝚊𝚗𝚍 𝙷𝚊𝚗𝚍𝚠𝚛𝚒𝚝𝚒𝚗𝚐 𝚜𝚌𝚛𝚒𝚙𝚝𝚜 𝚒𝚝 𝚒𝚜 𝚖𝚘𝚜𝚝 𝚌𝚘𝚖𝚖𝚘𝚗 𝚝𝚘 𝚜𝚒𝚖𝚙𝚕𝚢 𝚛𝚎𝚏𝚎𝚛 𝚝𝚘 𝚝𝚑𝚎 𝚌𝚘𝚗𝚜𝚘𝚗𝚊𝚗𝚝𝚜 𝚊𝚜 𝙲+/𝚘/, 𝚑𝚎𝚗𝚌𝚎 "𝙼" 𝚒𝚜 "𝙼𝚘". "𝙽" 𝚒𝚜 "𝙽𝚘", 𝚎𝚝𝚌. 𝙴𝚡𝚌𝚎𝚙𝚝𝚒𝚘𝚗𝚜 𝚘𝚌𝚌𝚞𝚛 𝚏𝚘𝚛 "𝚘𝙽𝙶" 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚌𝚘𝚗𝚜𝚘𝚗𝚊𝚗𝚝 𝚌𝚕𝚞𝚜𝚝𝚎𝚛𝚜 "𝙺𝚂𝚘" 𝚟𝚜. "𝚘𝙺𝚂" ("𝚇"). 𝚃𝚑𝚎 𝚗𝚊𝚖𝚎𝚜 𝚒𝚗 ‘𝚘’ 𝚊𝚛𝚎 𝚘𝚖𝚒𝚝𝚝𝚎𝚍 𝚒𝚗 𝚝𝚑𝚎 𝚝𝚊𝚋𝚕𝚎 𝚏𝚘𝚛 𝚝𝚑𝚎 𝚜𝚊𝚔𝚎 𝚘𝚏 𝚟𝚒𝚜𝚞𝚊𝚕 𝚜𝚒𝚖𝚙𝚕𝚒𝚌𝚒𝚝𝚢. 𝚃𝚑𝚎 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝚗𝚊𝚖𝚎𝚜 𝚛𝚎𝚙𝚛𝚎𝚜𝚎𝚗𝚝 𝚝𝚑𝚎 𝚏𝚊𝚌𝚝 𝚝𝚑𝚊𝚝 𝚝𝚑𝚎𝚜𝚎 𝚕𝚎𝚝𝚝𝚎𝚛𝚜 𝚊𝚛𝚎 𝚒𝚗 𝚖𝚘𝚜𝚝 𝚌𝚊𝚜𝚎𝚜 𝚞𝚗𝚖𝚘𝚍𝚒𝚏𝚒𝚎𝚍 𝚕𝚘𝚐𝚘𝚐𝚛𝚊𝚙𝚑𝚒𝚌 𝚐𝚕𝚢𝚙𝚑𝚜 𝚏𝚛𝚘𝚖 𝚊 𝚖𝚘𝚛𝚎 𝚊𝚗𝚌𝚒𝚎𝚗𝚝 𝚜𝚢𝚜𝚝𝚎𝚖. 𝙲𝚘𝚖𝚙𝚊𝚛𝚎 𝚝𝚑𝚎 𝚑𝚒𝚜𝚝𝚘𝚛𝚒𝚌 𝚞𝚜𝚊𝚐𝚎 𝚘𝚏 𝙴𝚐𝚢𝚙𝚝𝚒𝚊𝚗 𝚑𝚒𝚎𝚛𝚘𝚐𝚕𝚢𝚙𝚑𝚜 𝚝𝚘 𝚠𝚛𝚒𝚝𝚎 𝚙𝚛𝚘𝚙𝚎𝚛 𝚗𝚊𝚖𝚎𝚜 𝚘𝚛 𝚝𝚑𝚎 𝚖𝚊𝚗𝚢𝚘-𝚐𝚊𝚗𝚊 𝚘𝚏 𝚙𝚛𝚎-𝚜𝚢𝚕𝚕𝚊𝚋𝚊𝚛𝚢 𝙹𝚊𝚙𝚊𝚗𝚎𝚜𝚎.

•✦ーーーーーー✦•

✦ 𝚆𝚘𝚛𝚍𝚜 ✦

✦ 𝙰𝚛𝚎𝚟 – 𝙳𝚎𝚜𝚎𝚛𝚝 𝚠𝚒𝚗𝚍

✦ 𝙱𝚒𝚕𝚊𝚔 𝚙𝚊𝚛 – 𝚂𝚎𝚕𝚏-𝚙𝚒𝚝𝚢

✦ 𝙳𝚒𝚏-𝚃𝚘𝚛 𝚑𝚎𝚑 𝚂𝚖𝚞𝚜𝚖𝚊 – 𝙻𝚒𝚟𝚎 𝚕𝚘𝚗𝚐 𝚊𝚗𝚍 𝚙𝚛𝚘𝚜𝚙𝚎𝚛

✦ 𝙵𝚊𝚕-𝚝𝚘𝚛-𝚟𝚘𝚑 – 𝙰 𝚖𝚒𝚗𝚍 𝚖𝚎𝚕𝚍-𝚋𝚊𝚜𝚎𝚍 𝚝𝚛𝚎𝚊𝚝𝚖𝚎𝚗𝚝 𝚏𝚘𝚛 𝚊 𝚗𝚎𝚞𝚛𝚘𝚍𝚎𝚐𝚎𝚗𝚎𝚛𝚊𝚝𝚒𝚟𝚎 𝚍𝚒𝚜𝚎𝚊𝚜𝚎

✦ 𝙶𝚎𝚜𝚙𝚊𝚛 – 𝙰 𝚅𝚞𝚕𝚌𝚊𝚗 𝚏𝚛𝚞𝚒𝚝

✦ 𝙺'𝚘𝚑-𝚗𝚊𝚛 – 𝙰 𝚏𝚎𝚎𝚕𝚒𝚗𝚐 𝚘𝚏 𝚋𝚎𝚒𝚗𝚐 𝚌𝚘𝚖𝚙𝚕𝚎𝚝𝚎𝚕𝚢 𝚎𝚡𝚙𝚘𝚜𝚎𝚍, 𝚎𝚖𝚋𝚊𝚛𝚛𝚊𝚜𝚜𝚎𝚍

✦ 𝙺𝚊𝚕-𝚒𝚏-𝚏𝚎𝚎 – 𝙲𝚑𝚊𝚕𝚕𝚎𝚗𝚐𝚎

✦ 𝙺𝚊𝚛-𝚒-𝚏𝚊𝚛 – 𝙱𝚎𝚐𝚒𝚗

✦ 𝙺𝚊𝚝𝚛𝚊 – 𝙻𝚒𝚟𝚒𝚗𝚐 𝚜𝚙𝚒𝚛𝚒𝚝

✦ 𝙺𝚎𝚎𝚝𝚑𝚎𝚛𝚊 – 𝚂𝚝𝚛𝚞𝚌𝚝𝚞𝚛𝚎 𝚘𝚏 𝚑𝚊𝚛𝚖𝚘𝚗𝚢

✦ 𝙺𝚘𝚘𝚗-𝚞𝚝-𝚔𝚊𝚕-𝚒𝚏-𝚏𝚎𝚎 – "𝙼𝚊𝚛𝚛𝚒𝚊𝚐𝚎 𝚘𝚛 𝚌𝚑𝚊𝚕𝚕𝚎𝚗𝚐𝚎"

✦ 𝙺𝚘𝚘𝚗-𝚞𝚝-𝚜𝚘'𝚕𝚒𝚔 – 𝙼𝚊𝚛𝚛𝚒𝚊𝚐𝚎; 𝙿𝚛𝚘𝚙𝚘𝚜𝚊𝚕

✦ 𝙺𝚛𝚘𝚢𝚔𝚊𝚑 – 𝚂𝚝𝚘𝚙!; 𝙴𝚗𝚘𝚞𝚐𝚑!

✦ 𝙻'𝚝𝚊𝚔 𝚃𝚎𝚛𝚊𝚒 – 𝙰 𝚝𝚢𝚙𝚎 𝚘𝚏 𝚕𝚎𝚊𝚛𝚗𝚒𝚗𝚐 𝚍𝚒𝚜𝚊𝚋𝚒𝚕𝚒𝚝𝚢

✦ 𝙻𝚎-𝚖𝚊𝚝𝚢𝚊 – 𝙰𝚗 𝚊𝚗𝚒𝚖𝚊𝚕

✦ 𝙽𝚊𝚟𝚘𝚛𝚔𝚘𝚝 – 𝙰 𝚂𝚞𝚞𝚜 𝙼𝚊𝚑𝚗𝚊 𝚝𝚎𝚌𝚑𝚗𝚒𝚚𝚞𝚎

✦ 𝙽𝚒𝚛𝚊𝚔 – 𝙵𝚘𝚘𝚕

✦ 𝙽𝚘𝚖𝚎 – 𝙰𝚕𝚕

✦ 𝙿𝚕𝚊𝚔 𝚝𝚘𝚠 – 𝙱𝚕𝚘𝚘𝚍 𝚏𝚎𝚟𝚎𝚛

✦ 𝙿𝚕𝚎𝚎𝚗𝚘𝚔 – 𝙰 𝚌𝚑𝚒𝚕𝚍𝚛𝚎𝚗'𝚜 𝚎𝚍𝚞𝚌𝚊𝚝𝚒𝚘𝚗𝚊𝚕 𝚝𝚘𝚘𝚕

✦ 𝙿𝚘𝚔 𝚝𝚊𝚛 – 𝙰 𝚏𝚘𝚘𝚍

✦ 𝙿𝚢𝚕𝚕𝚘𝚛𝚊 – 𝙰 𝚝𝚎𝚕𝚎𝚙𝚊𝚝𝚑𝚒𝚌 𝚐𝚞𝚒𝚍𝚎

✦ 𝚀𝚞𝚒'𝚕𝚊𝚛𝚒 – 𝙰 𝚋𝚒𝚘𝚎𝚕𝚎𝚌𝚝𝚛𝚒𝚌 𝚏𝚘𝚌𝚊𝚕 𝚙𝚘𝚒𝚗𝚝

✦ 𝚂𝚎𝚑𝚕𝚊𝚝 – 𝙰𝚗 𝚊𝚗𝚒𝚖𝚊𝚕

✦ 𝚂𝚑𝚘𝚗-𝚑𝚊'𝚕𝚘𝚌𝚔 – 𝚝𝚑𝚎 𝚎𝚗𝚐𝚞𝚕𝚏𝚖𝚎𝚗𝚝; "𝚕𝚘𝚟𝚎 𝚊𝚝 𝚏𝚒𝚛𝚜𝚝 𝚜𝚒𝚐𝚑𝚝"

✦ 𝚂𝚘𝚘-𝚕𝚊𝚔 – 𝙰𝚗 𝚒𝚗𝚍𝚒𝚟𝚒𝚍𝚞𝚊𝚕 𝚠𝚑𝚘 𝚝𝚛𝚒𝚟𝚒𝚊𝚕𝚒𝚣𝚎𝚜 𝚝𝚑𝚎 𝚎𝚖𝚘𝚝𝚒𝚘𝚗𝚊𝚕 𝚊𝚝𝚝𝚊𝚌𝚑𝚖𝚎𝚗𝚝 𝚘𝚏 𝚊𝚗𝚘𝚝𝚑𝚎𝚛

✦ 𝚂𝚞𝚛𝚊𝚑'𝚝𝚊𝚑𝚗 – 𝙰 𝚗𝚎𝚞𝚛𝚘-𝚙𝚛𝚎𝚜𝚜𝚞𝚛𝚎 𝚙𝚘𝚜𝚝𝚞𝚛𝚎

✦ 𝚂𝚞𝚞𝚜 𝙼𝚊𝚑𝚗𝚊 – 𝙰 𝚖𝚊𝚛𝚝𝚒𝚊𝚕 𝚊𝚛𝚝

✦ 𝚃'𝚜𝚊𝚗 𝚜'𝚊𝚝 – 𝚃𝚑𝚎 𝚕𝚒𝚏𝚎𝚕𝚘𝚗𝚐 𝚖𝚊𝚗𝚊𝚐𝚎𝚖𝚎𝚗𝚝 𝚘𝚏 𝚎𝚖𝚘𝚝𝚒𝚘𝚗

✦ 𝚃𝚊𝚕-𝚜𝚑𝚊𝚢𝚊 – 𝙰 𝚍𝚎𝚊𝚍𝚕𝚢 𝚖𝚊𝚛𝚝𝚒𝚊𝚕 𝚊𝚛𝚝 𝚝𝚎𝚌𝚑𝚗𝚒𝚚𝚞𝚎

✦ 𝚃𝚊𝚜𝚖𝚎𝚎𝚗 – 𝙾𝚗𝚎 𝚘𝚏 𝚅𝚞𝚕𝚌𝚊𝚗'𝚜 𝚖𝚘𝚗𝚝𝚑𝚜

✦ 𝚅𝚘𝚔𝚊𝚞 – 𝚁𝚎𝚖𝚎𝚖𝚋𝚎𝚛

✦ 𝚅'𝚂𝚑𝚊𝚛 – 𝙰 𝚜𝚎𝚌𝚞𝚛𝚒𝚝𝚢 𝚊𝚐𝚎𝚗𝚌𝚢

✦ 𝚅'𝚝𝚘𝚜𝚑 𝚔𝚊'𝚝𝚞𝚛 – "𝚅𝚞𝚕𝚌𝚊𝚗'𝚜 𝚠𝚒𝚝𝚑𝚘𝚞𝚝 𝚕𝚘𝚐𝚒𝚌"

✦ 𝚅𝚘𝚔𝚊𝚢𝚊 – 𝙰 𝚖𝚒𝚗𝚎𝚛𝚊𝚕

✦ 𝙵𝚊𝚕-𝚝𝚘𝚛-𝚙𝚊𝚗 – 𝙰 𝚔𝚊𝚝𝚛𝚊 𝚝𝚛𝚊𝚗𝚜𝚏𝚎𝚛𝚎𝚗𝚌𝚎 𝚛𝚒𝚝𝚞𝚊𝚕

✦ 𝙵𝚞𝚕𝚕𝚊𝚛𝚊 – 𝙰 𝚛𝚒𝚝𝚞𝚊𝚕 𝚝𝚘 𝚛𝚎𝚙𝚛𝚎𝚜𝚜 𝚖𝚎𝚖𝚘𝚛𝚒𝚎𝚜

✦ 𝙺𝚊𝚑𝚜-𝚠𝚊𝚗 – 𝙰 𝚛𝚒𝚝𝚞𝚊𝚕 𝚝𝚎𝚜𝚝 𝚘𝚏 𝚖𝚊𝚝𝚞𝚛𝚒𝚝𝚢

✦ 𝙺𝚊𝚕 𝚁𝚎𝚔𝚔 – 𝙰 𝚑𝚘𝚕𝚒𝚍𝚊𝚢 𝚘𝚏 𝚜𝚘𝚕𝚒𝚝𝚞𝚍𝚎 𝚊𝚗𝚍 𝚜𝚒𝚕𝚎𝚗𝚌𝚎

✦ 𝙿𝚘𝚗 𝚏𝚊𝚛𝚛 – 𝚃𝚑𝚎 𝚝𝚒𝚖𝚎 𝚘𝚏 𝚖𝚊𝚝𝚒𝚗𝚐

✦ 𝚁𝚞𝚖𝚊𝚛𝚒𝚎 – 𝙰𝚗 𝚘𝚋𝚜𝚘𝚕𝚎𝚝𝚎 𝚙𝚊𝚐𝚊𝚗 𝚏𝚎𝚜𝚝𝚒𝚟𝚊𝚕 

✦ 𝚃𝚊𝚕-𝚂𝚑𝚊𝚗𝚊𝚛 – 𝙰 𝚙𝚛𝚒𝚟𝚊𝚝𝚎 𝚛𝚒𝚝𝚞𝚊𝚕

✦ 𝚃𝚊𝚛𝚞𝚕-𝚎𝚝𝚎𝚔 – 𝙰 𝚛𝚒𝚝𝚞𝚊𝚕 𝚝𝚘 𝚙𝚛𝚘𝚟𝚘𝚔𝚎 𝚊𝚗 𝚎𝚖𝚘𝚝𝚒𝚘𝚗𝚊𝚕 𝚛𝚎𝚜𝚙𝚘𝚗𝚜𝚎

✦ 𝚃𝚘𝚔𝚖𝚊𝚛 – 𝙰 𝚛𝚒𝚝𝚞𝚊𝚕 𝚝𝚘 𝚋𝚛𝚒𝚗𝚐 𝚕𝚘𝚜𝚝 𝚘𝚗𝚎𝚜 𝚑𝚘𝚖𝚎

✦ 𝙾𝚝-𝚕𝚊𝚗 - 𝚕𝚒𝚎𝚞𝚝𝚎𝚗𝚊𝚗𝚝 (?)

✦ Wuhr-Wi’trel - initial puzzle / opening (move)

✦ Pash-Trahkel - ‘setting of the snare’ / check

✦ Pash-Yel-Krup - event horizon / checkmate

✦ V’tosh - Vulcans

•✦ーーーーーー✦•

✦ 𝙴𝚡𝚊𝚖𝚙𝚕𝚎𝚜 𝚘𝚏 𝚜𝚙𝚘𝚔𝚎𝚗 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 ✦

✦ 𝚂𝚘𝚌𝚑𝚢𝚊 𝚎𝚑 𝙳𝚒𝚏 - 𝙿𝚎𝚊𝚌𝚎 𝚊𝚗𝚍 𝙻𝚘𝚗𝚐 𝙻𝚒𝚏𝚎

✦ 𝙳𝚊𝚔𝚑 𝚘𝚛𝚏𝚒𝚔𝚔𝚎𝚕 𝚊𝚞𝚜𝚑𝚏𝚊𝚖𝚊𝚕𝚞𝚑𝚛 𝚜𝚑𝚊𝚞𝚔𝚊𝚞𝚜𝚑 𝚏𝚒'𝚊𝚒𝚏𝚊 𝚖𝚊𝚣𝚑𝚒𝚟 - 𝙾𝚞𝚛 𝚊𝚗𝚌𝚎𝚜𝚝𝚘𝚛𝚜 𝚌𝚊𝚜𝚝 𝚘𝚞𝚝 𝚝𝚑𝚎𝚒𝚛 𝚊𝚗𝚒𝚖𝚊𝚕 𝚙𝚊𝚜𝚜𝚒𝚘𝚗𝚜 𝚘𝚗 𝚝𝚑𝚎𝚜𝚎 𝚟𝚎𝚛𝚢 𝚜𝚊𝚗𝚍𝚜

✦ 𝚂𝚑𝚊'𝚔𝚘𝚜𝚑𝚝𝚛𝚒 𝚔𝚘𝚛𝚜𝚎𝚒𝚟𝚎𝚕 𝚋𝚊𝚒'𝚎𝚕𝚔𝚑𝚛𝚞𝚕-𝚊𝚔𝚝𝚎𝚒𝚋𝚞𝚑𝚕 𝚝'𝙺𝚘𝚕𝚒𝚗𝚊𝚑𝚛𝚜𝚊𝚟𝚒𝚗𝚐 - 𝚘𝚞𝚛 𝚛𝚊𝚌𝚎 𝚝𝚑𝚛𝚘𝚞𝚐𝚑 𝚝𝚑𝚎 𝚊𝚝𝚝𝚊𝚒𝚗𝚖𝚎𝚗𝚝 𝚘𝚏 𝙺𝚘𝚕𝚒𝚗𝚊𝚑𝚛.

✦ 𝙽𝚊𝚑𝚙 – 𝚑𝚒𝚏-𝚋𝚒 𝚝𝚞 𝚝𝚑𝚛𝚘𝚔𝚜 - 𝚈𝚘𝚞𝚛 𝚝𝚑𝚘𝚞𝚐𝚑𝚝𝚜…𝚐𝚒𝚟𝚎 𝚝𝚑𝚎𝚖 𝚝𝚘 𝚖𝚎

✦ 𝙺𝚊𝚜𝚑𝚔𝚊𝚞 – 𝚂𝚙𝚘𝚑𝚔𝚑 – 𝚠𝚞𝚑𝚔𝚞𝚑 𝚎𝚑 𝚝𝚎𝚛𝚎𝚝𝚞𝚑𝚛 - 𝙾𝚞𝚛 𝚖𝚒𝚗𝚍𝚜 𝚊𝚛𝚎 𝚓𝚘𝚒𝚗𝚎𝚍, 𝚂𝚙𝚘𝚌𝚔… 𝚝𝚘𝚐𝚎𝚝𝚑𝚎𝚛, 𝚊𝚗𝚍 𝚊𝚜 𝚘𝚗𝚎.

✦ 𝚃'𝙸𝚜𝚑 𝚑𝚘𝚔𝚗𝚒'𝚎𝚜 𝚔𝚠𝚒'𝚜𝚑𝚘𝚛𝚎𝚝 - 𝙸 𝚜𝚎𝚗𝚜𝚎 𝚝𝚑𝚎 𝚌𝚘𝚗𝚜𝚌𝚒𝚘𝚞𝚜𝚗𝚎𝚜𝚜 𝚌𝚊𝚕𝚕𝚒𝚗𝚐 𝚝𝚘 𝚢𝚘𝚞 𝚏𝚛𝚘𝚖 𝚜𝚙𝚊𝚌𝚎…

✦ 𝙴𝚜𝚝𝚞𝚑𝚕 𝚝𝚎𝚛𝚛𝚞𝚙𝚒𝚔 𝚔𝚑𝚊𝚏 – 𝚂𝚙𝚘𝚑𝚔𝚑 - 𝚈𝚘𝚞𝚛 𝙷𝚞𝚖𝚊𝚗 𝚋𝚕𝚘𝚘𝚍 𝚒𝚜 𝚝𝚘𝚞𝚌𝚑𝚎𝚍 𝚋𝚢 𝚒𝚝, 𝚂𝚙𝚘𝚌𝚔.

✦ 𝚟𝚛𝚊𝚟𝚜𝚑𝚊𝚕 𝚜𝚛𝚊𝚜𝚑𝚒𝚟 𝚝'𝙺𝚘𝚕𝚒𝚗𝚊𝚑𝚛 - 𝚈𝚘𝚞 𝚑𝚊𝚟𝚎 𝚗𝚘𝚝 𝚢𝚎𝚝 𝚊𝚝𝚝𝚊𝚒𝚗𝚎𝚍 𝙺𝚘𝚕𝚒𝚗𝚊𝚑𝚛

✦ 𝚃'𝙸 𝚔𝚒𝚕𝚔𝚘-𝚜𝚛𝚊𝚜𝚑𝚒𝚟 𝚔𝚒𝚝𝚘𝚔-𝚠𝚒𝚕𝚊𝚝 - 𝙷𝚎 𝚖𝚞𝚜𝚝 𝚜𝚎𝚊𝚛𝚌𝚑 𝚎𝚕𝚜𝚎𝚠𝚑𝚎𝚛𝚎 𝚏𝚘𝚛 𝚑𝚒𝚜 𝚊𝚗𝚜𝚠𝚎𝚛.

✦ 𝙸'𝚝𝚊𝚑 𝚝𝚎𝚑𝚛𝚊𝚒 𝚔'𝚎𝚝𝚠𝚎𝚕 - 𝙷𝚎 𝚜𝚑𝚊𝚕𝚕 𝚗𝚘𝚝 𝚏𝚒𝚗𝚍 𝚒𝚝 𝚑𝚎𝚛𝚎.

✦ 𝙳𝚒𝚏-𝚝𝚘𝚛 𝚑𝚎𝚑 𝚜𝚖𝚞𝚜𝚖𝚊, 𝚂𝚙𝚘𝚑𝚔𝚑 - 𝙻𝚒𝚟𝚎 𝚕𝚘𝚗𝚐 𝚊𝚗𝚍 𝚙𝚛𝚘𝚜𝚙𝚎𝚛, 𝚂𝚙𝚘𝚌𝚔.

✦ 𝙶𝚒𝚜𝚑𝚎𝚗 𝚠𝚘𝚛𝚕𝚊 𝚒𝚑𝚔-𝚋𝚊𝚗𝚞𝚝 - 𝙷𝚎'𝚜 𝚗𝚎𝚟𝚎𝚛 𝚠𝚑𝚊𝚝 𝙸 𝚎𝚡𝚙𝚎𝚌𝚝

✦ 𝚆𝚊𝚔𝚕𝚒 𝚊𝚔'𝚠𝚒𝚔𝚖𝚊𝚗 – 𝚘𝚝-𝚕𝚊𝚗? - 𝚆𝚑𝚊𝚝 𝚜𝚞𝚛𝚙𝚛𝚒𝚜𝚎𝚜 𝚢𝚘𝚞, 𝚕𝚒𝚎𝚞𝚝𝚎𝚗𝚊𝚗𝚝?

✦ 𝙸𝚜𝚑-𝚟𝚎𝚑 𝚗𝚒… 𝚔𝚘𝚖𝚒𝚑𝚗. - 𝙷𝚎'𝚜 𝚜𝚘… 𝙷𝚞𝚖𝚊𝚗.

✦ 𝙺𝚕𝚒𝚗𝚐 𝚊𝚔𝚑𝚕𝚊𝚖𝚒 𝚋𝚞𝚑𝚏𝚒𝚔 – 𝚂𝚊𝚊𝚟𝚒𝚔-𝚔𝚊𝚖. - 𝙽𝚘𝚋𝚘𝚍𝚢'𝚜 𝚙𝚎𝚛𝚏𝚎𝚌𝚝, 𝚂𝚊𝚊𝚟𝚒𝚔.

✦ 𝚂𝚊𝚊𝚟𝚒𝚔 𝚠𝚒𝚖𝚒𝚜𝚑. 𝙺𝚞𝚙-𝚜𝚝𝚊𝚛𝚒𝚋𝚎𝚗? - 𝙸 𝚊𝚖 𝚂𝚊𝚊𝚟𝚒𝚔. 𝙲𝚊𝚗 𝚢𝚘𝚞 𝚜𝚙𝚎𝚊𝚔?

✦ 𝙳𝚘𝚖 – 𝚔𝚒'𝚜𝚊𝚛𝚕𝚊𝚑 - 𝚂𝚘, 𝚒𝚝 𝚑𝚊𝚜 𝚌𝚘𝚖𝚎

✦ 𝙳𝚞𝚗𝚐𝚒 𝚝𝚞 𝚜𝚊𝚑𝚛𝚊𝚏𝚎𝚕? - 𝚆𝚒𝚕𝚕 𝚢𝚘𝚞 𝚝𝚛𝚞𝚜𝚝 𝚖𝚎?

✦ 𝚀𝚞𝚊𝚕 𝚜𝚎 𝚝𝚞? - (?)

𝚂𝚙𝚘𝚔𝚎𝚗 𝚋𝚢 𝚂𝚙𝚘𝚌𝚔 𝚞𝚙𝚘𝚗 𝚜𝚎𝚎𝚒𝚗𝚐 𝚂𝚢𝚋𝚘𝚔 𝚘𝚗 𝚝𝚑𝚎 𝚜𝚞𝚛𝚏𝚊𝚌𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚙𝚕𝚊𝚗𝚎𝚝 𝙽𝚒𝚖𝚋𝚞𝚜 𝙸𝙸𝙸.

✦ 𝙲𝚑𝚊𝚢𝚊 𝚝'𝚗𝚘𝚝 - 𝚃𝚑𝚊𝚗𝚔 𝚢𝚘𝚞 / 𝚈𝚘𝚞'𝚛𝚎 𝚠𝚎𝚕𝚌𝚘𝚖𝚎 (?)

✦ 𝙿𝚘𝚗𝚏𝚘 𝚖𝚒𝚛𝚊𝚗! - 𝙶𝚘 𝚝𝚘 𝚑𝚎𝚕𝚕 !

✦ 𝙸𝚜𝚑𝚝𝚊𝚢𝚊 𝚔𝚞𝚕𝚊𝚑. 𝚅𝚎𝚜𝚝𝚊𝚕 𝚖𝚊 𝚎𝚝𝚊𝚔 𝙹'𝙺𝚊𝚑. - 𝙰 𝚝𝚛𝚊𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝚅𝚞𝚕𝚌𝚊𝚗 𝚕𝚒𝚝𝚊𝚗𝚢

✦ 𝚂𝚑𝚊𝚗𝚜𝚑𝚘𝚝 𝚝𝚞𝚕𝚊𝚛𝚊 𝚔𝚘𝚖𝚘𝚜𝚑. - (?)

𝚅𝚊𝚗𝚒𝚔 𝚝𝚘 𝚃'𝙿𝚘𝚕, 𝚊𝚏𝚝𝚎𝚛 𝙲𝚊𝚙𝚝𝚊𝚒𝚗 𝙰𝚛𝚌𝚑𝚎𝚛'𝚜 𝚍𝚒𝚗𝚗𝚎𝚛 𝚒𝚗𝚟𝚒𝚝𝚊𝚝𝚒𝚘𝚗 𝚍𝚒𝚍 𝚗𝚘𝚝 𝚐𝚘 𝚜𝚖𝚘𝚘𝚝𝚑𝚕𝚢

✦ 𝚃'𝚗𝚊𝚛 𝚙𝚊𝚑𝚔 𝚜𝚊𝚛𝚊𝚝 𝚢'𝚛𝚊𝚗𝚒 - "𝙰 𝚐𝚛𝚎𝚎𝚝𝚒𝚗𝚐" (?)

✦ 𝙿𝚊𝚜𝚑 𝚝𝚊𝚑. - 𝙶𝚘𝚘𝚍 𝚗𝚒𝚐𝚑𝚝

✦ 𝚃𝚒𝚊𝚛 𝚖𝚎𝚛𝚛𝚊. - (?)

𝚃'𝙿𝚘𝚕 𝚛𝚎𝚙𝚎𝚊𝚝𝚎𝚍 𝚝𝚑𝚒𝚜 𝚠𝚑𝚒𝚕𝚎 𝚝𝚛𝚊𝚙𝚙𝚎𝚍 𝚒𝚗 𝚝𝚑𝚎 𝚍𝚎𝚌𝚘𝚗𝚝𝚊𝚖𝚒𝚗𝚊𝚝𝚒𝚘𝚗 𝚌𝚑𝚊𝚖𝚋𝚎𝚛 𝚍𝚞𝚛𝚒𝚗𝚐 𝚑𝚎𝚛 𝚊𝚛𝚝𝚒𝚏𝚒𝚌𝚒𝚊𝚕𝚕𝚢 𝚝𝚛𝚒𝚐𝚐𝚎𝚛𝚎𝚍 𝚙𝚘𝚗 𝚏𝚊𝚛𝚛.

✦ 𝙶𝚑𝚒𝚜𝚑𝚞𝚗 𝚝𝚊𝚗𝚏𝚒 𝚋𝚘𝚜𝚑 𝚍𝚠𝚎𝚗𝚎𝚛? - 𝚆𝚑𝚢 𝚒𝚜 𝚑𝚎 𝚑𝚎𝚛𝚎?

✦ 𝙿𝚘𝚍 𝚃𝚞𝚌𝚔𝚎𝚛 𝚊𝚟𝚊𝚕𝚍𝚎 𝚔𝚎𝚛𝚞… 𝚅𝚞𝚕𝚔𝚊𝚗𝚏𝚒 𝚝𝚘𝚣𝚑𝚒 𝚍𝚊𝚠𝚛𝚞. - 𝙲𝚘𝚖𝚖𝚊𝚗𝚍𝚎𝚛 𝚃𝚞𝚌𝚔𝚎𝚛 𝚒𝚜 𝚖𝚢 𝚌𝚘𝚕𝚕𝚎𝚊𝚐𝚞𝚎… 𝚑𝚎 𝚠𝚊𝚗𝚝𝚎𝚍 𝚝𝚘 𝚟𝚒𝚜𝚒𝚝 𝚅𝚞𝚕𝚌𝚊𝚗.

✦ 𝙵𝚊𝚕𝚞 𝚗𝚎𝚗𝚟𝚒𝚔𝚑 𝚟𝚊𝚕𝚍𝚎𝚠𝚒𝚣𝚑 𝚜𝚞𝚔𝚏𝚒 𝚕𝚘𝚛𝚞𝚗. - 𝚃𝚑𝚒𝚜 𝚒𝚜 𝚝𝚑𝚎 𝚏𝚒𝚛𝚜𝚝 𝚝𝚒𝚖𝚎 𝚢𝚘𝚞'𝚟𝚎 𝚋𝚛𝚘𝚞𝚐𝚑𝚝 𝚊 𝚌𝚘𝚕𝚕𝚎𝚊𝚐𝚞𝚎 𝚑𝚘𝚖𝚎 𝚠𝚒𝚝𝚑 𝚢𝚘𝚞

✦ 𝚃𝚞𝚕𝚎𝚔 𝚝𝚞. - 𝚈𝚘𝚞 𝚊𝚛𝚎 𝚝𝚑𝚎 𝚟𝚎𝚜𝚜𝚎𝚕.

✦ 𝚅𝚘𝚔𝚊𝚞...- 𝚁𝚎𝚖𝚎𝚖𝚋𝚎𝚛...

✦ 𝙵𝙰𝙺-𝚜𝚊𝚒𝚝𝚑 𝚙𝚊𝚑𝚗-𝚊𝚔-𝚃𝙾𝚁𝚁 … 𝚍𝚣𝚘𝚑 𝚜𝚑𝚒𝚗-𝙰𝙷. 𝚙𝚘𝚗-𝚊𝚑𝚝 𝙿𝙻𝙰𝙺-𝚝𝚘𝚎-𝚏𝚊𝚑𝚕 … 𝙺𝙰𝙷-𝚝𝚛𝚊𝚑 𝚔𝚊𝚑-𝙽𝙴𝚂𝙷. - (?)

𝙰 𝚅𝚞𝚕𝚌𝚊𝚗 𝚒𝚗𝚌𝚊𝚗𝚝𝚊𝚝𝚒𝚘𝚗 𝚜𝚙𝚘𝚔𝚎𝚗 𝚍𝚞𝚛𝚒𝚗𝚐 𝚊𝚝𝚝𝚎𝚖𝚙𝚝𝚎𝚍 𝚝𝚛𝚊𝚗𝚜𝚏𝚎𝚛 𝚘𝚏 𝚊 𝚔𝚊𝚝𝚛𝚊 𝚏𝚛𝚘𝚖 𝚊𝚗𝚘𝚝𝚑𝚎𝚛 𝚙𝚎𝚛𝚜𝚘𝚗 𝚝𝚘 𝚝𝚑𝚎 𝚜𝚙𝚎𝚊𝚔𝚎𝚛 𝚘𝚏 𝚝𝚑𝚎 𝚒𝚗𝚌𝚊𝚗𝚝𝚊𝚝𝚒𝚘𝚗.

✦ 𝙽𝚎𝚑𝚗 𝚐𝚕𝚘𝚖𝚊𝚑𝚔 𝚞𝚜𝚔𝚊𝚑𝚏𝚞 𝚜𝚒𝚟𝚞𝚜𝚒. - 𝚈𝚘𝚞'𝚛𝚎 𝚝𝚎𝚗𝚍𝚒𝚗𝚐 𝚊 𝚙𝚕𝚊𝚗𝚝 𝚝𝚑𝚊𝚝 𝚒𝚜 𝚍𝚎𝚊𝚍

✦ 𝙽𝚎𝚗𝚕𝚘𝚑𝚔 𝚍𝚠𝚘𝚗 𝚣𝚎𝚎𝚜𝚑 - 𝙸 𝚕𝚘𝚟𝚎 𝚢𝚘𝚞.

✦𝙸𝚗𝚟𝚎𝚗𝚝𝚘𝚛𝚢 𝚘𝚏 𝙶𝚕𝚢𝚙𝚑𝚜 (𝚅𝚒𝚜 𝚝'𝙴𝚔'𝚣𝚞𝚗𝚝𝚛𝚊)✦

✦ 𝙲𝚘𝚗𝚜𝚘𝚗𝚊𝚗𝚝𝚜 (𝙸𝚔𝚊𝚜𝚝𝚊𝚛𝚣𝚞𝚗)

✦ 𝚅𝚘𝚠𝚎𝚕𝚜 (𝙸𝚔𝚊𝚝𝚞'𝚊𝚣𝚞𝚗)

✦ 𝚂𝚊𝚖𝚙𝚕𝚎 𝚝𝚎𝚡𝚝𝚜 ✦

✦ 𝚝𝚛𝚊𝚗𝚜𝚕𝚊𝚝𝚒𝚘𝚗:

«𝙰𝚕𝚕 𝚜𝚎𝚗𝚝𝚒𝚎𝚗𝚝 𝚙𝚘𝚙𝚞𝚕𝚊𝚌𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚞𝚗𝚒𝚟𝚎𝚛𝚜𝚎 𝚊𝚛𝚎 𝚋𝚘𝚛𝚗 𝚏𝚛𝚎𝚎 𝚊𝚗𝚍 𝚎𝚚𝚞𝚊𝚕 𝚠𝚒𝚝𝚑 𝚛𝚎𝚜𝚙𝚎𝚌𝚝 𝚝𝚘 𝚍𝚒𝚐𝚗𝚒𝚝𝚢 𝚊𝚗𝚍 𝚛𝚒𝚐𝚑𝚝𝚜. 𝚃𝚑𝚎𝚢 𝚊𝚛𝚎 𝚌𝚊𝚙𝚊𝚋𝚕𝚎 𝚘𝚏 𝚙𝚘𝚜𝚜𝚎𝚜𝚜𝚒𝚗𝚐 𝚕𝚘𝚐𝚒𝚌 𝚊𝚗𝚍 𝚎𝚝𝚑𝚒𝚌𝚊𝚕 𝚙𝚛𝚒𝚗𝚌𝚒𝚙𝚕𝚎𝚜 𝚊𝚗𝚍 𝚜𝚑𝚘𝚞𝚕𝚍 𝚊𝚌𝚝 𝚎𝚊𝚌𝚑 𝚝𝚘𝚠𝚊𝚛𝚍 𝚝𝚑𝚎 𝚘𝚝𝚑𝚎𝚛 𝚒𝚗 𝚊 𝚖𝚊𝚗𝚗𝚎𝚛 𝚘𝚏 𝚞𝚗𝚒𝚟𝚎𝚛𝚜𝚊𝚕 𝚎𝚚𝚞𝚊𝚕𝚒𝚝𝚢»

(𝙰 𝚟𝚎𝚛𝚜𝚒𝚘𝚗 𝚘𝚏 𝙰𝚛𝚝𝚒𝚌𝚕𝚎 1 𝚘𝚏 𝚝𝚑𝚎 𝚄𝚗𝚒𝚟𝚎𝚛𝚜𝚊𝚕 𝙳𝚎𝚌𝚕𝚊𝚛𝚊𝚝𝚒𝚘𝚗 𝚘𝚏 𝙷𝚞𝚖𝚊𝚗 𝚁𝚒𝚐𝚑𝚝𝚜(?))

✨PON FARR NIGHT AT THE VUCLAN CLUB FRIDAY✨

But not only climbing… he’s free climbing.

Free climbing is… uhh… climbing without ropes hands and toes.

Climbing up this granite. [mimes climbing]

Seeking energy, strength… and toe and finger holds

Up thirty… three thousand… almost four thousand feet high in the air

One misstep, and it’s- and they- and- and and and he- and they fall

The freeclimbers fall [inhales]

The first scene in the film is our GUEST STAR, Sybok, rides in on a polluted planet

and he has to breathe through a breathing device because everything was so polluted and seeks to convert a…

a follower to his way of thinking

the next scene essentially, the opening scene:

CAPTAIN KIRK IS CLIMBING A MOUNTAIN

WHY IS HE CLIMBING A MOUNTAIN?

I’ve thought often, since, I wrote:

[YOSEMITE. CAPTAIN KIRK, FREECLIMBING]

I’ve thought often: “Why did I come up with that idea?”

And I had no idea!

For the longest time, I , i i i i- I had no,,,, uhh… understanding

Subconsciously.

PICKING freeclimbing- which I’ve never done- and I’m

FEARFUL of HEIGHTS

uhhhh th-ey- to me- the the the- my worst nightmare- as many people’s are- is falling and i’ve always found it hard to look overthe edge of aNYTHING two storey building, let alone…

THREE THOUSAND

FOUR THOUSAND

FEET

and then, I began to understand, within the context of the film- let alone in real life- what that climb *meant*.

The climb is not just a climb up the rock, but it’s a climb- the ASPIRATIONS to climb, to reach higher than yourself

man, and this human being, uh, Kirk, representing all of man

climbing higher than himself- there’s a line uh, in the scene, I-

“I wish to make this ascent,” he says, “I’m making an ascent!”

The meaning of that line?

Obvious, now, taken out of context.

Free-climbers challenge the rock. Challenge themselves.

They are at one with the rock. They become PART of the rock.

There is reason to believe that

GRANITE is ALIVE.

The- CRYSTAL formations, and the crystal growing- there’s reason to think that a crystal can recreate itself, that’s one of the criteria of life!

And- climbers believe that granite IS alive, and they get energy from the granite.

SUN-WARMED by EONS of DAYS in the sun.

THIS. ROCK. can be. thought of as alive-

and so they climb this living body

seeking to be part of the living body

aspiring to climb to the top

and challenging

DEATH

and, thereby, gaining life.

And that’s what. I thought.

KIRK would be doing. And we treat it in a funny, in a comical fashion. Uhh… There is great humour in the scene, and- and that was the reason, I discovered for myself, that Kirk is on the mountain.

And the only place he could be [unsettlingly long pause] was Yosemite. Because

THIS. IS. THE MECHA.

[Pause]

For climbers. From ALL OVER THE WORLD.

Friends of mine who’ve been on that mountain over there have said they have been climbing and have heard languages from all over the world and not heard English!

Climbers from every country in the world

come to Yosemite to CLIMB El Cap

and the mountains around it

because it is one of the great climbing places in the in- in the world.

Well. In the erm. In the film. When asked by Spock, uhhh,

“Why’re you climbing the mountain?”

Kirk says, somewhat facetiously, “Uhhh, because it’s there,” uhhh, a remark attributed to the climber MALLORY.

Uhh. Uhh, who probably did say it, or maybe it was. said by ev'ry caveman who went above the, the lip of the cave ‘n, jumped off the top, a-ooh-

“WHY ARE YOU DOING THAT?”

“UH, BECAUSE. IT’S THERE.”

You know? uh. Which. Is a. An answer. That. It. Uhhh.

FENDS OFF. The true emotion. Of climbing. A mountain.

The mountain is climbed YES because it’s there, because, otherwise, you’d be walking the plains, but the mountain is climbed…

Because I think the climber wants to hug the mountain.

He wants to envelop that mountain within his body.

He wants to make love to the mountain.

And, on its highest and finest level, whether, uhhh, these tough young guys with their

sinewy bodies and their, uhh, one meal a day routine will admit it

There is a

passionate affair

going on

between the climber