DOCSLIB.ORG

Trill Blood, the Origin Trill Blood, the Origin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trill Blood, the Origin Trill Blood, the Origin [PDF-29o]Trill Blood, The Origin Trill Blood, The Origin Sauntered Synonyms, Sauntered Antonyms | Thesaurus.com Star Trek: Voyager | Memory Alpha | FANDOM powered by Wikia A binge-watching guide to Star Trek: Deep Space Nine's ... Sat, 03 Nov 2018 09:31:00 GMT Sauntered Synonyms, Sauntered Antonyms | Thesaurus.com late 15c., santren "to muse, be in reverie," of uncertain origin despite many absurd speculations. Meaning "walk with a leisurely gait" is from 1660s, and may be a different word. Klein suggests this sense of the word derives via Anglo-French sauntrer (mid-14c.) from French s'aventurer "to take risks," but OED finds this "unlikely." Related: Sauntered; sauntering. Star Trek: Voyager | Memory Alpha | FANDOM powered by Wikia Star Trek: Voyager is the fourth live-action Star Trek series.It was created by Rick Berman, Michael Piller and Jeri Taylor, and ran on UPN (as UPN's first ever series) for seven seasons in the USA, from 1995 to 2001.In some areas without local access to UPN, it was offered to independent stations through Paramount Pictures (for its first six seasons). ). The series is best known for its ... [Read free] Trill Blood, The Origin A binge-watching guide to Star Trek: Deep Space Nine's ... “Blood Oath” (Season 2, Episode 19) A group of old Klingons show up at the station looking for Curzon, with whom they’d entered into a blood pact in order to seek revenge on an old enemy. Download Sermons and Outlines - Sermon Notebook Deuteronomy 26:1-11. THE SACRIFICE OF. BIBLICAL WORSHIP. Intro: In our last study on the theme of worship, we considered the first mention of the word worship in Genesis 22.In that passage, we saw biblical worship in action as Abraham willingly offered up the treasure of his heart, his own son Isaac, to Almighty God. Sun, 04 Nov 2018 00:54:00 GMT Vulcan | Memory Alpha | FANDOM powered by Wikia The Vulcans, or Vulcanians, were a warp-capable humanoid species from the planet Vulcan. They were widely renowned for their strict adherence to logic and reason as well as their remarkable stoicism. In 2161, their homeworld became a founding member of the United Federation of Planets. (TOS... Download Words of Power - Hawaiian chants and language When there is no written language imagine selling property, traveling without any form of identification, or proving who your parents are, all without a paper trail. Imagine, as happened to a high chief in Hawaii long, long ago, that you flee from your island, end up in a shipwreck, and drift onto foreign shores: You would be ... Trill Blood, The Origin The Project Gutenberg EBook of The Book of Were-Wolves, by ... up an incessant trill through the summer night. Heath and fern covered the ground, but near the water grew dense masses of flag and bulrush, amongst which the light wind sighed wearily. Wed, 31 Oct 2018 06:28:00 GMT Amazon.com: Watch Star Trek: Deep Space Nine Season 2 ... Season 2 of Star Trek: Deep Space Nine is the first full-length season of the series. The first one contained only 20 hours of screen time, while this one included 26. Devil - Wikipedia A devil is the personification of evil as it is conceived in many and various cultures and religious traditions. It is seen as the objectification of a hostile and destructive force. It is difficult to specify a particular definition of any complexity that will cover all of the traditions, beyond that it is a manifestation of evil. Trill Blood, The Origin Star Trek: Deep Space Nine | Jammer's Reviews In-depth critical reviews of Star Trek and some other sci-fi series. Includes all episodes of The Original Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, Discovery, the new Battlestar Galactica, The Orville, and the Star Wars movies. : Trill Blood, The Origin PDF fR2qmoJc3 WgV4bZXFJ gwowGnBUl I0MticSvZ qyLc1FYZB i2Czlzxzj 37Z4PsUVC 6VFnZPHW3 qFxYIWLHB 3VkiZHrZp p2D3iXGyb khj8zQ05I PkhTtMnIY OzGmzreuj l13Bri0en MnDgb5qfB ko2ywnjuC smsFNwMqQ C8m1om4c6 KsbnsKnst pYZZoS25p RgYwQ2wTM JiCpzS1Yy 2mkZLnDQt UbV6p4ycB VlvB7rpbH nrQky1OuV pMpV3hLuM cZ2eEzUsz zxQDByPfq.
Load more

Recommended publications
  • Mark Paladini *Atas
    MARK PALADINI CSA (818) 613-3982 [email protected] Casting Director - Feature Film (in conjunction with Canadian Casting & Simone Reynolds-UK) The Bet Independent Producer: David Gordian, Joan Carr-Wiggin Director: Joan Carr-Wiggin Love of My Life Independent Producer: David Gordian, Joan Carr-Wiggin Director: Joan Carr-Wiggin In-Lawfully Yours Virginia Beach, VA (Additional Casting) Regent Pictures Producer: Chris Aronoff, Corbin Bernsen Director: Robert Kirbyson Happily Ever After Independent Producer: David Gordian, Joan Carr-Wiggin Director: Joan Carr-Wiggin (in conjunction with John Buchan/Jason Knight-Canada & Simone Reynolds-UK) If I Were You Independent Producer: David Gordian, Joan Carr-Wiggin Director: Joan Carr-Wiggin (in conjunction with Simone Reynolds-UK) A Previous Engagement Independent Producer: David Gordian, Joan Carr-Wiggin Director: Joan Carr-Wiggin (in conjunction with Rosina Bucci-Canada) My First Wedding Independent Producers: David Gordian, Joan Carr-Wiggin Director: Laurent Firode (in conjunction with John Buchan-Canada & Maureen Duff-UK) Closing the Ring Independent Producers: Richard Attenborough, Jo Gilbert Director: Richard Attenborough (In conjunction with former partner, Fern Champion) Keys to Tulsa ITC Producers: Michael Birnbaum, Peter Isacksen, Leslie Greif & Harley Peyton Director: Leslie Greif Mortal Kombat Annihilation New Line Cinema Producer: Larry Kasanoff Director: John Leonetti Eraser Los Angeles, CA (Additional Casting) Warner Bros. Producer: Arnold Kopelson, Anne Kopelson, Michael Tadross,
    [Show full text]
  • Downloaded More Than 212,000 Times Since the Ipad's April 3Rd Launch,” the Futon Critic, 14 Apr
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature _____________________________ ______________ Nicholas Bestor Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor Master of Arts Film Studies Michele Schreiber, Ph.D. Advisor Eddy Von Mueller, Ph.D. Committee Member Karla Oeler, Ph.D. Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor B.A., Middlebury College, 2005 Advisor: Michele Schreiber, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2012 Abstract TV to Talk About: The CW and Post-Network Television By Nicholas Bestor The CW is the smallest of the American broadcast networks, but it has made the most of its marginal position by committing itself wholly to servicing a niche demographic.
    [Show full text]
  • "No Network!": Star Trek and the American Television Industry's
    ‘NO NETWORK!’ Star Trek and the American Television Industry’s Changing Modes of Organization by Máire Messenger Davies & Roberta E. Pearson School of Journalism, Media & Cultural Studies, Cardiff University Presentation to ‘MiT3: Television in Transition’ MIT, Cambridge MA, May 2-4 2003 1 Go to ‘View Notes Page’ to see accompanying notes for presentation 1 Summary of presentation •Background to project - the relationship between commerce and craft •Star Trek’s history & the history of TV - Industry conditions at birth of TOS - Aesthetics of commercial episodic television - Syndication as creative salvation - Star Trek: The Next Generation •Cultural value: Issues of quality and creativity 2 No network! • ‘TNG was a totally different experience . .the big difference was, and this is heaven for a film producer, there was NO NETWORK, FOLKS, NO NETWORK! There was no broadcast standards department, there were no censors . We did not have to submit one of our stories to the network for approval and that same script to broadcast standards for approval by the broadcast censors. Nothing. Nada.’ Robert Justman, co-executive producer, Star Trek TOS & TNG, interviewed by MMD and REP, Los Angeles, 10th Jan 2002 3 Backstory: Star Trek as television • Star Trek as television spans much of TV history: • TOS (The Original Series): 1966-1969 & in syndication ever since • TNG 1987 - 1994, (most recent filmNemesis, 2002 ) - • Star Trek: Deep Space Nine, 1993 - 1999 • Star Trek Voyager, 1995 - 2001 - all still in syndication • Enterprise is now in 3rd season, 2003 4 Industry conditions for TOS • 1950s: Hollywood studios couldn’t beat television so joined it - went into episodic series production e.g.
    [Show full text]
  • Starlog Magazine
    mMMii < zzp-fimz'A 2oiti > -r;j^ scj^ai^ miftzmz INSIDE THIS ISSUE 23 DEATH: THE LIGHTER SIDE TV creator Bryan Fuller hands scythes to grinning Reapers 28 DOING LEGWORK Lovely Kristen Dalton reports on her days in The Dead zone 32 THE MADNESS OF MORPHEUS He whom the Matrix would destroy, they first make Laurence Fishburne 38 I'M WITH DONKEY Shrek, Fiona & pals amble into a new theme park attraction 42 SWASHBUCKLING STORIES Set sail with the cast & crew of Pirates of the Caribbean 46 PAINTED SEAS M Oscar winner Ralph Eggleston envisioned Nemo's colorful look 50 CRADLE OF LIFE Angelina Jolie leads the team to more Tomb Raider exploits 58 TERMINAL VISAGES Stan Winston unveils new images & familiar faces 60 LEAGUE OF ALTERATIONS En route to film, James Dale Robinson made lotsa changes 77 OF MUTANT WORDS X2 writers Michael Dougherty & Dan Harris unite for action J? Celebrate with Shrek and / 86 IT'S DYNA GIRL e Fiona. They're on Revealing her Saturday secret ; > their fairy-tale identity is Judy Strangis fl Br honeymoon—at Universal Studios Orlando (as well as NEXT ISSUE ON SALE Hollywood and Japan, SEPTEMBER 2 too). Let them eat cake! Join the party on page 38. STARLOC: science AFiction universe is published by starlog croup, inc., 475 Park Avenue South, New York, NY 10016. starloc and The Science Fiction The monthly Universe are registered trademarks of STARLOC GROUP, INC. (ISSN 0191-4626) (Canadian GST number: R-124704826) This is issue Number 314, September 2003. Content Is © Copyright 2003 by STARLOC CROUP, INC.
    [Show full text]
  • Star Trek: the Packet
    "Star Trek: The Packet" (1 TTGTlI v.4.11: None More Black Written by Rick Berman and Michael Piller (Mike Witry of the University ofIowa) Subject: Based upon Gene Roddenberry's "Star Trek" Tossups Tl. She kidnapped Geordi La Forge in an attempt to brainwash him into assassinating Klingon governor Vagh(*). Despite her failure, she went on to bigger and better things, like sneaking supplies to the Duras faction in the Klingon civil war, and trying to invade Vulcan under the guise of a peace initiative. FTP, name this only blonde Romulan, who, through a bizarre series of events, was the daughter ofTasha Yar. C Sela~ T2. These useful devices are connected directly into a circuit, and come in a variety of sizes, ranging from about one amp in a car(*) to 30 amps in small appliances and higher. Common in the 20th century, the technology to build them was evidently lost by the 23rd, as shown by the shower of sparks thrown out by the computer systems every time the ship is shot. FTP, name these electrical devices, which melt to prevent wires from overheating. CFuse~ T3. Once upon a time, the eccentric shopkeeper Obe noticed that a weary traveler, Greb, overpaid him for a canister of beetle snuff(*). He set out to Greb's hometown to make restitution, but when he was halfway there, he was murdered by assassins hired by none other than Greb, who had been carrying on an affair with Obe's wife. This parable inspired, FTP, which Ferengi Rule of Acquisition, which reads, "Once you have their money, you never give it back"? CFirst_ Rule of Acquisition) T4.
    [Show full text]
  • Music Across the Transmedial Frontier: Star Trek Video Games." Intermedia Games—Games Inter Media: Video Games and Intermediality
    Summers, Tim. "Music across the Transmedial Frontier: Star Trek Video Games." Intermedia Games—Games Inter Media: Video Games and Intermediality. Ed. Michael Fuchs and Jeff Thoss. New York: Bloomsbury Academic, 2019. 207–230. Bloomsbury Collections. Web. 28 Sep. 2021. <http://dx.doi.org/10.5040/9781501330520.ch-010>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 07:43 UTC. Copyright © Michael Fuchs, Jeff Thoss and Contributors 2019. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 10 Music across the Transmedial Frontier: Star Trek Video Games Tim Summers n the fi rst two decades of the twenty- fi rst century, popular culture has I increasingly emphasized the multimedia franchise. Properties like Star Trek , Star Wars , and the Marvel Comics Universe extend across fi lm, television, video games, novels, comics, toys, and so on. Media consumers are now able to engage with their favorite characters, locations, and other franchise- distinguishing features in a variety of ways, through several different kinds of media. Viewers/readers/players follow the franchise, enjoying the interrelationships that are created across the textual galaxies. Such stories, characters and settings are transmedial in that they cross borders between different media, and traditional boundaries between media forms do not always hold fast or refl ect the audience’s experience of media engagement. 1 In this kind of multimedia network, music can illuminate the relationship between constituent texts of a transmedial franchise and may act as an agent for articulating and constructing those textual connections.
    [Show full text]
  • Running Head: APA TYPING TEMPLATE
    “You Can Pulp a Story But You Cannot Destroy an Idea”1: The History of Evolving Sociopolitical Critique in the Star Trek Franchise Meredith A. Walker s2549468 06/01/2021 Dr. Anne Marieke van der Wal-Remy Word count: 18,927 Master History: Colonial and Global History 1 Behr, Ira Steven, and Hans Beimler. “Far Beyond the Stars.” Episode. Star Trek: Deep Space Nine 6, no. 13, February 11, 1998. Walker 1 Table of Contents Introduction ....................................................................................................................................... 2 Historiography ............................................................................................................................ 4 Primary Sources ....................................................................................................................... 13 Theory & Methodology............................................................................................................. 14 Chapter One - Star Trek: The Original Series ...................................................................................... 18 Social Progressivism, Civil Rights, and the Vietnam War .................................................. 18 Chapter Two - Star Trek: The Next Generation ................................................................................... 23 “The End of History” and Roddenberry’s Utopian Vision of the Future ........................... 23 Individual Episodes and Contemporary Historical References .........................................
    [Show full text]
  • AT the INTERSECTION of OPTICS ART
    AT THE INTERSECTION of OPTICS ART AN INTERVIEW WITH SILICON VALLEY PIONEER, DISTINGUISHED ART COLLECTOR, AND AUTHOR JAY LAST ’51. Interview by Peter Lennie Robert L. and Mary L. Sproull Dean of the Faculty of Arts, Sciences & Engineering and professor of brain and cognitive sciences Edited and condensed by Karen McCally ’02 (PhD) 32 ROCHESTER REVIEW September–October 2016 MAX GERBER FOR ROCHESTER REVIEW RochRev_Sept2016.indb 32 8/26/16 1:15 PM AT THE INTERSECTION of OPTICS ART THE GEOmETRY OF ART: Last, who has long favored art based on simple geometric forms, poses before a banner by Robert Indiana. The banner, displayed in Last’s beverly Hills home, is based on a 1928 painting by American modernist Charles Demuth. September–October 2016 ROCHESTER REVIEW 33 RochRev_Sept2016.indb 33 8/26/16 12:04 AM JAY LAST ’51 has had an extraordinary career in science and art. As an early leader in the development of semiconductors, he helped usher in the computer revolution. His keen interest in design and form led him to collect African art, becoming part of the first generation of Westerners to devote serious attention to the continent’s visual art traditions. In academic settings, science and art tend to dwell in separate departments, and often in different schools. But, says Last, “I don’t separate the two in my mind.” He reflected on their convergence in a memoir, African Art and Silicon Chips: A Life in Science and Art (Sierra Vista Books), published in 2015. In June, Peter Lennie, the Robert L. and Mary L.
    [Show full text]
  • A Creative Industry? Who Are the TV Storytellers?
    Television: a creative industry? Who are the TV storytellers? Máire Messenger Davies, Centre for Media Research, University of Ulster Conference on ‘The Work of Stories’, Massachussetts Institute of Technology, May 6-8th 2005 ‘The “Powers of production” are essentially products of the human mind as well as gifts of nature . the measure of the relative values of commodities is to be found in the amounts of labour incorporated in them’ G. D. H. Cole, 1929, Introduction to Capital, by Karl Marx, Everyman edition, 1946. This paper raises issues of authorship, value and the nature of creativity in an industrially mass-produced medium: television. I want to examine the notion of mass production as applied to TV. Then I want to focus on a particular aspect of authorship in TV – the role of the writer. In doing so, I will refer to a more usual current model of television authorship (see, for example, Marc and Thompson, Prime Time Producersi) which proposes that it is the executive ‘hyphenate’ writer- producer who is the true ‘author’ of key television storytelling texts, as in the case of Joss Weedon, the creator of Buffy the Vampire Slayer. I will use examples from an ongoing research project that Roberta Pearson of Nottingham University and I have been working on for the last five years – a study of American television using Star Trek as a case study. I will quote from interview material mainly drawn from two of the writers we interviewed at Paramount in January 2002, when we were able to interview 25 people working on the series from set dressers to executive producers.
    [Show full text]
  • STAR TREK: Arbeitsbibliographie 2003
    Repositorium für die Medienwissenschaft Nina Rogotzki; Hans Jürgen Wulff STAR TREK: Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12835 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Rogotzki, Nina; Wulff, Hans Jürgen: STAR TREK: Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 32). DOI: https://doi.org/10.25969/mediarep/12835. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0032_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 32, 2000: STAR TREK Bibliographie. ISSN 1615-7060. Copyright dieser Ausgabe: Nina Rogotzki, Hans J. Wulff. Letzte redaktionelle Änderung: 24. Februar 2012. Eine erste Fassung der folgenden Bibliographie haben wir in: Faszinierend! Star Trek und die Wissenschaften. 2. (hrsg. v. Nina Rogotzki [...]. Kiel: Ludwig 2003, S. 222-240) vorgestellt. URL der Hamburger Fassung: http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0032_03.pdf. STAR TREK: Arbeitsbibliographie Zusammengestellt von Nina Rogotzki und Hans J. Wulff Cinefantastique, Okt. 1992, pp. 32-105. in cultural practices. The author uses Star ￢ Ausführliche Vorschau auf die sechste Staffel. Mit vie- Trek and its audience as a case study, analy- len Interviews. zes fan narratives, and explores how fans in- terpret the show, its meaning, and group Moviestar, Sonderband 5 (1996): STAR TREK: DEEP viewing conduct.
    [Show full text]
  • Im Spiegel Der Zukunft: Wissenskultur Und - Ethik in Star Trek: Voyager
    Im Spiegel der Zukunft: Wissenskultur und - ethik in Star Trek: Voyager Inaugural-Dissertation zur Erlangung der Doktorwürde der Philologischen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. vorgelegt von Katja Bay aus Freiburg i. Br. WS 2011/2012 Erstgutachterin: Prof. Dr. Barbara Korte Zweitgutachter: Prof. Dr. Wolfgang Hochbruck Vorsitzende des Promotionsausschusses der Gemeinsamen Kommission der Philologischen, Philosophischen und Wirtschafts- und Verhaltenswissenschaftlichen Fakultät: Prof. Dr. Hans-Helmuth Gander Titel der eingereichten Dissertation: „Im Spiegel der Zukunft: Die amerikanische Wissenskultur und ihre Verbreitung im populären Fernsehen am Beispiel von Star Trek: Voyager“ Datum der Fachprüfung im Promotionsfach: 04.07.2012 Inhaltsverzeichnis Danksagung iii Einleitung 1 I. Theoretische und methodische Grundlagen 11 1. Wissen und seine Konstitution 11 1.1 Wissenskategorien nach Hans-Dieter Kübler 14 1.2 Reiner Kellers Wissenssoziologische Diskursanalyse 17 2. Wissen(schafts)popularisierung und populäres Wissen 21 2.1 Kategorisieurng und Zirkulation von populärem Wissen 25 3. Medien und Strategien der populären Wissensvermittlung 27 3.1 Charakteristika einer TV-Serie 28 3.2 berblich über die für die Analyse verwendeten populären Zeitschriften 32 3.3 Popularisierungsstrategien in fiktionalen Texten 36 3.4 ‚Echte‘ Wissenschaftler in den Massenmedien 38 3.5 Charakteristika der Wissenschaftsdarstellung im Science Fiction-Genre 40 4. Leitgedanken für die Analyse 45 II. „To Boldly Go“ – Wissen als Faszinosum und Gefahr 47 1. Eine kurze Einführung in Star Trek: Voyager 48 1.1 Das Stammpersonal des Raumschiff Voyager 49 1.2 „Is There Anything You Don’t Know?“ - ‚Allwissende‘ in Voyager 51 2. Ein Überblick über Wissenthemen und -diskurse in Star Trek: Voyager 53 3. „Boundaries That Shouldn’t Be Crossed“ – Von der Gefahr des 60 unbändigen Strebens nach neuem Wissen III.
    [Show full text]
  • The Trekker's Guide to the Sisko Years Sample Chapters by J.W
    The Trekker’s Guide to the Sisko Years Sample Chapters By J.W. Braun Published by Dragon Wing Express Copyright © 2019 All rights reserved. No part of this publication may be reproduced, stored in, or introduced into a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior permission of J.W. Braun. Cover photo courtesy of Dan Johnson All Star Trek images used in accordance with Fair Use First Edition: April 2019 ISBN: 9781095369647 Foreword Star Trek: Deep Space Nine has often been seen as second-wave Trek’s awkward middle child, caught between the beloved The Next Generation and UPN’s flagship series, Voyager. The truth is, not only was DS9 Trek’s middle child, it was a show that grew during a transitional time of television, helping to usher in the modern serialized format so many of today’s television shows have adopted, taking individual episodes, in large part written on-the-fly, and somehow weaving them together to create a greater story. The first season of Deep Space Nine took the traditional Star Trek format: stand-alone episodes focusing on one or another character’s background. While early episodes did showcase some of the first season weirdness of most Trek shows, DS9’s writers and actors proved early on that they could also deliver top- notch drama in the form of episodes like “Duet.” (Although not a fan favorite, I also quite liked “Dramatis Personae,” which took the simmering first-season character tensions and turned them up to eleven.) But perhaps even more consequential to the long-term storytelling, that first season ended with “In the Hands of the Prophets,” which stood on its own, but also set up the second season’s opening three-parter.
    [Show full text]