Xena Media Review #19 (12/08/96) - Part 4 of 4

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   7. THE TITANS
   The mythology notes discussed the background of the
Titans.  He also mentioned that Hyperion eventually
married Thea.
   The commentary praised the special effects of the
Titans and was surprised over how Gabrielle acted in
the episode.
   8. PROMETHEUS
   The mythology notes covered Prometheus. 
   The commentary covered the cleverness of using a
Hercules cross-over episode to include Xena in the myth
of Hercules freeing Prometheus. The reviewer found the
episode had a HTLJ feel although it had some of the
characteristic violence found usually only in XWP. He
also hated the bird that captured Xena. Furthermore,
the reviewer stated that after 7 episodes, a non-wimpy
("If not for Xena to come to the rescue, these guys
would be useful only as flower arrangers") good guy,
a.k.a. Hercules, appeared in the series. But then he
quickly changed his mind to except Marcus from THE PATH
NOT TAKEN (#05), the town leader in THE RECKONING
(#06), and Talus in DEATH IN CHAINS (#09).
   I disagree. I think Talus fit into the cute
sensitive pubescent male that Gabrielle attracted like
flies in the first season. The town leader was not a
potential romantic figure for either Xena or Gabrielle
(he was like the blind mystic in DREAMWORKER). However,
I do agree that Marcus did represent a male who was not
wimpy or evil. 
   9. DEATH IN CHAINS
   The mythology notes told us that Sisyphus was the
King of Corinth and the brother of Salmoneus. This
episode was based upon an actual myth, "when Death (a
male) comes for Sisyphus, the king chains him up. 
Nobody dies until Ares comes to Death's assistance."
   The reviewer also noted that Death was the twin
brother of Hypnos, the god of sleep NOT Hades sister.
   In the commentary the writer picked up on the
Kevorkian "MICHIGAN" connection. I am working on
unraveling the GREAT MICHIGAN conspiracy which XWP
seems to be a critical part of.
   After criticizing some perceived plot-elements, the
writer obsessed on Kate Hodge, who played Death.
   10. HOOVES & HARLOTS
   In the synopsis, "right of caste" was misspelled.
   In the mythology notes, the writer repeated the
"myth" that Amazon meant breastless woman and that the
Amazons cut off their right breast so they could use
the bow better. That is ridiculous. Just ask any female
archer. 
   The reviewer also stated, "Consistent with Xena (and
Hercules, for that matter) standards, this episode
features Amazons as buxom as are ever likely to be
portrayed. Centaurs, of course, are half-man, half-
horse creatures that on the whole are savage, wild, and
lawless."
   Thinking back on AS DARKNESS FALLS (HTLJ #06) and
the Hercules movie where a bad, bad centaur absconds
with Hercules' wife, the centaurs were portrayed in a
not so nice a way. But, in HOOVES AND HARLOTS (#10),
THE OUTCAST (HTLJ #18), and ORPHAN OF WAR (#25), the
centaurs were presented as noble and honorable
creatures. Perhaps Centaurs come in all moral flavors?
   In the comments section, the writer lauded (1) the
special effects as to the centaurs; (2) Renee
O'Connor's performance; and (3) the great scene where
Xena tried to get Gabrielle to make the royal challenge
without speaking to her directly. The writer poo-pooed
(1) how quickly Gabrielle learned the art of the staff
over the next few episodes; and (2) the Amazon justice
system. The writer was obviously a male!
   Transcription by Stacy Van Stipdonk.
   EXCERPT:
   1. SINS OF THE PAST...
   ...COMMENTS: The series premiere is entertaining,
but the tone is more like an episode of Hercules than
the Xenas to come.  Gabrielle's patter, her encounter
with a Cyclops on the way to Amphipolis, and the goofy
final battle all combine to overpower any of the
grimmer aspects of Xena's attempt at absolution.
   Nevertheless, those underlying darker elements
permeate the show.  Xena's homecoming and reunion with
her mother lack the fanfare viewers generally expect
with scenes featuring the protagonist.  The uneasiness
of the towns people allow new viewers to know that
something is amiss, even without the background of
having watched the Hercules episodes.
   All in all, an adequate beginning....
(Picture of Xena and Gabrielle from "Sins of the Past".
Caption: Xena is reluctant to allow Gabrielle to
accompany her on her travels. Picture of Draco pointing
a sword at Xena's neck while she reclines. Caption:
Draco challenges Xena to team up with him in "Sins of
the Past.")
   ...2. CHARIOTS OF WAR...
   COMMENTS: This episode contains one of the most
gruesome scenes of the series.  Xena has been shot in
her side with an arrow, but it did not go all the way
through.  Darius has to push the arrow through to the
other side, then break the shaft in two and pull out
each end.  Lawless's effective grimaces of pain makes
the scene difficult to watch (even though the viewer
doesn't really see  anything gruesome).
   The episode seems to argue for a "peace through
strength" ideology (as such thinking used to be called
years ago).  The villagers were taking a pacifist
stance and getting annihilated.  They may have been
offended at Xena's war-like nature, but she saved them
from a life of servitude.
   On a related note, the two prominent sensitive-male
types (Darius and Sphaerus) are okay for about the
first five minutes.  Then it's time to shoot them both
-- especially Sphaerus, who overplays his "sensitivity"
excessively.  How did he ever become feared in the
first place?
   On the other hand, this is one of O'Connor's better
performances as Gabrielle, aided by some wonderful
dialogue.  Her attempt to avoid being hassled by a
"swarthy stranger" by jumping into Sphaerus's lap
("Pretend you know me."  "No problem," he responds) is
amusing, as is her glance up at Xena during her comment
about becoming some "lonely, pathetic woman" without a
husband.  (See "Gabrielle the Grammarian," page 10.)
   ...3. DREAMWORKER...
   ...COMMENTS: "Dreamworker" is a quintessential Xena
episode, combining mythology, Gabrielle's silliness,
lots of action, and a rather dark, grim undercurrent. 
Xena's Dream Passage sequences are creepy and
effective, and two scenes stand out -- when she meets
her first victim with his throat slashed, and earlier,
her confrontation with many of her victims who begin
telling her their names.  It becomes an extraordinary
multi-layered incident, not only telling the viewer
about Xena's ruthless past history but about her past
psychology: her victims were merely nameless, faceless
masses.  Xena is distressed to have those victims
personalized.  (Of course, she's already renounced
those activities.)  Xena's past is what gives the
series its edge and separates it from a fairly
straight-forward adventure series (such as in the
Hercules vein).  Many later episodes downplay this
aspect, substituting violence as the "edge." 
Psychological intrigue, however, is much more
interesting (though undoubtedly more difficult to
write).
   ...4. CRADLE OF HOPE...
   ... COMMENTS: Moses meets Pandora?!?  Only in the
world of Xena.  The placement of the baby in a basket
in the river, and the subsequent attempt to kill that
child, is obviously inspired by the events recorded in
Exodus 2.
   In Gregor we're presented with yet another wimpy,
"sensitive" male leader, although he's not as bad as
what we saw in the second episode.
   What's with Xena's hands of steel??  How can she
grab a sharp sword with her hand?  (During her battle
with Nemos at the end, she stops his lunging sword with
her bare hands,) She does this again later in the
series (see "The Black Wolf," for instance).
   This episode introduces a series of weird
disclaimers that often appear during the end credits. 
The one for this episode reads, "No Babies were harmed
during the production of this motion picture."
   ...5. THE PATH NOT TAKEN...
   ... COMMENTS: Although Xena is an episodic, rather
than serial, series, "The Path Not Taken" makes
numerous references to "Cradle of Hope."  In fact,
conflicting accounts of the central element of that
episode's story play a critical role in "Path."  In
order to work her way into Mezentius's trust, Xena
dismisses reports of her renounced warrior status and
claims that she ransomed Gregor's child.  Later, it's
learned that she rescued the baby, and that's the
beginning of the end of her deception.
   That aside, there's nothing that particularly
distinguishes this episode.  It's an average, though
solid, hour of fun.
   This episode did make us wonder about one thing in
particular.  Xena refuses to accept payment for her
rescue.  In fact, she always refuses payment, and
Gabrielle doesn't bring in any money.  Since neither
have employment, how are they able to buy food and
supplies?
   Marcus also appears in the episode "Mortal Beloved"
later in the season....
   ...6. THE RECKONING...
   ...COMMENTS: This is an interesting episode in that
Xena's immediate conflict is not with a group of evil
men, but (for the most part) a well-meaning community
of farmers who legitimately believe that she has
murdered their friends.  And the town leader, for a
change, breaks the mold that the male characters in the
series were beginning to fall into, either (1) the bad
guys, who are always irrational, aggressive, and
downright nasty, or (2) the good guys, who are passive,
unwilling to take a stand, and generally not too
intelligent.
   Just as "Cradle of Hope" seems partially inspired by
the story of Moses in the Old Testament, "The
Reckoning" brings to mind the incident in the New
Testament where Satan tempts a weakened Christ.  This
parallel might seem like a bit of a stretch, although
Robert Tapert told Sci-Fi Entertainment, "For both
shows [Hercules and Xena], we'll start to raise a few
stories from the Bible."  On the other hand, this
parallel (and others) should not be over-emphasized or
over-analyzed.  Xena is certainly not an allegory, and
we doubt that it employs, or even attempts, symbolism. 
The writers simply pull story elements from a wide
variety of sources for whatever occasion suits their
needs....
   ...7. THE TITANS...
   ...COMMENTS: This moderately -- enjoyable episode
features some of the best special effects of the
series.  Actually, much of the effects on the Titans
are created through careful use of camera angles. 
These combine with slow character movements and
pounding sound effects as they walk to create a
convincing illusion of great size.  The shots in which
the Titans and mortals are in the same frame also look
good.  Finally, one amusing, well done scene has Xena
and Gabrielle standing beside a large brick wall. 
Suddenly, a giant foot comes smashing through from the
other side, throwing them several yards!
   Perhaps the weirdest aspect of this show occurs when
Gabrielle discovers she has three Titans to do her
bidding.  Suddenly she becomes abrupt and rude --
completely out of character for her....
   ...8. PROMETHEUS...
   GRAPHIC: (1) Picture of Hercules and Xena, caption:
Xena rejoins an old friend -- although their roles are
more adversarial in "Prometheus."; (2) Picture of
Hercules and Xena smiling, caption: Xena and Hercules
watch as Prometheus frees himself.
   ...COMMENTS: This is a clever use of Hercules's
guest appearance, reworking the Prometheus legend to
include Xena!  Overall, the episode has more of a
Hercules-ish feel, such as a souvenir shop near Vulcan
Mountain.  On the other hand, the episode also contains
perhaps the most gruesome scene of the series (topping
even Xena's arrow injury in "Chariots of War").  A
man's throat gets slashed, cutting his windpipe.  Xena
inserts a straw that will allow him to breathe until
the injury heals.
   Vulcan Mountain contains some great traps that
recall the first Indiana Jones movie.  Unfortunately,
the effects of the bird carrying Xena are not so
special.
   Finally the world of Xena has a strong, masculine
male character who is on the side of good -- Hercules. 
(Two men, if we include Iolaus.)  As we mentioned
before, the males generally fall into only two
categories.  There are the "masculine," strong,
assertive men, usually in positions of authority.  And
they're almost always evil.  They're the villains. 
Then there are the "good guys": passive, sensitive, and
weak.  If not for Xena to come to the rescue, these
guys would be useful only as flower arrangers. 
Fortunately, Hercules and Iolaus break this tendency in
the show (along with, to a lesser extent, Marcus in
"The Path Not Taken" and "Mortal Beloved," the town
leader in "The Reckoning," and Talus in "Death in
Chains").
   This episode has the second weird disclaimer during
the end credits: "Iolaus was harmed during the
production of this motion picture.  However, the Green
Egg Men went on to live long and prosperous lives."...
   ...9. DEATH IN CHAINS...
   GRAPHIC: Caption: Kate Hodge plays the ghostly
Celesta in "Death in Chains."
   ...COMMENTS: Is "Death in Chains" a weird, pro-death
episode?  Where else can someone find so many examples
of people looking forward to death for various reasons? 
(However, J.E. Zimmerman notes in his dictionary of
mythology that "in many literary allusions [Death] is
presented as a healer and remover of pain.")  This must
be Dr. Kevorkian's favorite episode.
   That aside, the idea of imprisoning death is an
interesting one, and this episode explores some of the
consequences.  Unfortunately, many of the plot elements
aren't given much explanation.  (Why does Celesta "die"
when her candle is extinguished?  What does it mean for
her to die, anyway?  How is it so easy for her to be
bound?  How secure is a castle in which Talus and
Gabriel can gain easy access through a "hidden back
entrance"?)  Nevertheless, it's an effective, moody
episode.  Kate Hodge is good as the more-or-less
ethereal Celesta.  (The actress might be remembered by
some viewers as the co-star of the X-Files-ish British
show She-Wolf of London a few years ago.  She currently
plays Gretchen on Louie.)...
   ...10. HOOVES & HARLOTS...
   ...COMMENTS: This is quite a fun episode, and, for a
change, the special effects are pretty good -- the
centaurs actually come off as more-or-less believable.
   The real stand-out here, though, is Renee O'Connor
in one of her best episodes.  Her portrayal of
Gabrielle in the role of Amazon princess is perfect --
a combination of awe, surprise, fun, awkwardness, good
effort, and seriousness.  Perhaps the best line is when
Xena questions Gabrielle about her activities, and she
responds, "I'm an Amazon princess?"  Actually, the way
O'Connor delivers the line, it's half a question, half
a statement exactly the way a somewhat -- confused
Gabrielle would deliver the answer.
   Another wonderful scene comes near the end with some
great interaction between Lawless and O'Connor. 
Gabrielle must fight the Queen -- unless Gabrielle's
champion fights in her place.  Xena understands the
procedure for accepting the battle; Gabrielle doesn't. 
Xena manages to convey the plan through subtle hints
and raised eyebrows.  O'Connor does a good job of
portraying Gabrielle's slight confusion that, following
Xena's lead, gradually moves to understanding.
   The Amazons train Gabrielle to fight with a staff --
a skill she utilizes in many later episodes.  Before
this, Gabrielle adhered to Xena's instruction to talk
her way out of a conflict or to run.  Hereafter, when
Gabrielle would inject herself into the fights, Xena
would not complain.  In fact, to look at the
choreography on some of the battle scenes to follow,
Gabrielle became very good very quickly (almost too
quickly).
   One final note.  The Amazons obviously have a low
regard for justice in this episode.  They're ready to
execute a centaur without any evidence to connect him
to the killing.  Even the circumstantial evidence is
slight.
   The end-credits disclaimer: "No Males, Centaurs or
Amazons were harmed during the production of this
motion picture "
   GRAPHIC: Posed picture of Xena holding her sword.


[264] 05-01-96
   SPECTRUM. Vol. 1 No. 5. Page 10. 474 words.
"Gabrielle the Grammarian"
   COMMENTARY:  As XWP progressed through the first
season, the character of Gabrielle emerged. She went
from comedy relief and second banana, to full helpmeet
and companion to the Warrior Princess. 
   This sidebar article listed SPECTRUM's favorite
Gabrielle "one-liners".
   Transcription by Stacy Van Stipdonk.
   REPRINT:
   Xena's sidekick is certainly appropriately named. 
Gabrielle can, if nothing else, gab.  She has proven an
ability to talk her way out of anything, plus an
ability to chatter endlessly about nothing at all. 
Here are some of our favorite lines from the first half
of the season:
   Gabrielle wants to go with Xena and be taught by
her.  Xena says she travels alone.
   Gabrielle: "You can't leave me here."
   Xena: "Why?"
   Gabrielle: "Did you see the guy they want me to
marry?"
   Xena: "He looks like a gentle soul.  That's rare in
a man."
   Gabrielle: "It's not the gentle part I have a
problem with -- it's the dull, stupid part."  
["Sins of the Past"]
   Gabrielle prepares to sneak out at night to join
Xena.
   Gabrielle: "I'm going to join up with Xena."
   Lila, her sister (laughs): "Are you serious?"
   Gabrielle: "Absolutely.  I'm going to be a warrior,
like her."
   Sister: "A warrior?  Gabrielle, I can beat you up."
   Gabrielle: "Yeah, but you're very strong for your
age.  Lila, you know I'm different from everybody else
in this town."
   Sister: "I know you're crazy."
   Gabrielle: "Well, call it whatever you like."  
["Sins of the Past"]
   Gabrielle is interested in buying a small sword.
   The salesman picks up a small dagger: "It's a breast
dagger."
   Gabrielle: "You mean it's designed to pierce the
breast into the heart of your enemy!"
   Salesman: "No, not quite."
   Later, Xena confiscates Gabrielle's breast dagger.
   Gabrielle: "Ha!  It's not like your breasts aren't
dangerous enough.  That was a joke!  You can laugh!"  
["Dreamworker"]
   Gabrielle tells Xena about the man (unbeknown to
her, a warlord) she has a crush on:
   Gabrielle: "I have no way of finding this guy.  What
if I'm supposed to intertwine with him and have kids? 
Now I'll wind up some lonely, pathetic woman like
[looks at Xena] -- never mind."  ["Chariots of War"]
   Gabrielle has been selected to be the bride of
Morpheus.
   Gabrielle: "Bride?  Morpheus?  No, you've got the
wrong girl.  Take my word for it -- I'm not the wifey
type.  Well I sleep late, I don't know a lick about
housework, and children -- I mean, look at these hip
bones!  No way!"
   Mystic: "None of that matters to Morpheus."
   Gabrielle: "Really?  Well what does matter?  I've
got lots of faults." 
["Dreamworker"]
   Gabrielle and Xena talk:
   Xena: "I'm not sure how [Iolaus] feels about me
now."
   Gabrielle: "And what about Hercules?"
   Xena: What about him?"
   Gabrielle: "You're not much for girl talk, are you? 
Of course, you're not like most girls."  
["Prometheus"]
  Xena challenges the Amazon Queen to the death.
  Gabrielle: "Don't you think she [Xena] knows what
she's doing?  You haven't seen her fight.  Now I have
seen her fight a lot!"
   Amazon (to Xena): "She's annoying.  How do you put
up with her?"
   Gabrielle: "Hey!  She puts up with me fine!"  
["Hooves and Harlots"]


[265] 05-01-96
   SCI-FI UNIVERSE. Vol 2. No. 15. Page 37. --- words.
"Babes in Boyland. When it comes to science fiction,
why does ERA stand for 'Exploitation Roles Always'?" By
Amanda Finch.
   COMMENTARY: XWP was mentioned in passing as an
example of the exploitation of women ("For every
appropriately attired Agent Scully on The X-Files (who,
lacking the traditional attributes of the TV sexpot,
has watched as her co-star has gotten the lion's share
of publicity), female science fiction fans face seven
or eight leather-thonged 'warrior princesses' (Xena) or
Pamela Anderson's cleavage fighting crime in black
leather (Barb Wire).").     
   Some issues raised in this article were discussed
specifically in the XWP context in the Ms. Magazine
(July/August 1996) article "Xena: She's Big, Tall,
Strong--and Popular" [tentative XMR322].    
   The author may have been referring to the episode
"Hooves and Harlots." 
   This article was discussed in relative detail in my
introduction to XMR #03 [with emphasis on Xena: Warrior
Princess] and RIF (Resistance is Futile Netzine) #55
[with emphasis on Star Trek]. I have rewritten in part
the XMR #03 version below.
   XWP: A PRE-MYCENAEAN BAYWATCH?
   SCI-FI UNIVERSE magazine, trying to be the bad-boy
periodical on the science fiction periodical world, was
created several years ago as the SF version of FILM
THREAT.  
   FILM THREAT was an uneven but horribly fun attempt
at movie criticism.  What set FILM THREAT apart from
the other film magazines was the uncontrolled
exuberance of the critics.  You knew that these people
loved every minute of what they were doing.  They loved
being social critics and taking the essence of some
grade Z schlock and painfully extracting both the
microcosm and microcosm of human existence from it. It
was good stuff, especially if you were a college
student, away from home, trying to create a cool
environment for your life.  
   Chris Gore was behind FILM THREAT at that time and
he started to concentrate more and more on science
fiction.  Finally the publishers said, cut the SF stuff
and put it in another magazine.  Thus SCI-FI UNIVERSE
was born.  SCI-FI UNIVERSE immediately carved itself
out as the Anti-STARLOG.  In fact, if both magazines
were ever touch, they would surely destroy each other.
Good college fun.
   After awhile, Mark Altman took over the editorial
control, Chris Gore went back to FILM THREAT, and SCI-
FI UNIVERSE changed. But that is another story...my
story concerns the most recent issue May 1996.  
   The SCI-FI UNIVERSE of May 1996 sported a "Play it
Again PAM" cover with Ms. Pamela Lee nee Anderson
busting out all over.
   On page 37, the article "Babes in Boyland" appeared.
It was a scathing (and I mean scathing for SF media)
indictment of how SF TV and movies treated women.  The
article made a passing reference to XWP.  On page 37,
column one, Amanda Finch wrote, "Compared with most
sci-fi offerings, however, the women of Trek are
dressed like spinster librarians. For every
appropriately attired Agent Scully on The X-Files (who,
lacking the traditional attributes of the TV sexpot,
has watched as her co-star has gotten the lion's share
of publicity), female science fiction fans face seven
or eight leather-thonged 'warrior princesses' (Xena) or
Pamela Anderson's cleavage fighting crime in black
leather (Barb Wire)."
   I wish to make three comments.  
   First, the writer has thrown XWP into the "bad"
column.  One of the problems of generalization is that
it...um...generalizes.  I have seen this complaint
about XWP from other reviewers and writers.  The most
recent assault being the insipid observation that being
able to take the armor off of the Xena action figure
somehow promotes prurience. Such critics categorically
state that Xena is sexist and exploitative.  Well, it
is.  But (there's always a but!) Xena is a satire of
the genre.  The "saving graces" of Xena are the twists
that the producers and writers have added to Xena: the
women are self-sufficient (no regular male character
who rescues them; no regular love interest); Xena
competes equally and usually wins against her foes,
male or female, just as Gabrielle does in her more
idealized intellectual way; relationships between women
are explored; and so on.  If XWP was meant to be a Pre-
Mycenaean Baywatch, it is not playing to the logical
adolescent male audience.  It may be getting his
interest, but it is clearly not focusing on it.  
   Second, I was struck by the irony of finding this
article in SCI-FI UNIVERSE.  A simple leaf-through of
any of the issues show that SCI-FI  UNIVERSE strongly
subscribes to exhibiting women in various stages of
undress (usually concentrating on the bust area - thus
giving us more insight into Mr. Altman's tastes?  For
some reason it reminds me of David Letterman...). 
However, this is an epidemic affliction with most
popular media Science Fiction magazines.  Compared to
many others, SCI-FI UNIVERSE is like a "spinster
librarian" (but, whoa, watch out if she gets married
and is exposed to the manly virtues).  If we point the
finger at one, we must point it to all.  It would be
facile to blame it on the fact that 99% of all
publishers and editors are men.  But would it be any
more realistic to accept that this type of "journalism"
sells magazines like hotcakes?  This blames the
consumer, who is merely buying what is offered...which
is offered because that's what the consumer supposedly
only will buy.  Catch-22.
   Third, I have come to the conclusion that any type
of self-reflection is better than none at all.  SCI-FI
UNIVERSE must be applauded for running the article. 
Social change fumbles along at a snail's pace.  At some
point a society reaches critical mass and suddenly can
no longer accept what was done without question in the
past.  We see this happening today in respect to race
relations and the balance between men and women in
society, to name two.  
   I like to think that XWP, mired with one foot in the
old and one foot in the new, is merely one of many
reflections of a society in transition.  I like the
show, so I think of it as an advancement, not a step
backwards.  Art reflects the society from which it was
made, but art also can transcend the very same society. 
XWP promotes a world where a woman can successfully
make her way depending upon her skills and intellect
and she can compete without being subjected to sexual
violence, archaic social limitations, and arbitrary
social codes.  If she has to walk around in leather and
in next to nothing, well, I can live with that. For
now.
   EXCERPT:
[sent out for transcription]            


-------------
THE BACK PAGE
-------------

Issue #20 will contain annotations #266 through #285,
dated from 05-02-96 to 05-14-96.  It is scheduled to be
released 12-13-96.

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released in electronic form are considered for
inclusion. Banner graphic by Colleen Stephan. This is
an All Talk No Action Publication. Copyright 1996 by
Kym Masera Taborn.



Check out the free netzine called "Resistance is
Futile," a Star Trek parody and all things Borgish
newsletter which is issued every 19 days and has been
published since 1992 (the Borg jokes just keep on
coming!).  Request a free subscription at
ktaborn@lightspeed.net.  Check out the back issues at
WEB SITE: http://www.startrek.in-trier.de/rif/

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