#WITHOUT OBJECTION

[babybells123]

(ASOS, Sansa II)

(ASOS, Jon XII)

[forgettable-au]

FORGETTABLE-AU (Page 53-56)

DELIVERED.

[BEGINNING] [PREVIOUS] [CONTINUE]

[makesyouevil]

secret meetings 🖇️

[tele-vicious]

not very proud of this but heres a story of the purgatory mansion made for an art contest

[anghraine]

So one of the revelations from watching the entirety of TOS is that Kirk and Spock's relationship is not only every bit as homoerotic as rumored and then some—though it is—but that they are also incredibly fucking unhinged about it. So for this week's poll, I wanted to honor this discovery!

(The character limitations don't allow for much detail, and in context these are even more incredible, so I'll add the links/clips/summations beneath the cut!)

1— "The Empath" (Season 3)

Context: the girl of the week, Gem, is a member of a species of mute empaths able to absorb others' injuries through sympathy and generally drawn to positive emotion. Meanwhile, Kirk is tortured by other parties in the episode to test her willingness to take on others' suffering, and he falls into an exhausted unconscious heap on a bench.

Gem starts to head away towards McCoy, but is suddenly arrested by something she senses and turns to look at Spock, who is moving over to sit next to Kirk and watch him sleep. When Spock realizes he's being observed, he turns away and pretends to study data in his tricorder. Gem isn't fooled, however, and walks back over to him, touching Spock's shoulder and staring at him with wonder in her face over this simple feeling whatever his emotion is while delicate music plays in the background. See for yourself:

2— "Shore Leave" (Season 1)

Context: Kirk is fatigued and strained and in physical pain after ... uh, everything (this episode was aired immediately after "The Conscience of the King" and "Balance of Terror," so it's not hard to buy). He tries to stretch out his back and Spock, standing behind Kirk with his hands on the back of the captain's chair, pulls his hands back and asks him if something is wrong. Kirk explains it's just the kink in his back. A pretty female yeoman starts massaging his back (uh) and Kirk welcomes it under the mistaken belief that it's Spock doing it:

"That's it. A little higher, please. Push. Push hard. Dig it in there, Mr.—"

Spock lifts a brow and pointedly steps forward so Kirk can see it's not him, and Kirk immediately orders the yeoman to stop with a meaningful look at Spock.

(Bonus episode points: Spock's smug satisfaction at tricking Kirk into taking shore leave where McCoy failed, and them grasping at each other when they're in danger.)

3— "A Taste of Armageddon" (Season 1)

Context: After Kirk successfully uses a risky gambit to trick two neighboring peoples into making peace rather than continuing to murder millions of people via computers, he explains his thinking:

It was a calculated risk. Still, the Eminians keep a very orderly society, and actual war is a very messy business. A very, very messy business. I had a feeling that they would do anything to avoid it, even talk peace.

When Spock is dubious about acting based on "a feeling," Kirk adds:

Sometimes, Mr. Spock, a feeling is all we humans have to go on.

Spock replies:

Captain, you almost make me believe in luck.

And then Kirk dials it up to:

Why, Mr. Spock, you almost make me believe in miracles.

Then the camera just focuses on Spock visibly trying to process this and the episode ends.

4— "Requiem for Methuselah" (Season 3)

Context: this is one of relatively few episodes in which Kirk actually gets to pursue a woman because he likes her rather than desperate circumstances; as usual with people he cares about, she dies. He's so emotionally drained at this point in the show that, upon returning to the ship, he describes his immortal rival for her love and himself as "A very old and lonely man, and a young and lonely man," mutters that he wishes he could just forget it all, and falls asleep at a table.

Meanwhile, Spock (who has been visibly intense and uncomfortable throughout the whole episode) stays nearby as McCoy enters. Spock gestures at him to stay quiet and McCoy briefly exposits a plot point to Spock, then segues into an unexpectedly vicious, half-smiling monologue about what Kirk's gone through in the episode and how Spock could never understand it:

Considering his opponent's longevity, truly an eternal triangle. You wouldn't understand that, would you, Spock? You see, I feel sorrier for you than I do for him, because you'll never know the things that love can drive a man to. The ecstasies, the miseries, the broken rules, the desperate chances, the glorious failures, the glorious victories. All of these things you'll never know simply because the word love isn't written into your book. Goodnight, Spock.

Spock just endures and politely replies "Goodnight, doctor," but after McCoy leaves, he allows himself to respond. Without so much as a scene break, Spock slowly walks over to the unconscious Kirk, touches his face, and mind-melds with him while he sleeps. And then he wipes Kirk's memory (!!!) of the tragic romance with his rival this girl, murmuring:

Forget.

5— "And the Children Shall Lead" (Season 3)

Context: a simple instance from a weak episode, but also ... damn, it's a lot. A bunch of children under the malign influence of an evil imperialist alien have managed to take over the Enterprise. This isn't the first time something roughly similar has happened, but at this point, Kirk has a full on panic attack as he and Spock leave the bridge and take the turbolift. Kirk clings to Spock as he melts down and Spock unsuccessfully tries to calm him with "Captain," but it only works when he murmurs, "Jim."

Kirk freezes and then immediately calms back down to his usual rational self. Spock is still concerned and Kirk assures him he'll be fine now (and is).

6— "Miri" (Season 1)

McCoy, Janice Rand, Kirk, and Spock are all gathered around trying to figure out the disease of the week, which has infected all of them (though Spock is asymptomatic). Kirk and Spock lock eyes and Spock points out that they can't go back to the ship, including him since he'd be a carrier, and then he adds:

Whatever happens, I can't go back to the ship ... and I do want to go back to the ship, captain.

Kirk smiles slowly and they just stare at each other as if Janice and McCoy had dropped off the face of the planet.

7— "The Tholian Web" (Season 3)

Context: Kirk is trapped in a different phase of space while a local anomaly is gradually driving the crew of the Enterprise to insane rage. At the same time, the hostile Tholians are threatening the Enterprise with the obvious intent of killing them all within short order, and Kirk's disappearance places Spock in command throughout this triple crisis. Spock refuses to order an escape, instead insisting on the Enterprise remaining in place to keep trying to rescue Kirk, homicidal insanity of the crew be damned, even as the Tholians began attacking.

McCoy urges Spock to prioritize the welfare of the Enterprise and its crew above Kirk, telling him they can't afford to stick around and keep trying. Spock refuses and things predictably get worse.

McCoy confronts him about his priorities:

You should've known what could've happened and done everything in your power to safeguard your crew. That is the mark of a starship captain, like Jim.

Plot events lead everyone, including Spock, to believe that Kirk is dead, and as acting commander, Spock also has to lead the memorial service:

as a result of the battle, we must accept the fact that Captain Kirk is no longer alive. [...] I shall not attempt to voice the quality of respect and admiration which Captain Kirk commanded. Each of you must evaluate the loss in the privacy of your own thoughts.

McCoy continues to lash out at him directly afterwards:

He was a hero in every sense of the word, yet his life was sacrificed for nothing. The one thing that would have given his death meaning is the safety of the Enterprise. Now you've made that impossible, Mr. Spock. [...] I really came here to find out why you stayed and fought. [...] You could have assured yourself of a captaincy by leaving the area. But you chose to stay. Why?

Spock coldly replies:

I need not explain my rationale to you or any other member of this crew.

They snap at each other until they find the recording left for both of them by Kirk in the case of his death. It (hilariously) begins:

Bones, Spock, since you are playing this tape, we will assume that I am dead, that the tactical situation is critical, and both of you are locked in mortal combat.

The message is honestly both wise and heartwarming about how they should respect each other and both have important qualities to offer in a crisis. McCoy immediately feels ashamed of how he's been behaving at such a moment, and tells Spock:

Spock, I, er, I'm sorry. It does hurt, doesn't it?

Spock bleakly replies:

What would you have me say, doctor?

8— "Turnabout Intruder" (Season 3)

Context: in the very peculiar series finale, Kirk's autocratic and vengeful ex-girlfriend uses some kind of machine to take control of his body, leaving him trapped in her body. Spock notices almost immediately that "Kirk" is acting out of character and that "Janice" clearly knows something, so he goes to talk to "her" and Kirk tells him everything. Spock thinks it's possible but there's no certain proof, and Kirk urges him to mind-meld with him:

You are closer to the captain than anyone in the universe. You know his thoughts. What does your telepathic mind tell you now?

Spock melds with him and is promptly convinced.

Bonus: Spock tries to help Kirk escape shortly thereafter and holds his wrist/hand for a good twenty seconds.

9— "The Paradise Syndrome" (Season 3)

Context: Kirk becomes a carefree amnesiac stranded on a planet of transplanted Indigenous people (it's as bad as it sounds), but there's a much more well-done subplot around Spock commanding the Enterprise in the meanwhile. He stubbornly risks the ship (again) to try and rescue Kirk, but the attempt disastrously fails, leaving the ship with only impulse power. McCoy says in some frustration:

Well, Spock, you took your calculated risk in your calculated Vulcan way, and you lost. You lost for us, you lost for that planet, and you lost for Jim.

Despite his exasperation, McCoy still tries to get Spock to rest. Spock simply ignores him and orders the ship to head towards the planet Kirk is stranded on, still stubbornly set on rescuing him, even though they have no warp capabilities and have to travel entirely by impulse power. When McCoy protests that it'll take months, Spock replies:

Exactly 59.223 days, doctor.

And there's no clever solution around it, either. They do take nearly two months getting to the planet and Spock spends 58 days of the journey fixated on figuring out the puzzle that will allow them to save Kirk. McCoy tries to get him to eat or sleep, since he's done little of either for over 50 days, but Spock refuses to do anything except prepare for rescuing Kirk:

I'm also aware when we arrive at the planet, we'll have barely four hours to effect rescue. I believe those symbols are the key. [...] I am not hungry, doctor. [...] My physical condition is not important, doctor. That obelisk is.

McCoy eventually threatens to call security to force him away from studying the puzzle and make him lie down, so Spock finally goes to bed. As soon as McCoy is gone and out of earshot, Spock just gets back up and returns to contemplating the puzzle until he has a breakthrough.

Then upon beaming down and finding an injured, still-amnesiac Kirk, Spock mind-melds with him to try and repair his memory.

I am Spock. You are James Kirk. Our minds are moving closer. Closer, closer, closer, James Kirk. Closer. [...] Our minds are one. [...] Spock!

Spock breaks the link and falls back, gasping. When McCoy asks what's wrong, Spock just says:

His mind. He is an extremely dynamic individual.

10— "The Enemy Within" (Season 1)

Context: Kirk has been split into two people, representing each half of his personality: one half is noble, intellectual, and restrained, but cautious and indecisive, while the other is strong and bold, but vicious, selfish, and violent. At this point in the episode, Spock et al don't know about the split, so good!Kirk is oblivious and evil!Kirk's bizarre behavior is being attributed to normal Kirk. McCoy sends Spock to the captain's quarters to find out what's wrong with him.

Spock dutifully goes to Kirk's quarters, where he finds good!Kirk relaxing without a shirt on and promptly realizes he's gay loses the ability to put normal sentences together. It's difficult to overstate or even describe the homoeroticism of this scene, so judge for yourself:

Bonus: after Spock realizes he's dealing with only half of Kirk and has taken up helping him present a good front, he has to keep correcting good!Kirk's weaknesses and tells him that acting like actual Kirk means "You can't afford the luxury of being anything less than perfect."

11— "Errand of Mercy" (Season 1)

Context: Kirk and Spock are trying to pass themselves off as members of a species of ostensibly docile, peaceful people being (ostensibly) colonized by the Klingon Empire. Kirk in particular struggles to keep his head down, and when a Klingon shoves and threatens Spock, Kirk loses his shit and nearly clobbers the Klingon. Spock manages to calm him down and as they walk away, Kirk mutters:

You didn't really think I was going to beat his head in, did you?

Spock replies:

I thought you might.

Kirk says:

You're right.

12— "Amok Time" (Season 2)

We all know about this one, let's be real. It's difficult to even choose a moment—Spock confiding in Kirk about Vulcan mating practices (Kirk: O_O) and his loathing of the prospect, with Kirk protecting his confidentiality ("I haven't heard a word you've said"), Kirk defending his own choice to implode his career and defy Starfleet (without breaking Spock's confidence) to rush Spock to Vulcan ("I owe him my life a dozen times over. Isn't that worth a career? He's my friend"), Spock telling Kirk he'll undoubtedly find pon farr "distasteful" and Kirk responding "Will I?", Spock begging T'Pau not to let T'Pring choose Kirk as her champion ("I will do what I must [in combat], T'Pau, but not with him! ... In the name of my fathers, forbid. Forbid! T'Pau. I plead with thee! I beg!"), Spock's bleak response to T'Pau's "live long and prosper" after his victory ("I shall do neither. I have killed my captain and my friend"), Spock explaining that his pon farr vanished the moment he thought he'd killed Kirk ("When I thought I had killed the captain, I found I had lost all interest in T'Pring"), McCoy trying to get Spock to admit that his relief at Kirk's survival is illogical and Spock blatantly lying that he is just concerned with the loss of an effective captain, to which Kirk simply responds "Yes, Mr. Spock. I understand" while McCoy splutters ...

But honestly, my favorite is the brief moment of unrestrained emotion when Spock discovers Kirk is still alive and he cries "Jim!" as his whole face lights up and he grabs him. It's one of the only times in TOS that he's in his right mind and yet too overwhelmed to hide what he feels, and it's famous for a reason.

[warriorxena]

TATE MCRAE | Sports Car → So Close To What (2025)

[canisalbus]

Our colum boy❤️‍🩹 (please excuse the horrible drawing. Im tired and I promise I could do better on any other day)

.

[reallilystuff]

they call me two the way i be timing

(ooooooo you want to listen to Honey I'm Home by Ghost and Pals sooooo badly..... charon and norman skin for two time and azure when?)

ref below cut you know the drill

dude. I wanna draw them and azure as the Matryoshka PV so badly. .... but also I wanna draw Elliot as Skeleton Orchestra and Lilia because there's literally an emote for thst ingame......oughhhhhh........

[stargirl230]

interlude

Lost focus and drew a consensual workplace relationship (the inherent intimacy of hanging out in an artist's studio to watch them exist in their element got to me)

Zoom in for details I poured my soul into <3

(no reposts; reblogs appreciated)

[mothhue]

Some AHUW badges! :D

AHUW masterpost

[theboxfort]

Object Ergonomics #1: Door pedals for armless objects

Text transcript in case it's hard to read:

"Both the handle and pedal unlocks the same mechanism" "Piano pedal-ish" "Refs" "Step on pedal" --> "Pull/Push"

[microknifeyuri]

moving on

[anghraine]

It's silly, but one of my favorite Kirk/Spock things is that they are clearly very much more on each other's wavelength intellectually than most others are, but—

There are so many scenes in which everyone else is baffled or missing something important that Spock or Kirk see in the other's behavior. Probably the peak moment for this is Spock, and Spock alone, realizing in "Arena" that Kirk has the raw materials to make gunpowder just as Kirk himself realizes it. So you get Spock murmuring "good, good...yes...yes..." right there on the bridge as his beloved starts reinventing the bazooka (pretty sure this counts as sex for him), but McCoy and the bridge crew are completely confused about what they're seeing. And there are plenty of moments of this kind of half-unspoken mutual brilliance while their co-workers wish they'd just use their words.

However. The important counterpoint to this is that Kirk and Spock each possess the special ability to instantly incinerate entire neuron paths in each other's brains and become 10x stupider around each other, also. Spock barges into Kirk's quarters in "The Enemy Within" without explanation, sees his naked chest, and his higher functions crumble into ash on the spot; when he regains the power of speech, he asks the baffled Kirk what he can do for him as if this somehow explains what he's doing there, and Kirk is just confused but pleased, and smiles enough that Spock's gay awakening visibly burns through even more neural circuits until he runs away.

And Kirk himself doesn't need to see skin to completely lose track of what he was even talking about because Spock did a thing. For instance, the scene when Kirk looks at Spock with flirty adoration at the end of "A Taste of Armageddon" and bats his eyelashes and says, "Why, Mr. Spock, you almost make me believe in miracles"—yes, it's extremely gay, but I feel it's important to understand the immediate context is a general conversation on the bridge about the horrors of war. But then Spock raised his brows and ambiguously complimented him, so Kirk's entire cognitive process melted into Spock Spock Spock Spock. In S3, Spock sits down beside Kirk to tenderly watch him sleep, without appearing to consider that anyone (like say the empath standing right by them) would notice, and then poorly fakes looking at tricorder readings when said empath picks on his emotions. Surely that will fool her psychic powers! (It doesn't.) Kirk, often a master of performance and theatricality, has to be physically held back from trying to singlehandedly maul a Klingon while in disguise and surrounded by an occupying Klingon force because one guy slightly shoved Spock.

They're a brilliant and wildly successful command team together and they are also so incredibly stupid about each other, it's beautiful

[marzipanandminutiae]

you know chatelaines ARE super-cool but I always wonder how common they can possibly have been outside the house

like

this is a culture, in most western countries' urban/suburban areas, where pickpocketing was basically a sport. and you're going to go around with all your personal effects dangling on the outside of your skirt??? people weren't stupid back then, on the whole

I mean sure it's usually just sewing tools, a memorandum book and pencil, and a perfume vial. but some of those could be pretty valuable- and I've seen ones with little mesh purses, as if for change!

chatelaines MUST have been an Indoor Thing, right?

(but then why the change-purses, is the question? you don't exactly need to buy a lot of things around the house. were the purses in fact NOT intended for hanging on a chatelaine, but rather pinning to the inside of a skirt pocket or something, to deter theft? was that a style choice for days when you were going shopping with a carriage? I have Many Questions)

EDIT: some folks have theorized that the change-purses were for things one needed to buy at the door- paying for milk/egg/butter/cream delivery, tipping errand-boys, knife-sharpening, etc. I don't know if the nightsoil man was paid at the door or if that was settled up with the city, when/where that was a thing, but that could be another possibility for Things That Require Small Change In The House. thanks for the good thought, guys!

[deadringers2023]

Why are you being nice to me? Why wouldn't I be? We were bitches to you in high school—bitches. You were better than most.

SHARP OBJECTS S01EP06, "Cherry"

[mxmarsbars]

bound together by an object. surely this won’t go wrong. surely not.