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| A Ruin with a View
First broadcast
English themes
Japanese themes
A Ruin with a View (Japanese: 古代ポケモンと謎の軍団! Ancient Pokémon and Mysterious Teams!) is the second episode of the Advanced Generation series, and the 276th episode of the Pokémon anime. It was first broadcast in Japan on November 28, 2002 and in United States on March 15, 2003 as part of a special preview. It was later broadcast in sequence in the United States on November 8, 2003.
|Spoiler warning: this article may contain major plot or ending details.
Now that Pikachu is feeling better, Ash is ready to head to Oldale Town to sign up for the Hoenn League. May has offered to show Ash the way in exchange for his company to Oldale Town—which is only fair, seeing as Pikachu destroyed May's bike when it was sick! In Oldale Town, May visits her first Pokémon Center and is amazed with all of its services, and by the ancient ruins next door. Things quickly turn sour when Team Magma, a mysterious band of criminals, shut down the electricity at the Pokémon Center and kidnap Professor Alden in order to invade the ruins. With no electricity, all of the Pokémon are in danger—including May's Torchic. It's up to Ash and May to save the day—and in doing so they uncover mysterious, ancient Pokémon.
Ash and May are walking down Route 101 on their way to Oldale Town. When May asks why Ash doesn't keep Pikachu in a Poké Ball, Ash simply says it is because Pikachu is his best friend. May wonders if she should do that with Torchic, but Ash suggests looking it up in her Pokédex. She gets it out and tries searching for Torchic, but they then spot an Azurill further down the road. May wants to catch it, so she tries just tossing a Poké Ball and catches the Azurill, but it breaks free. May doesn't know what's going on, but Ash explains that she needs to battle the Azurill and wear it down before she can catch it.
May sends out her Torchic to battle. While thinking about Torchic's attacks, Azurill runs with Torchic tagging behind. Azurill manages to get Torchic to run into a tree, May goes over to see if it's alright. The Azurill still wants to fight, Torchic chases after it again. May then says to use Peck. Torchic goes full speed at the Azurill, but the Azurill dodges, leaving Torchic pecking another tree. May says to Torchic that it missed, so Torchic finds and chases the Normal-type Pokémon. Finally, Azurill makes Torchic slam into a rock. Torchic is down, but not out, and manages to chase the Azurill into some bushes. Torchic fires an Ember attack, only to realize that Azurill is now accompanied by an Azumarill and Marill. They all simultaneously spray Water Gun at Torchic, knocking it out in one shot. Ash scares them off by having Pikachu land a Thunderbolt near them. Then, the water trio escapes into a pond.
May checks on Torchic, and Ash says that the next town has a Pokémon Center, so they should hurry there. While they run the rest of the route, May hopes that her Torchic will make it. Along the way the come across a ruin on top of a hill. They go up on top to check out the place when an archaeologist goes up to them. Ash asks if he knows the way to the nearest Pokémon Center. The archaeologist points out to the distance, saying it is just down the road. The two thank him and head on down. At the Pokémon Center, May gives Torchic to Nurse Joy and hopes for the best. Joy says Torchic is okay, but it'll take overnight to restore it. Afterwards, Ash decides to make a call to Professor Oak to tell him where he is and all. During the conversation though, May butts in, after all, it is the famous Professor Oak. After the phone call, May pressures Ash to show her around the Pokémon Center. Ash first shows her the rooms that they get to stay in, then the Trainer lobby. Ash overhears a conversation about the Petalburg City Gym Leader and he wants to know what the Gym Leaders are like. But May snaps at Ash, then says that she's hungry and wants to go to the restaurant.
Later, outside in a telephone booth, Team Rocket calls up Giovanni. They tell him that they're in Hoenn, that could mean more opportunities for them. Giovanni isn't too thrilled, since it's the trio who screws up the most. However, Giovanni reconsiders, and since maybe they could take care of Team Magma, he's willing to give them a shot. After he hangs up, he smiles at the thought that they are just in one more area to terrorize. The two start their meals, May comments how good the food is. May's really excited now, seeing how this is what Trainers get. The archaeologist from before happens to be at the restaurant and asks if he could sit down with them. The two don't mind, in fact maybe they could get some info on the ruins. Just outside the Pokémon Center, Team Rocket is digging a hole. They work hard at it knowing they can get Pikachu if they can just get this done right.
Ash and May later meet up with the archaeologist, Professor Alden, again; he apparently has his own office in the Center. He tells them about the Oldale Ruins and how according to legend there are ancient Pokémon to be found there. He notes that there may even be some still alive. Just outside, a Team Magma member spies on them using special goggles. He reports everything is a go and the rest of the group moves in. Back inside, the electricity goes out all of a sudden and then a few Team Magma members with their Houndoom come in. Joy walks by going into the room, but she's caught from behind by another Magma member. One of the members says that they need access to the ruins, and if Professor Alden doesn't comply, they'll do something to the others. He has no choice but to give in. Team Rocket on the other hand digs up, but only find themselves still outside. They are surrounded by grunts, and they send out their Pokémon. However, Team Magma's Houndoom use Roar, sending the Pokémon back into their Balls. With that, Team Rocket runs off.
The group and Joy are thrown into the storage room. Locked in, they try to find a way out and help Professor Alden before anything goes wrong. Pikachu finds a vent, and they can escape from there. Joy tells them to find the master key and get everything back up if they can. Back in the ruins, the grunts continue to pin down Professor Alden with threats, and eventually tells him what to do. They give him a box with four colored orbs, and he knows what to do. Professor Alden puts each on in a wall of one building and it moves, opening the path to a room. The grunts go in to take pictures, but they only find drawings on the wall. The leader says they're out of time, and they leave.
Ash and Pikachu go inside the vent to try to find the way out. Along the way, May stops them, she wants to come along as well. They go on until they find a split, and they are unsure where to go. Pikachu uses his ears to try to find the way out, and finds it. They follow Pikachu and find a grate where they can escape. Ash kicks down the grate and apparently they aren't too far from the counter. Ash goes up to find the master key while May turns the power back on. Ash goes back and frees nurse Joy, now to find Professor Alden.
They get to the ruins just moments before Team Magma makes their escape on a helicopter, it looks like they're too late for them. They find Professor Alden unharmed fortunately. They ask him what happened and if everything is alright. He says everything's okay, nothing to worry about. Team Rocket behind a rock managed to snag the four orbs, and everything goes well until Wobbuffet makes a big scene. The group notices them and Professor Alden notices they have the orbs. Jessie quickly sends out Arbok, but Ash tells Pikachu to use Quick Attack and soon enough Pikachu's attack hits Arbok and knocks the orbs away from Team Rocket. Finally Pikachu finishes them off with a Thunderbolt and sends Team Rocket flying off once again.
Professor Alden recovers the orbs and they all head inside the room. He places the orbs back into the door and soon it glows. The light trails around through lines in the room. The giant block moves, revealing stairs that lead down. They go down and find an underground lake. Soon enough, a Relicanth jumps out of the water and they see that the lake is full of them. Satisfied, Professor Alden thanks the two for their work. Back in the Pokémon Center, Joy gives May her Torchic back, who is feeling all better. May sends out Torchic, who jumps up to May happily.
Major events
- May tries and fails to catch an Azurill.
- May's Torchic is revealed to know Peck and Ember.
- May meets Nurse Joy and learns about Pokémon Centers.
- Ash registers for the Hoenn League.
- Giovanni assigns Jessie and James to create a Team Rocket branch in the Hoenn region in an attempt to learn more about the plans of Team Aqua and Team Magma.
- Ash learns about the Gym in Petalburg City.
- Ash and May encounter Team Magma for the first time.
- For a list of all major events in the anime, please see the timeline of events.
Pokémon debuts
TV episode debuts
- Ash
- May
- Jessie
- James
- Nurse Joy
- Professor Oak
- Giovanni
- Professor Alden
- Pokémon Trainers
- Team Magma Grunts
- Pikachu (Ash's)
- Meowth (Team Rocket)
- Wobbuffet (Jessie's)
- Torchic (May's)
- Arbok (Jessie's)
- Weezing (James's)
- Persian (Giovanni's)
- Houndoom (Team Magma Grunts'; multiple)
- Azurill
- Marill
- Azumarill
- Relicanth (multiple; debut)
- Omanyte (fantasy)
- Omastar (fantasy)
- Kabuto (fantasy)
- Kabutops (fantasy)
- Aerodactyl (fantasy)
- The stone tablet that Professor Alden possesses in this episode is very similar to a stone tablet containing the legend of Pokémopolis, which appeared in The Ancient Puzzle of Pokémopolis exactly four years ago.
- One of the doors in the ruins appears similar to the sealed door in the ruins of the King of Pokélantis' tomb in Battling the Enemy Within!, which aired almost four years later.
- This episode is therefore at the midpoint between the two episodes featuring the ancient civilizations Pokémopolis and Pokélantis. In addition, it contains elements from both those episodes.
- Max and Norman are both mentioned, though not by name: May tells Professor Oak that her brother never misses one of his Pokémon lectures, while some Trainers discuss the Petalburg Gym having a new leader.
- The four treasures are the same colors as the versions of the four original Japanese games and are arranged in a style similar to the placement of the Poké Balls on the pedestal in Oak's lab when Ash got his Pikachu.
- The order the four were placed were similar to the making of the games in Japan, first red then green, then blue and yellow.
- Pikachu's fondness of ketchup is shown again when Ash and May are eating dinner. The next time he does so is in Mega Revelations!, 454 episodes later.
- The dub title of this episode is a reference to the phrase "a room with a view." A later episode has a similar title.
- In the "Who's That Pokémon?" segment, the fact given for Crobat is "Evolution gave this Pokémon wings where it had legs!" Although it is mentioned in Pokédex entries that a Golbat's legs become the second pair of wings on a Crobat, Crobat does in fact have small feet.
- This episode aired dubbed the shortest time after the original of any 4Kids-dubbed episode, with only 107 days separating the airings.
- The Brazilian title for this episode is a translation for a later episode in the English dub: Gateway to Ruin!.
- May's Pokédex refers to Azurill as the Water Ball Pokémon, when its official classification is the Polka Dot Pokémon. This was most likely a translation error as 水玉 mizutama, Japanese for "polka dot", can also mean "water ball".
- While being shown around the Pokémon Center, the logo on May's bandana disappears for a short time.
Dub edits
- The first version of this and the previous episode were aired as sneak peeks to coincide with the North American release of Pokémon Ruby and Sapphire. In this version, May's dialogue after instructing Torchic to use Peck is as follows:
- "Over there, Torchic! Oh! Wait for me!" Near the end, when May gets her Torchic back from Nurse Joy, her dialogue is as follows: "Oh good! Thank you. Okay, come out!"
- The second version of this episode was aired normally as the second episode of Pokémon Advanced and is the version used in all reruns, home video, and streaming releases. In this version, May's dialogue after instructing Torchic to use Peck is changed slightly, as follows:
- "Over there, Torchic! No! Wait for me!" Near the end, when May gets her Torchic back from Nurse Joy, her dialogue is changed slightly, as follows: "Oh great! Thank you. Okay, come out!"
- There is a three-second shot of Jessie performing an akanbe, which involves pulling her eyelid down and sticking out her tongue at the same time, a common insult in Japan. Like in Bound for Trouble and The Bicker the Better, this was cut from the dub. However, other episodes featuring akanbe before and after had no such edits.
In other languages
|Mandarin Chinese
|Den mystiske ruin
|Een ruïne met uitzicht
|Raunio näköalalla
|European French
|Une fabuleuse découverte
|Das Tor zur Vergangenheit
|מראה בהריסותmar'é beharisot
|खण्डहर का रहस्य Khandahar ka Rehasya *
|Le antiche rovine
|신비한 고대 포켓몬의 세계
|En mystisk ruin
|W ruinach Oldale
|O Portal da Ruína
|Vista sobre a Ruína
|Развалины с сюрпризом
|Latin America
|¡Las ruinas de Hoenn!
|Ruinas legendarias
|Ruinens brant!
|This episode article is part of Project Anime, a Bulbapedia project that covers all aspects of the Pokémon anime.


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Crime Stoppers Association of Edmonton and Northern Alberta
Crime Stoppers is often thought of as a government or police program. In fact, Crime Stoppers is a COMMUNITY program - funded by the generous donations of individuals and businesses who are interested in making their communities safer places to live. This Giving Tuesday, please consider a donation to Crime Stoppers!

subset: commoncrawl


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Academy Students Get A Careers Boost
St George's Academy held what is thought to be the largest Recruitment Event for school leavers attending Sleaford schools in recent years. Over 30 local employers, recruitment agencies and apprenticeship and training providers attended providing school leavers with a vast array of opportunities ready for when they leave education. The organiser, Miss Jarvis said "as Careers Officer at St George's Academy, I want to give our students every opportunity of finding a job or apprenticeship when they leave education. The employers attending the event are all currently recruiting so I am hoping that every student from St George's Academy, Carre's Grammar School and Kesteven & Sleaford High School who are not going to University will come away with a job or apprenticeship opportunity."
Mrs Caslin, Head of Sixth Form at St George's Academy said "This event is a new initiative that we are running this year and we have been overwhelmed by the support of our local employers and training providers as well as the enthusiasm from the students. Obviously it is a daunting time for the Year 13 students choosing not to go to university, but we have worked together to make sure the students in Sleaford are really well supported."
We spoke to one of the students from the St George's campus, Sarah, who will be completing her studies in CTEC Health and Social Care, A Level Fine Art and A Level Ethics and Philosophy. She said "I decided to attend as I knew I didn't want to go to university and felt this was a great platform to gain ideas, meet potential employers and discuss future opportunities with them. I am very grateful to the school for all the help and support they are giving to us. We all had the opportunity to attend mini workshops on body language, CV checking and how to succeed in group interview tasks. The school wants us all to achieve our potential and I now feel more positive about my future employment options."


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Breaking Free is credited to J. Daniels. As if.
This blog has been a self-obsessed mopefest for quite some time. I've been trying to write something sensible on the subject of genre and literary fiction, and have been producing drivel. Let's try some other critical writing to get up to speed.
So here's my favorite volume of Tintin. I used to like the shooting star one because of the giant mushrooms and the spider and so on but in this one?
Tintin is an unrepentantly vicious thug.
That's not all there is here, though. This is a genuinely fascinating volume. On one hand, you've got the crudely rendered ripoff of Herge. That's why this one is so hard to find -- this one move both made the volume immediately appealing and incredibly hard to distribute. On the other hand, the substance of the work is remarkably solid. This is not a case of shock for shock's sake. This is seriously intended literature. This is a practical guidebook for revolution.
Thatcher-era Britain. Tintin, a violent lowlife, gets caught up in a worker's revolution through his connection with Captain Haddock, a laborer and dedicated family man. Despite the crudity of the technical execution -- this is a classic example of cartooning as a practical rather than a creative art -- the story and characterization are well-done and effective, and skillfully interwoven with the story of the revolution. As a graphic novel, this is worth attention and study.
It's also a clear-eyed view of the politics of revolution, probably the best I've seen in fiction. While it blessedly eschews Marxist jargon, it follows the nuts-and-bolts of organizational work with real fidelity. The low-key, convincing dialog is a genuine pleasure, and the whole thing is grounded in a sense of community you don't find often in comics.
There are some union-related passages that startled me with their conviction and realism. And Tintin's growth as a person is convincingly lopsided and limited, and cleverly used as a means of demonstrating an ideology holding internal growth as being part of the revolutionary process.
The classism and violence are difficult to stomach at times. Let's be honest. My take on revolution? I don't want one, but if the possibility isn't on the horizon, we aren't going to see change. I'm one of those guys, figures Martin Luther King wouldn't have gotten nearly as far if if it hadn't been for Malcolm X.
So if my dad shows up one morning and says, "Get dressed. It's leg-breaking time," I'll be grumpy, but I'll go put on my leg-breaking pants. But I ain't starting anything because I don't have the stomach for it. Big, violent political movements always claim victims. You can't make an omelet without breaking legs.
Breaking Free makes it plain that revolution requires the willingness to force people to support your position. That change is going to be resisted by people who should embrace it, and that those people need to be goaded into the proper stance. And as I said, I don't have the stomach for that.
The ethics here are fascinating. Inside of one's social class, racism, sexism, and homophobia are to be opposed on principal, with the practical result of community solidarity. But anyone with too much income is not perceived as fully human. They are deserving receptacles for abuse and violence simply on the basis of their privilege. I have trouble demonizing the rich that way. I mean, I'm very practiced at it, I do it all the time, but I don't approve of it. Classism can resemble racism more closely than I feel comfortable with.
But despite my ideological differences, I found this an engaging and intelligent volume that succeeds both as a political work and as a story of character. I'm not a big fan of appropriated art, but in this case? Whoever did this was not an artist, or at least did not approach this job as art. This is commercial art used for revolutionary propaganda. What's not to love?


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System Test Technician
- Escalate technical issues to more experienced techs as needed. Good knowledge of the job, and company policies and principles.
- Identify defective materials, highlight failure trends/low yields and maintain test logs. Applies standard policies and procedures.
- Follow written and verbal standard operating procedures and production schedule. Works under general supervision.
- Achieve balanced inventory levels via appropriate manual and automated transactions.
- Diagnose test errors and test status from diagnostic codes and related indicators. Transfer daily status information to other shift personnel or supervisors.
- Identify, follow-through, resolve problems and recommend improvements in all outstanding issues within assigned area.
- Able to test equipment in multiple product lines.


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Late drama teacher Duncan's protégés performing Shakespeare for bash
Watson B. Duncan's former drama students are giving the late Shakespeare fanatic a fitting birthday tribute at the Palm Beach Gardens school that bears his name.
Watson B. Duncan Middle School has timed its 25th anniversary celebration to coincide with Duncan's birthday Feb. 16. The party starts at 6 p.m. Feb. 16 at the school's courtyard, 5150 117th Court North. It is open to all, according to a news release from the Palm Beach County School District.
READ ALSO: Palm Beach Gardens students: Do you know who William T. Dwyer was?
The "Live the Legend, A Star Glow of Tomorrow" event will feature guest speakers, a performance by Duncan students and a Shakespearean tribute to Duncan by his drama students.
Students will also celebrate with cake and activities during lunch next Thursday.
Duncan, a popular Palm Beach State College professor, taught for more than 30 years until the day he died in 1991. He called Shakespeare "the Big S" and often celebrated his birthday with cake and a costume.
Actor and Jupiter resident Burt Reynolds credited Duncan with turning his attention from athletics to acting. He once described Duncan as a "six-foot-four curmudgeon elf" with an engaging laugh.
Watson B. Duncan Middle School and Lake Worth Middle School both opened Aug. 26, 1991.


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2. Santa's First Lie
Anya's knitting lay limp upon her lap. Resting her elbows on the curved arms of her rocker, she halted for a moment its mindless movement.
Outside her sewing room window, freshly fallen snow glinted like shattered glass where the sunlight splashed across it. At the edge of the woods, clusters of elves were at play. Some built elaborate snow creatures. Some flung themselves down and made angels. Others leaped and whirled, singly or in pairs, on the skating pond.
It was their day off. The final gift had winked from the workshop shelves, the last home had been graced with a nocturnal visit from Santa Claus, and he was winging his way home. One day each year, this day, his helpers got to frolic and cavort to their heart's content. Santa would enjoy a private Christmas celebration with Anya in the morning, followed by the afternoon festivities in and around the elves' quarters. Then it was back to the industrious joy of creating playthings for the world's children.
Anya winced. Pain took a bite out of her left thigh. "Damned sciatica," she muttered, shifting in the rocker and readjusting her skirts.
A face popped up at the window.
Anya started, then she relaxed into a smile.
It was Fritz, her favorite elf: red-haired, gap-toothed, and ageless. Just yesterday he had run up to her, panicked, cradling a squirrel with a broken and bloody leg. It lay still in her hands as she healed its hurts with her tongue. Then it licked her cheek once in gratitude, leaped out of her grasp, and bounded off good as new into the woods. Now Fritz, rapping sharply on the glass, shouted something incomprehensible and beckoned to her. Shaking her head in a play of sadness, she held up her half-finished sweater. Fritz gave her a little-boy grimace and dashed off to join the rest, his cap jouncing this way and that like a buffeted leaf.
Such exuberance, such energy these little men showed. One would hardly guess that they were centuries old. Anya sighed.
Kindhearted though she was, she resented it sometimes that God had waited to grant her immortality until she had grown white-haired, bespectacled, and well past sixty. On those rare occasions when she opened herself to bitterness and regret, it struck Anya as grossly unfair that no rollback clause had been written into the bargain—no divine afflatus that would pull the skin tight over her bones, blow away her aches and pains, and breathe the buoyant winds of rejuvenation through her limbs.
It didn't help matters, she thought, to live with a man whose energies never flagged, who sacrificed sleep for toymaking, often disappearing for days into his workshop and emerging brimful of vitality, a sly hint of marital urgency lighting his eye.
It pained her to remove, night after night, Santa's speculative hand from her flannel thigh. But menopause had claimed Anya way back in the fourth century when they dwelt in Myra and had not yet become immortal. Since then, her carnal urges, never very strong even at their zenith, had dwindled to nearly nothing. It was a banner year if they made love a handful of times between one Christmas and the next.
He was a good man, Claus; the best of men. Sometimes it was a trial being married to him, feeling the need to prove herself worthy of his goodness. Among his many fine qualities, she counted his saint's measure of patience with her; the way he treated his helpers, paternal yet not patronizing; his wholehearted dedication to the children.
In the distance, a silent ruckus began. Flurries of snowballs flew in wide white arcs between two impromptu armies.
"Land sakes, where do they get all that energy?" With a shake of her head and a cluck of her tongue, she resumed her knitting and lost herself once more in the rhythm of the rocking and the clicking of the needles.
Fritz dashed across the commons toward the skating pond, kicking up powdered snow as he went. He wished, just once, that Mrs. Claus would leave the cozy confines of her cottage and join in the festivities.
"Fritz! Look out!"
Knecht Rupert's high-pitched shout rang out too late. The whoosh of a snowball—the smack of it against his forehead like the blow of a frost giant's fist—came out of nowhere. Down he tumbled, backward into the snow, and the gleeful taunts of the others washed over him.
He felt his face redden. Johann the Elder and Gustav, Rupert's perennial sidekicks, gave Fritz resounding backslaps of encouragement and bent to the business of turning the gifts of nature into weapons. Then Rupert's strong arms helped him up and the battle was joined.
His allies loped about him, scooping up handfuls of snow and packing them tight, then letting fly toward the porcelain doll contingent which swooped in on the right. So many years had the dollmakers worked together at their specialty that they were almost identical sextuplets. Though their faces were blunt as bulls and they sported long black beards, their lips were bowed like the painted lips of the dolls they made and their voices strained high and tight in their throats.
Everyone called them Heinrich. It was the name they all answered to, and none of them had ever tried in any way to distinguish himself from the others.
Heinrich, then, a twelve-armed wonder, lobbed his battery of snowballs into Fritz's beleaguered group, downing Gustav and smacking Fritz on the ear. Fritz raised his fists to the skies, howling. He stooped and threw like a madman, shaming the restraint of Knecht Rupert and his companions. After an initial flurry of misses, Fritz's canny arm remembered trajectory, adjusting for wind speed, anticipating moving targets. The ensuing barrage turned Heinrich's unstoppable onslaught into first a standoff and then a rout.
"After them!" shouted Fritz, heading for the woods. But as he and his comrades-in-arms pounded closer to the snow-laden firs, reinforcements for Heinrich popped up from behind a great outcropping of rock. Fritz identified the two instigators of this new assault as his bunkmates: Karlheinz, he of the rolling-thunder snore, and Max, whose occasional bedwetting had consigned him, by a two-to-one vote, to the lower bunk. These turncoats descended upon him, flanked by elves from the rocking horse contingent, tubby little men with arms that flailed as they ran and wide eyes that flashed fire.
Now it was Fritz's turn to feel the brunt of attack everywhere on his body. First on face, chest, and arms. Then, as he fled, against his shoulders, hard upon his back, and dripping slow and cold down his neck. Elves swooped in from all directions to gang up on him and his cohorts.
At his heels, Gustav shouted, "For the love of God, Fritz, can't you run any faster?"
No time to answer. The attackers drew closer, their volley of snowballs filling the air like some giant ski shushing to a stop.
Ahead, Mrs. Claus bent to her knitting, framed by the wide rectangle of her sewing room window. How lovely she was. So kind and gentle a woman. The sort Fritz would be glad to spend his life with in holy matrimony, if God had intended elves to marry or entertain thoughts of intimacy.
It occurred to him, as his legs carried him toward Santa's cottage, that many centuries past there had been wild times indeed, intimacies as commonplace as they were scandalous. But memories of those days—before God had conjured them out of nothing to work with Santa—were so hard to dredge up, and so evanescent when you succeeded, that it was scarcely worth the effort.
Another volley of blows hammered against his back. Snowballs whistling overhead fell just short of Santa's cottage. The huge one that finally hit swept rudely past his right ear and boomed against the sewing room window, blotting out Mrs. Claus's matronly bosom.
It came straight out of the blue. One moment, the rhythmic ticking of cuckoo clocks above the low, steady swing of their grandfather clock's gold pendulum; the next, a sudden whump, the heart-clenching report of balled snow smacking glass. Anya rose sharply, threw her knitting into the rocking chair, and glared out at the halted hordes of helpers.
Dear God, how many times must she warn them not to play so close to the cottage? At least once more, that was clear. She made her way out of the sewing room to the front door, muttering all the way.
Outside, two score elves stood chastened in the snow, eyes downcast, shoulders slumped. Some held their caps over their crotches or let them hang listlessly from their hands. Bald pates glistened in the sun. Karlheinz moped forward and made a shamefaced confession.
In her kindest voice, Anya said, "It hardly matters who threw the snowball, does it?"
They shook their heads.
"I'm old. My system doesn't take kindly to shocks. It's fine to let loose on your day off. But please. Not so close to the cottage. You've got that whole expanse out there to play in." She pulled her shawl about her shoulders and gestured to the commons and beyond. Her hand, she noticed, was frail and arthritic, its dexterity lost in the passage of years.
It was cold out here. Her cheeks tingled. Her ears rang with the faint whine of fresh snow in still air.
But no. The sounds she heard came and went. Not the steady throb of winter but high discrete pulses, like the tremolo of distant violins, like zephyrs wafting over harpstrings.
Like sleighbells.
She lifted her eyes. Out past the skating pond, out beyond the elves' quarters, above the tops of the tallest trees that tickled the sky's underbelly, a black dot hung in the distance, growing imperceptibly larger.
Love swelled warm within her.
As effortlessly as a morning glory opens to the sun, Anya smiled.
Fritz raised his eyes to Mrs. Claus. Her left hand gripped the porch railing. Her right froze in mid-gesture as she gazed into the sky.
He was the first to notice her radiance, the first to divine the reason for it. But the others quickly caught fire. Bright green caps, buoyed by whoops and shouts, pancaked into the air. Fritz endured with good humor the sixfold embrace of Heinrich the dollmaker. On all sides, his bearded brethren leaped and hopped about or attempted cartwheels in the snow. Mostly, they jumped for joy, pointing ecstatically to the heavens and rolling out shouts of welcome for their returning master.
Fritz turned about and looked up at the long brown insect struggling through the sky. Santa's whip was an eyelash, his team the third part of a centipede, himself not much larger than a ladybug rearing on her hind legs.
The elf's eyes brimmed with joy.
Santa felt soiled.
And cleansed.
Coursing across the arctic sky, brutal winds above, frozen tundra below, he marveled how these two feelings, so violently opposed, could take root and thrive in his breast, entwined like old friends. Not-Santa had butted his way in, and the Santa Claus he had been before—pure goodness, all giving—stood there in shock, incapable of tossing the intruder out.
He felt deep shame.
Shame for betraying his wife, for reveling in the flesh of another woman. Shame for having befouled the bed of little Rachel Townsend while the darling girl dozed innocently beside them. Shame for the desecration he had visited upon one dwelling after another thereafter, his mind fixated on copulations past and to come, while it ought to have been fully on the task at hand.
But he also felt delight.
More precisely, the not-Santa, that vile intruder lured out of his depths by the Tooth Fairy—this creature felt delight. Delight in the hot savagery of his lover's supple body, in the way she opened herself to his hunger. Santa was shocked to realize that the perverse divinity of their coupling inspired in this not-Santa a feeling that could only be called reverence.
Ahead, a glow on the horizon.
The mild bubble of winter God had given him and his little community so many centuries before.
"Almost there, my lovelies," Santa bellowed into the deafening wind. "Straight on between Lucifer's antlers. There await warm elfin hands to rub you down, young aspen shoots and willow buds and berries in abundance to satisfy your hunger, and a cozy stall to rest yourselves in."
Santa grimaced. There await the purest beings God had the good grace to set upon this gentle earth, and the purest of them all—my dear sweet wife Anya.
He longed to be with Anya.
Yet, God help him, he dreaded it.
Would she sense the change in him? Would she catch the musky aroma of the Tooth Fairy on his clothes, in his whiskers, hanging thick about his sex?
The bubble arched up bit by bit, stretching wider along the horizon and taking on a thin bristle of trees.
He shifted in his seat, eager to entrust the sleigh to Gregor and his brothers for a wax and polish, a new paint job, careful storage until next year. What a relief it would be to roam the woods again after being gone so long, to cast a benign eye upon his elves' labors, to sit by the fire, of an evening, puffing on his pipe and watching Anya knit and rock, rock and knit.
God grant it be so.
Now the tree stubble took on stature, rising majestic from the snow-clad wilds ahead. The sub-zero temperatures of the polar icecap abruptly yielded to the milder weather within. Ahead, like miniatures in a model train set, he saw the tiny workshop and stables, the mica shine of the skating pond, and dead on, his and Anya's cottage, green with touches of red and white. He wept to see their home, floating upon a sea of snow, smoke skirling up from its chimneytop.
And waiting on the porch, his darling Anya.
But fear tainted his joy. Fear that she would slip away, turn her back on his betrayal and vanish forever.
One thing was clear. His unwelcome guest must be locked away, given no chance to show himself before the polar community.
As he began the slow descent, Santa did his best to put on his prelapsarian face.
He was beautiful up there, her man. If anything could rekindle the fires of her infrequent passion, it was watching him sail in over the treetops, cherry-red and rotund, a radiant smile playing upon his lips. The sight always made her stand taller, breathe deeper, go as moist as a lusty young bride.
He urged his team onward, sweeping in ever narrowing circles overhead. The insistent jingle of sleighbells slapping at the haunches of the reindeer made her feel all saucy inside. Part of her wanted him right then in mid-descent with all the elves watching. But the rest of her was more than content to prolong the wait, to savor every moment that stretched from right now to the delicious suspension of time beneath their blankets after the day's festivities were done.
She couldn't be sure, afterward, when she had first begun to feel unsettled. Without question, the feeling was heavy in her by the time hoof and runner touched snow. Before that, its stages were impossible to define. It seemed much more an accretion of small noticings: the way he held back his descent, the angle at which he cocked his head, a hint of tension in his upraised arm, an unsettling disharmony in the team, the unmistakable impression that he was at once avoiding her eyes and forcing himself to smile in her direction.
The elves appeared to notice nothing. They swarmed over him as always, lifted him high on their shoulders, carried him (according to tradition) once, twice, thrice around the sleigh, then wrestled him to the snow and fell to tickling him and mauling him until, through the boom and roll of his laughter, he begged for mercy. When at last they calmed down, the elves set Santa back on his feet, brushed him off, and led him up to the porch where his wife stood waiting.
Without knowing why, Anya felt sick inside.
No, that wasn't true. She knew this feeling well. She understood precisely what was going on. A name flashed inside her head. Pitys. Spoken in a voice that belonged and did not belong to Santa, thick with crushed grape and guile and eternal boyishness. Then the voice and the name it had spoken were gone, and all that remained were a hard knot in her stomach and a wife's unerring instinct for betrayal.
Shiny black boots crunched the snow on the steps to the porch. An alien face loomed over her. A chill white beard brushed soft and swirly against her cheek. Around her body, bearish arms wrapped an embrace.
She watched herself return a kiss, heard the roar of the elves, felt the fire's warmth reaching out to claim her as they stepped inside and closed the door.
As Santa stood beside Anya at the fireplace, the crackling flames seemed neither as bright nor as warm as memory claimed they should be. Home didn't feel like home. It felt like some painted replica, a stage set waiting to be struck at the ringing down of some final curtain.
(That's cuz we don't belong here, Santa old buddy. This place is too perfect, not enough blemish, no room for passion, you catch my drift?)
Oh fine, thought Santa. Now his intruder had found a voice. Raspy as a hacksaw, biting as a freshly opened can of shellac, as dark as three coats of walnut stain.
"I must have snow in my ears, Anya dear," he joked. "Couldn't quite hear what you said."
She grimaced. "I said it's good to have you home." Tension lined her face.
(Sexless bitch is on to us. Best we should—)
I won't have her talked about that way.
"Is . . . is something wrong?" Santa gasped out. His scalp beaded with sweat. A fist clenched deep in his gut, down where truths hide unspoken. Her unwavering gaze unnerved him, and unworthy thoughts—seeds of resentment toward his wife—came upon him. Looking away, he fished for his pipe, his pouch, busying himself with them.
(That's it, chum. Evasive action's always good. And we've got lots of evading to do, all that fine humping—)
She took his face in her hands, searched his eyes for oddity. "Something happened to you out there, didn't it? Something you're keeping from me."
(Oooh doggies, we're in for it now, fat boy!)
Santa froze. How could he just blurt out the truth? It felt so bitter on his tongue, this blunt admission of adultery. Yet even if he were successful in putting her off with vague denials, his unspoken misdeed would stand there solid but invisible between them. Better to lay it before her, he thought, come what may.
(Hold it right there, chubbynums. This situation calls for a bit of good old husbandly deception. I—)
That's enough. I'm telling her.
(Heh-heh-heh. Guess some folks gotta learn the hard way. It's your funeral, bub.)
Santa sat beside Anya on the couch by the fire, looking down at the plush throw rug and holding her hands. And as the grandfather clock's great pendulum knocked aside every other second, he began to tell her what had happened, leaving nothing out.
Fritz loved the reindeer so. While Gregor and his brothers led them to the stables, Fritz walked beside his beloved Cupid, smoothing his chestnut pelt and fondling the intricate branchwork of his antlers. But as Gregor decoupled team and sleigh, Fritz's enthusiasm made him more hindrance than help. After two unheeded warnings Gregor dismissed him, telling him to come back the next morning when Cupid and the others were rested.
On his way across the commons, heading for the elves' quarters, Fritz heard voices raised and the slamming of doors inside Santa's cottage.
He froze.
His pale blue shadow stretched across the drifts as he strained to distinguish words. Elusive shapes moved from room to room. The muffle of window and wallboard stripped away all consonants, leaving only naked vowels that traced the unfamiliar sounds of marital strife.
A chill slipped into Fritz's bones and held. He raised his hands against the sights and sounds. When he put a finger to his lips, they were dry, hard, tight, the painted lips of a ventriloquist's dummy. He faced about then and ran, kicking up snowy waves of panic and denial as he closed the distance between himself and the dormitory.
Midway through Santa's narrative, Anya startled him with a mangled cry. Santa looked at her for the first time since he had begun. Her rage hit him before he could piece together the face it flared from. She slapped him, hard and stinging. Then she bolted from the couch.
"Anya, wait!" he shouted, his jaw awkward and gangly from being struck. He took off after her, deflecting doors slammed at his nose, begging her to be reasonable, to hear him out. At last he found himself kneeling beside their bed. Her steamed spectacles she protected by propping herself up on her elbows and bending her forehead to the pillow.
"Bastard!" she hissed. Tears curved along her lenses and hit the pillowcase. "Didn't you for one moment stop to think how I'd feel?"
"Anya, she seduced me," protested Santa. "She came up to me and started rubbing against me. Not that it's her fault, that's not what I mean. You don't know what that does to a man, to have a beautiful barely-clad woman drool all over him. I know, I know. I'm as much to blame as she is."
She fisted the pillow and glared up at him. "How dare you make excuses for that fairy slut. Just look at yourself. Big saintly man, brimful of love and presents for the little ones. Ah but put down the pack, strip off the red suit? You're nothing but a rutting animal, just another overweight hog with a twinkle in his eye, sniffing at the hindquarters of any sow that trots across his path."
"Don't you touch me!" she screamed. "You touched her with those hands, didn't you? I know your way. Get a woman all fired up under those incredible hands of yours. Dear God, I'm going to—"
She bolted for the bathroom and slammed the door. Santa heard the sharp report of the toilet lid striking the tank, then the sudden uprush of vomit and a splash as of diarrhea into the bowl.
He went to the door and called her name.
"Don't you come in here!" she threatened. He heard her spit into the water, wad up lengths of toilet paper, flush them away. The water ran as she rinsed her mouth.
Then, eyes watery, white strands of hair gone astray, Anya walked past him and collapsed on the bed, staring up at the ceiling. She had left her glasses in the bathroom. Without them she looked older.
Santa, weak-willed as a dreamer, felt the mattress yield to his weight as he sat upon the edge of the bed, careful to avoid all contact with his wife. Words came into his mouth, words not of his own choosing, the wily intruder's words. Powerless to stop them, not even sure he'd want to if he could, he heard them fall from his lips.
"Dearest Anya," they began, "I never wanted to hurt you. Far better to sink into the earth than hurt you, my perfect mate, my beloved friend. As much love as God has given me for the boys and girls of this world, never have I loved any of them with one scintilla of the love I hold in my heart for you."
It sounded so stilted to him, this speech. It amazed and appalled him. The sentiments were undeniably true, but the words felt absolutely false in the speaking—as they must, he thought, in the hearing.
"You're the only woman for me, Anya," he assured her, blinking back tears, fighting against the raw hurt in his throat. "That's the way it's always been. That's the way it will always be."
Santa dug into his pockets for a handkerchief. Just as his right hand found one, the fingers of his left hand closed on silk. Red silk.
(Ah, that's it, now you've laid hold of a piece of reality, the good stuff, a sweet reminder of the breached gates of heaven.)
Enough. No more. Leave me alone.
Clutching the panties, he felt the tingle of flesh-memory woven into them and became aware of his manhood's demand for stiffening blood. Later, he thought, he would discard them, toss them into the fire while Anya slept.
(Oooh, don't even joke about such a thing. Lord o' mercy, you gonna make me keel over and die with talk like that. You keep those babies around, hear me, Santa?)
Yes . . . yes I think I must. It made him ill to picture the red silk falling upon the fire, catching slowly at first, then quicker, seething into oblivion. They were too precious for that; an icon, a totem. He could never bring himself to destroy them.
"Please believe me, my beloved," Santa's false voice continued, "the Tooth Fairy means nothing to me, nothing at all. It was a mistake, a terrible mistake. I'm sorry for the pain I've caused you. If you could see your way clear to trust me, I give you my word it will never happen again."
He was sobbing now, but only partially in repentance. The rest were tears of rage, tears shed for what he seemed to have become. For he knew, even as the words reeled out and honestly begged Anya's forgiveness, that any promise he made to stay away from the luscious body of the Tooth Fairy was an empty one.
The lies lay like spoiled meat in his mouth.
And yet (heaven help him, was he going mad?) he felt good about lying to Anya, liberated somehow, reveling in hidden guile, tasting the fruits of a newfound freedom. Or was it new? At the fringes of his memory, forgotten images, tantalizing and elusive, teased his senses—forest smells, the thick richness of moss beneath his back, the feel of nymph tongue on genital.
"If she appears again next Christmas, I swear to God I'll stand strong against her wiles. I'll send her packing." Anya lay there looking at the ceiling, but her breathing had slowed. "I know that the memory of this terrible time will never fade entirely, not for either of us." The tingle of silk made visions of nudity dance in Santa's head. "But I want to try to get through this with you in a way that, hard as it may seem now, strengthens our love for each other."
Anya had calmed considerably. She looked at him. "All right, Claus. Let's see how things go. I believe we're strong enough to weather this. But don't expect me to want to . . . to engage in intimacies any time soon. It's going to take some time, some adjustment."
Santa nodded. "Take all the time you need."
"I don't know about you," said Anya, attempting a half-smile, "but I'm exhausted." She touched a hand to his knee. "The elves are probably wondering what's keeping us. Go take your shower and let's do what we can to survive the rest of today. We'll start fresh in the morning."
Thank God, he thought, I haven't destroyed it. Not yet.
But in the depths of his coat pocket, Santa's left hand luxuriated in lust.
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Rasmalai Recipe At HomeIngredients
Milk 10 cups
White vinegar 8 teaspoons
Refined flour (maida) 1 tablespoon
Cornflour/ corn starch 1/2 teaspoon
Sugar 1.2 kilograms
Milk 2 tablespoons
Rabdi Milk 10 cups
Sugar 6 tablespoons
Saffron (kesar) a few
Step 1
For the chhenna, bring the milk to a boil over high heat. Set aside to cool slightly to 77°C/170°F.
Step 2
Mix the vinegar in one and three-fourth cups of water and add to the hot milk. Stir lightly till the milk curdles. Add three to four cups of water and a few ice cubes and stir.
Step 3
Strain the chhenna through a piece of muslin and squeeze to remove all the water. You should have 250 grams of chhenna.
Step 4
Transfer the chhenna onto a worktop. Mix together half teaspoon of refined flour and the cornflour and add to the chhenna. Knead, pressing with the heel of your hand, till the mixture is smooth.
Step 5
Divide into twenty-five portions and roll into balls and then press lightly to make patties, taking care that there are no cracks. Mix the remaining refined flour with half a cup of water and set aside.
Step 6
To make the syrup, cook the sugar with five cups of water, stirring continuously till all the sugar dissolves. Add the milk and let the syrup come to a boil. Collect the scum which rises to the surface with a ladle and discard.
Step 7
Continue to cook the syrup for a few minutes longer. Strain the syrup into a bowl.
Step 8
Take one cup of the syrup, reserving the rest, in a deep, wide non-stick pan and add four to five cups of water. When the syrup begins to boil add the chhenna patties. Add half the flour-water mixture. The syrup will froth. Cook, gently agitating the syru
Step 9
Slowly drizzle half a cup of water along the sides of the pan every five minutes so that the syrup does not thicken. Continue cooking for fifteen minutes or till the chhenna patties spring back when pressed. This is a sign that they are cooked.
Step 10
Remove from the syrup with a slotted spoon and place in the reserved syrup.
Step 11
To make the rabdi, bring the milk to a boil in a deep, thick-bottomed non-stick pan on high heat Lower heat to medium and cook, stirring, till it reduces to three-fourth its original volume. Scrape off the cream that will collect on the sides.


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Maintenance links
- MA files from this episode (4) • MA remastered files from this episode (10)
- Template:Titles/Let That Be Your Last Battlefield yields Let That Be Your Last Battlefield (TOS 3x15)
For general discussion on this episode, visit the TOS forum at The Trek BBS.
last two bullets in 'background info' of poor quality Edit
(bullets regarding timekeeping on Cheron and the significance of the namesBele/Loki/Cheron)
I fixed the typos, but they are still klunky, unsupported, and vague. Suggest they be deleted/revised.
racism Edit
I notice nothing in the article about the message of this episode (how superficial racism is). Should something of that nature be included? It is derived directly from Spock's lack of understanding of "He's black on the right side." This was part of Roddenbury's vision. --184.108.40.206 01:28, 7 February 2007 (UTC)
The "Background Information" in the article states thart Frank Gorshin received an Emmy nomination for playing Bele. Yet, I've never been able to verify that, not from the IMDB, not from the Emmy website, and not even here. So, maybe the line should be removed?? - Adambomb1701 18:14, 4 May 2007 (UTC)
- I've removed it. I've been all over the Emmy's and haven't seen that. The Emmy db does go back to TOS, and it's not listed there. We can put it back if someone can cite. 9er 21:00, 4 May 2007 (UTC)
- Here are some sources stating that he was nominated for the role: StarTrek.com(X), IMDb, Wikipedia, Yahoo! Movies, The Telegraph, USA Today, The Guardian, and Gorshin's official site. --From Andoria with Love 03:41, 5 May 2007 (UTC)
- Interesting. I just checked the Emmy database [1] and searched on Gorshin, 1962-2006. His Batman nom is listed there, but no Trek. Assuming the two noms are equivalent (guest actor in a drama, guest actor in a comedy, or whatever cats they had back then), it would be odd if a 1966 nom is there and a 1969 nom is not. It's not like you could say that maybe their lesser categories don't go back as far in the db. Recalling how we cited various sources, apparently incorrect, that all had Colm Meaney voicing a character on Family Guy, which he didn't, I'm leaning towards not including this until the Emmy people themselves verify it. All of these sources could simply be wrong-it's happened before. I will email someone at the Academy on Monday and see if they can confirm or deny. 9er 04:22, 5 May 2007 (UTC)
- Hmm... that is odd. It's possible that they don't have information on guest performance awards from that far back in their database. Come to think of it... was that category even in existence back then? At Wikipedia, the awards for Outstanding Guest Performers only go back to 1975. I'm more leaning towards that this is well-spread misinformation myself. I have e-mailed the webmaster of Emmys.org, but I'm not sure what they can tell me, so please, e-mail away. :) --From Andoria with Love 05:59, 5 May 2007 (UTC)
- Shran, did you hear back from the Emmy webmaster? 9er 20:45, 9 May 2007 (UTC)
- Not yet. Since it's only the webmaster of the site, s/he may not be able to answer the question... and may thus choose to simply ignore it. Then again, it's also possible s/he is checking on it. If you can e-mail someone who actually works with the Academy (or if you already have e-mailed them), that would be great, because I really wouldn't count on much help from the site's webmaster. --From Andoria with Love 02:54, 10 May 2007 (UTC)
Stock footage Edit
I know this will come as a surprise to no-one, but this episode has some blatant reuses of old footage of the Enterprise in space. Half the time, the backs of the naceles have the old, flat, holey appearance. The other half they have that ball appearance. I just found it funny and wondered if it should be mentioned in the trivia section. 126.96.36.199 08:52, 30 June 2007 (UTC)
Riddler Edit
I removed this from the Background section:
- * Gorshin's costume in this episode is very similar to the one he wore as the Riddler in "Batman."
This is a real stretch. The costumes don't look anything alike. - Bridge 02:48, 28 September 2007 (UTC)
Background Information Edit
It is noted that footage from "The Galileo Seven" was reused in LTBYLB, likely for budgetary reasons. I THINK (and this post is asking for confirmation) that this is the only TOS episode that takes place ENTIRELY on the Enterprise, with no planet scenes or scenes aboard other ships. This would be noteworthy, IMHO, and perhaps additional evidence of the tight budgets in effect. - Esjones 22:52, 28 January 2008 (UTC)
- "Charlie X" also takes place entirely aboard the Enterprise as does "Elaan of Troyius." There may be others, but these came to mind quickly. Scott son of Pete 12:28, 11 August 2008 (UTC)
I made a couple of quick changes to the background info portion. I deleted the line about Chekov possibly being out of the viewer's line of sight during the "Spock eavesdropping" scene. This is fan speculation to cover a gaffe and not fact. If the actor were on the set, he would have been included in the shot. The camera dollies all the way through the door, Chekov would have had to have been in a corner somewhere to not be seen.
Also, regarding the "zooming in and out" of the alert lights, I substituted the show "Laugh In" in place of "Batman." A small matter, sure, but Batman never used the zooming in and out technique seen here (despite many reference materials stating the same thing). It was, however, heavily used on Laugh In, which was a bigger hit than Batman by this time.
I added references to two more beauty shots. Scott son of Pete 12:28, 11 August 2008 (UTC)
I removed this: "This is the only episode in which we see the transporter room from the perspective of someone beaming down." The same perspective is used in The Mark of Gideon, in the beginning when Kirk materializes into the empty ship. Hokstein 03:47, 10 October 2008 (UTC)
In Space, no one can go South Edit
In the background information section, there is the following bit.
- "Oddly, Kirk says that Cheron is in the "Southernmost part of the galaxy". Technically, this is impossible, as "North" and "South" don't really exist in the vacuum of space. Possibly, this term was used to avoid using other, vaguer terms like "bottom"."
Since there is such a thing as galactic south, meaning the section of the galaxy lying below the galactic equator, in the direction of Sculptor, should this remain in the article?--Megs 18:58, 25 April 2008 (UTC)
- I have corrected an error on the information. Modern astronomy does use a system of galactic coordinates in which north and south in the galaxy are defined. Galactic coordinates are centered on the Earth and are specfied by galactic latitude and longitude. Latitude zero, or the galactic equator corresponds to the galactic disk. The galactic center defines longitude zero. Thus the hemispheres above and below the disk are designated as north and south. This coordinate system works as the Earth is almost exactly embedded in the disk midplane. Galactic coordinates are used heavily in many areas of observational astronomy. – The preceding unsigned comment was added by 188.8.131.52 (talk).
- Since this issue was raised as one that fan's have trouble with, the note serves as a corrective bit of information to those who think a mistake was made by the writers, when in fact they were OK. Removing it does not correct this error, and risks someone raising it anew. – The preceding unsigned comment was added by 18.104.22.168 (talk).
- In any case, the corrective note is in the article.– Cleanse 00:42, 7 June 2008 (UTC)
Transporter aspect? Edit
According to Background Information, this is the "only episode in which we see the transporter room from the perspective of someone beaming down." I just watched the episode online, and didn't see that. It shows both Bele and Lokai beaming down just the same as ever: watching them be dematerialized. Did I miss something? -Randy 11:25, 14 June 2008 (UTC)
- You don't get to see the beamdown process from their point of view. What they meant was that the camera is placed so that you can see the transporter room from the pad.--Megs 01:52, 18 June 2008 (UTC)
Removal Edit
I removed most of the syndication cut item from the Background Information. Here's what I removed:
- In at least one syndicated version of Star Trek epsiodes, parts of the story have been edited out of five episodes. In this version of LTBYLB during the self destruct sequence the parts of Spock and Scotty are edited out. (The other four episodes are "Catspaw" (The part with the 3 witches confronting Kirk and Spock are cut out(although the end credits list the actress!!) & "Mirror, Mirror" the part where Kirk finds out about the Tantalus field-yet in this version the part is kept in where Kirk informs opposite Spock of an "Invincible weapon." In "The Squire of Gothos"-the scene where Trelane shoots a phaser and dissolives the "Salt vampire" costume. In "The Ultimate Computer" the scene where the enginering officer is "zapped" by an plasma beam). Star Trek is not the only TV Series of syndicated editing: MASH had at least two episodes which were later synidcated with parts edited from orginal episodes.
The tone of this suggests that syndication cuts are unusual when in fact they're routine. I don't know it for a fact, but I'm pretty sure that every episode of TOS was cut for syndication, especially in later packages. Noting the cuts made per episode is a valid piece of information, per episode. But we don't need a list of all noted cuts from all episodes on an episode page. I won't even get into the MASH reference. --9er 03:21, 16 Nov 2005 (UTC)
- The "Batman" reference needs to go back in. Its directly referenced in several publications, among them the Star Trek Compendium. Frank Gorshin himself also said in an interview that it was deliberate due to his role as the Riddler. -FC 14:49, 11 August 2008 (UTC)
- Which does nothing to alter the fact that Batman didn't do that with the camera. "Other publications" are wrong regardless of what Frank Gorshin said. And don't take his recollection as gospel. Many older actors tend to remember what they want to remember, which happened often with James Doohan, Shatner, Nichols and cast members of other shows. Batman has tilting camera shots, but never the zooming in and out technique. That was all Laugh-In. Putting the note back in won't make it any less incorrect. Scott son of Pete 20:18, 12 August 2008 (UTC)
- While you may very well be correct, on this site we go by references and cannot change something in an article because we may personally believe that a reference is wrong. We need an established source (See: here). Since we have one for the "Batman" thing, that is what the article should read. Although, to be fair, a note could be added that this is disputed. I'm sure something can be worked out. -FC 20:33, 12 August 2008 (UTC)
- Agreed, without citable proof, the Laugh In claim is likely inappropriate here and I'll delete it. But, while people have "said" it's a Batman trait (and I know I'm going on about something minor), all a person has to do is watch the series to know they never do the zooming thing. I can't give references, since I didn't read it, I watched the series in its entirety within the last few months. So, all I can say is I'll reword it to support the claims to and from and let the reader/viewer make their own investigation. Thanks much! Scott son of Pete 18:06, 13 August 2008 (UTC)
- You know something? Everything I put in there to clarify makes the entry about Batman, and this ain't a Batman Wiki. I removed my anal Batman correction and simply kept in the "alledgedly a homage to Batman" and let it go at that. That should be fine, but if you want to change it, I'll go with whatever you want. I lost focus for a minute. :-) Scott son of Pete 18:23, 13 August 2008 (UTC)
- This can certainly be something we can continue to research. I imagine what happened is that Gorshin told the same incorrect story for so many years that he eventually began to believe it himself and thus it got picked up by reference book writers. What we need is a modern current Star Trek book written in the past few years that will correct the error and refute what the books from the 1970s were all saying which was the "Batman" connection. I for one hated the 1960s Batman series and avoided it whenever it was on TV so I'm not an expert here. -FC 22:26, 13 August 2008 (UTC)
- Really? It was such a funny show. :-) Anyway, thanks. It's always fun to blow a minor issue way out of proportion. If I learn anything I can put a reference to, I'll go back to it. Scott son of Pete 12:49, 21 August 2008 (UTC)
More removed Edit
- There is a scene in this episode in which Lokai pleads his case to the Enterprise crew. In the only instance in the series other than "Charlie X" and "The Tholian Web", the door to a room on a functioning starship is not fully closed (in "Charlie X" it was the recreation room, in "The Tholian Web" it was the chapel). The door here is only open a few inches. This seems to have been done simply to allow Spock to eavesdrop on the conversation, although this doesn't have much bearing on the story.
- ...Apparently any three officers of a certain rank and/or security clearance can activate the self destruct sequence. This makes sense in the event that one or more of the command crew have been killed in the crisis that has led to a decision to destroy the vessel.
- The Enterprise travels from Ariannus to Cheron in about four minutes real time. This despite the fact that Cheron is supposed to be in a remote, uncharted quarter of space.
- Cheron, coincidentally, is rather close to the name of Pluto's moon (spelled "Charon"). The companion of our solar system's dwarf planet was discovered in 1978. In Greek mythology, Charon was the ferryman who took the dead across the River Styx. Although Cheron is located in an uncharted section of space, Kirk recognizes the name. This lends credence to the supposition that this is where the Romulans suffered a humiliating defeat in the "Battle of Cheron," as mentioned in TNG: "The Defector".
- Kirk says that Cheron is in the "southernmost part of the galaxy". While the "southern" reference caused a lot of scoffing among fan reviewers, this is actually a valid statement, as 20th century astronomers have defined a system of galactic coordinates in which this would make sense. In galactic coordinates, the disk of the galaxy defines the "equator," while sectors "above" or "below" the disk are designated as "north" or "south."
- When Lokai is running through the corridor at the end of the episode toward the transporter room, he can be briefly seen holding a rope in his left hand as he follows the camera filming him down the corridor.
- This script for this episode is noteworthy for increasing the amount of dialog normally allocated to the supporting characters. Nurse Christine Chapel is given only one (throwaway) line ("He's coming around, doctor"), but she's still included.
- The Star Trek: Enterprise episode "Chosen Realm" bears similarities to this episode, with aliens descending to a planet to find that its inhabitants let their hate destroy themselves.
Remove similarities/nitpicks/speculation/realworld comparisons — Morder (talk) 07:08, October 18, 2009 (UTC)
- I also removed the following as a nitpick:
- In a continuity error during the recreation room scene, although both Walter Koenig and George Takei are heard speaking lines of (dubbed) dialog in this scene, Koenig is not in the room.
- I removed this long long political commentary, which went for months without being cited and I think it's really just historical debate and doesn't have much connection with the episode:
- The first story outline was submitted one week after the release of the final report of the National Advisory Commission on Civil Disorders, known as the Kerner Commision after its chair, Illinois Governor Otto Kerner, Jr., which President Lyndon B. Johnson appointed in the wake of the rebellion in Detroit, Michigan, from July 23-27, 1967, the worst social uprising in U. S. history up to that point. Johnson directed the commission to determine the causes of such urban disorders, which had become annual spring and summer events since 1963, and make recommendations to prevent their recurrence. The central thesis of the report was: "Our nation is moving toward two societies, one black, one white – separate and unequal." Johnson, however, was mired in a military and political quagmire in Vietnam, which was becoming increasingly costly in blood and treasure and draining resources, attention and support from his ambitious Great Society social programs. Rejecting the commission's recommendation to pour greater financial resources into addressing the causes of racial injustice and inequality, Johnson, breaking protocol, refused to meet with the commissioners or allow them to present their report to him in person.
Deleted from Background Edit
- In a syndication cut which was only used by the Sci-Fi Channel, the self-destruct sequence is considerably trimmed where Kirk activates the entire destruct sequence by himself and then in the next scene he is giving the activation code for the countdown. In the normal syndication broadcast which appeared on network television, the entire destruct sequence can be heard.
Every episode is cut for syndication. If we indicate every instance of a deleted scene, episode articles would be pages long.
Mrtrekkiedude 04:14, August 6, 2011 (UTC)
There was a remark that "the chase goes on forever." No Concluding episode of Bele and Loki still chasing one another for thousands of more years?– The preceding unsigned comment was added by 126.96.36.199 (talk).


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The Alaska Earthquake Information Center's network of seismometers picked up 40,686 quakes last year in the state and bordering parts of Canada. That is significantly more than the previous high of nearly 32,000 in 2003. In 2013, there were only about 28,000 such events, the center reported.
"We've blown away those benchmarks," said state seismologist Michael West, reached by phone. "There's never been a year where we identified 40,000 earthquakes in a year."
"For nation shall rise against nation, and kingdom against kingdom: and there shall be earthquakes in divers places, and there shall be famines and troubles: these are the beginnings of sorrows." (Mark 13:8)


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Lindsay Pinchuk
Founder and CEO of Bump Club and Beyond
How did the idea for your business come about?
I wanted to meet other pregnant women when I was expecting for the first time. This stage of life can be very isolating, and it is so much better when you have friends going through it with you! Instead of just connecting with women through other friends, I decided to host a few events for moms-to-be. We did a shopping event and a workout, and just by word of mouth (this was before Facebook business pages) the events filled up. From there we went on to host expectant mom dinners and eventually new mom brunches. We are now hosting events in 25+ cities around the country!
What motivates you?
I don't want any mom or expectant mom to go through the process alone. I want all women to feel supported and know that there is a community out there waiting to embrace and support them. Connecting moms and moms-to-be (and their families) with the best information, products, resources and each other is our number one mission and one we have never wavered on.
What is your super power?
My ability to multitask! I can be getting my hair done for a TV segment, writing a proposal and talking to someone next to me all at the same time. I just know how to get sh#t done and make it work!
Who is your supporting cast of characters that help you to be so darn crush worthy?
I couldn't do this without the support of my family. First and foremost, my husband; we both travel for work and he has been amazing at keeping things together when I am gone. I also want to give a shout-out to my mom, who has helped with everything from stuffing gift bags to helping take care of the girls. My girls are amazing too. They are starting to understand that mom needs to help other women "how to be good mommies too," and I will forever be grateful to them for sharing me in this way. Finally, major shout-out to the BCB team. We have an incredible team at BCB and they all play an integral role in our company.
What do you consider to be your theme or "pump-up" song?
It's My Life, Livin' On a Prayer, Saturday Night.
What is the most difficult part about being an entrepreneur?
It's hard to turn it off. There is always something to get done and never enough time in the day to do it all.
Who do you have a crush on?
Jon Bon Jovi of course! I've seen him 33 times in concert and my water broke two days before I was supposed to see him for the 34th time. I had to give up my tickets :(


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Colorado is home to a lot of mountains classified as "fourteeners." That is these mountains boast elevations of fourteen thousand something feet above sea level. The tallest mountain in Colorado is Mt Elbert at 14,433 feet and the shortest fourteener is Sunshine Peak coming in at 14,001. I have a fantastic view of a fourteener from my home, Pike's Peak at 14,110. There are also a ton of thirteeners as well.
It doesn't matter whether you hiked a thirteener or a fourteener, they both can be quite difficult to summit. First of all, they aren't easy! The air is thinner, you're exposed to high winds, sun, maybe altitude sickness, fluctuating temperatures, and perhaps all four seasons of weather. And more often than not, the routes to the top collect quite a few miles with steep grades, some scrambling over boulders… in addition to snow.
As you climb and hike up, your mind plays games (especially if you are beginner) with you encouraging you to quit and you feel all your muscles at work to include all those involved with breathing. As you near the top, you gain a renewed sense of determination. When you arrive, there is a huge sense of accomplishment. You did it! You are elated! You take in and immerse the view! Maybe look for the geological marker on the summit because that's kind of fun. Take lots of pictures and maybe video to include one of you holding your summit sign (just make sure you bring your sign back down with you). Meet new friends on top. And you have a snack!
Then it is time to go down. In general, you'd think going down would be easier and of course faster, but on a fourteener, more often than not, you're dealing with loose rock (talus) and scree. You don't want to dislodge any rocks because that can quickly turn into a very dangerous situation. You have to be careful where you step because a miss step will involve a fall. Obviously some falls can have major negative results other than a minor cut or bruise. There is slippery snow even in the summer. Often the loose rock and scree is with you until you reach the tree line around 12,000 feet. On top of this, going down is hard on the knees and you'll feel that right away! When you finish, you'll probably be very excited to see the trailhead parking lot area. After a very long hike, the parking lot is a welcome site!
When you reach your car, you'll want to take off your gear, pull off your hiking boots/shoes, and put flip flops or something else comfy on. Before you sit in your car for the long ride back to where you came from, it is very smart to do some stretching. I highly recommend that you stretch out your quadriceps and calves but also some type of chest expansion. Do each side. Use your car, a big rock, or a tree to assist you as you stretch since you probably won't feel like balancing.
Nothing fancy about these tried and true stretches!
* Standing Quad Stretch – Pull one foot up and back towards your butt
* Runner's Calf Stretch – Put hands on car or tree, step back in a lunge and press that heel into the ground
* Hamstring Stretch – Put one foot on your bumper or rock, bend at your hips, and reach towards your extended leg
* Standing Figure Four Stretch (Standing Pigeon) – Put your hand on your car or a tree, bend knee and place ankle on standing leg's thigh, and lower hips as if you were going to sit. This is for your hips.
* Chest Stretch – Interlace fingers behind your back and bring yourself into a little backbend.
Then get into your car and drive towards the restaurant or pub where you'll enjoy a celebration feast and maybe an adult beverage.
A day or two after hiking a fourteener, try this restorative yoga sequence to lessen the sensations and muscle soreness!
First of all, you hiked a 14er! You don't need a vinyasa or power class. You need more of a slow flow, restorative, and yin approach.
1. Start standing in MOUNTAIN POSE. Find a deep equal ratio breath that will evolve into Ujjayi.
2. Inhale, lift those arms overhead for EXTENDED MOUNTAIN. Exhale TWIST right extending arms out to the front and back of the room. Inhale EXTENDED MOUNTAIN. Exhale TWIST left. Inhale back to EXTENDED MOUNTAIN. Interlace fingers, exhale SIDE BEND right. Inhale up. Exhale SIDE BEND Left. You can repeat a few times.
3. Inhale EXTENDED MOUNTAIN. Place palms together and as you exhale, slide hands to heart for ANJALI MUDRA. Next, place hands on backs of hips as if you were sliding hands in pockets. Soft, gentle BACKBEND, inhale. Exhale to MOUNTAIN. Inhale to EXTENDED MOUNTAIN. Exhale swan dive into FORWARD FOLD. You can use blocks and either way keep knees soft so hands are grounded into the mat or blocks. Stay here for a few moments. Inhale HALF LIFT. Exhale FORWARD FOLD. Do a few of these.
4. Stay in HALF LIFT, bend knees a lot and allow your torso to come to be fully supported on your thighs. Allow your arms to RAG DOLL. If you like it better, you can place your hands in the crooks of your elbows. Gently sway side to side staying supported on your thighs the whole time. Come back to center and place hands on mat or blocks for FORWARD FOLD.
5. Step back into DOWNWARD FACING DOG. Let your heels sink down. This should feel good after hiking. Peddle your feet for WALK THE DOG. Linger in one side as long as you like. Then return to DOWNWARD FACING DOG.
6. Shift forward into PLANK (your variation). Exhale into CHATURANGA to your belly. Use two yoga eggs or one block and push them into your sternum for a SUPPORTED SPINX POSE. Allow the butt to soften with legs hip distance apart. Stay here for a moment.
7. Remove the eggs or block and slide up into ALL FOURS. Slowly pursue a few CAT and COWS. Come back into ALL FOURS and find THREAD THE NEEDLE. Do each side and don't rush. When finished, sink back into CHILD'S POSE.
8. Come out of CHILD'S POSE and find DOWNWARD FACING DOG. Lift your Right leg to the ceiling for THREE LEGGED DOWNWARD FACING DOG. If you'd like, bend your right knee and STACK YOUR HIPS for a gentle hip opener. Square up your hips and bring the right foot between your hands, drop your left knee onto your mat for a KNEELING LUNGE. From here, lift your left arm overhead, rotate your torso towards the left and then reach over your body. Undo your reach and rotation. Place your hands on the mat, framing your foot. Option to lift left knee and to come up on ball of foot. Twist torso into forward leg. Right hand can stay on right thigh or reach up towards the ceiling for DRAGONFLY TWIST. Come back into your lunge, step back into DOWNWARD FACING DOG again and do the other side.
9. If you are feel OK, add this next part in. If not, skip it and move onto step 10. From DOWNWARD FACING DOG, lift right leg up for THREE LEGGED DOWNWARD FACING DOG. Draw that knee into the chest and place the foot between the hands. Step in a little with your left foot and place it firmly on the mat with all four corners grounded. Orient your toes forward, allow hips to square, and place hands on hips. Hinge forward at the hips and as you exhale sink as deep into the pose as you feel comfortable for PYRAMID. Stay folded for as long as you like. Inhale lift your torso up, step back with your left foot to find a WARRIOR I stance. Inhale your arms up towards the sky. Then as you exhale, bring them behind your back, and interlace fingers. Inhale lift the chest and pull your knuckles down towards the mat. Exhale, forward fold, keeping hands interlaced. You can keep arms on your back or perhaps lift them slightly off your back but still keeping fingers interlaced. Sink head down towards your mat and keep your shoulders on inside of your forward knee for HUMBLE WARRIOR. Inhale brings you up and undo your hands. Exhale, cartwheel back to your mat and step back into DOWNWARD FACING DOG. Do your other side.
10. Inhale, look towards your hands, exhale walk towards them to find FORWARD FOLD. Inhale HALFWAY LIFT. Exhale back to FORWARD FOLD. Inhale reverse swan dive up into MOUNTAIN POSE.
11. Find a wall and stand facing the wall about arm's distance away. From here, using the wall find DANCER'S POSE. Pull your heel up towards your hips and if you feel OK, slide supporting hand up the wall as you fold your body forward. Hold. Then with the same leg as you come out of dancer's pose, place your ankle on your supporting thigh for FIGURE FOUR. Start to walk your hands down the wall as you start to sit turning this into SUPPORTED STANDING PIGEON. Do the other side.
12. Come away from the wall. Straddle your legs out just past shoulder distance. Orient your feet forward and place hands on your hips. Fold down and place hands under shoulders for WIDE FORWARD FOLD. Linger here. Then when ready, walk your hands backward till your fingers are in line with your heals. Flip your hands around so you fingers are pointing behind you. Flatten palms into your mat. Gently put body weight into the balls of your feet. Linger here. To get out, even out your body weight into your foot, flip your hands around, and walk them back under your shoulders. Place your left hand under your face, lift right arm out to the side and gently TWIST. To increase your range of motion, bend your opposite knee. Untwist and return hand to mat. Do the other side. When done, place hands in your hip crease and hinge up. Step together.
Now, let's slow down and take more of a restorative approach.
13. Prep for LEGS UP THE WALL. Put a folded blanket next to the wall. Orient yourself on the blanket and drift your legs up the wall. It doesn't matter if your hips are flush with the wall or several inches away. Stay here for as long as you'd like. This is perfect for any swelling in the ankles or feet that might have occurred by just being on your feet all day long hiking (not because of an injury).
14. Come out of LEGS UP THE WALL POSE gently. Keep your blanket as a pillow for your head. Grab two blocks or two eggs. Lay on your back for CONSTRUCTIVE REST POSE. Place your feet on the blocks or eggs allow them to be at a slight angle that aligns with your feet. Knock your knees together. Place your fingers to include thumbs on the soft part of your belly for PEACEFUL LAKE POSE. Imagine your knees as the fourteener you recently hiked and your belly is a peaceful alpine lake where all ten fingers are little boats floating on tranquil waters. Allow your breath to soften so your boats don't have turbulence. Find your natural rhythm of breath. Perhaps you close or soften your eyes. Stay here a while.
15. When you are ready, slowly come into a comfortable seated position. Find GARUDA MUDRA. Imagine the majestic eagle that sores the mountains; kind of like you. Give yourself an embrace and thank your body for the journey it just took. Find ANJALI MUDRA and close your practice.
Hopefully, you feel a lot better after this restorative slow flow sequence. It is not meant to be power yoga or a vinyasa, but rather more of a slow flow, gentle sequence! After all, you just hiked a fourteener. Maybe sooner rather than later, you just might be inclined to hike another, after all hiking a fourteener can be quite contagious. Colorado has 58 to hike, explore, and climb.
Perhaps, I'll see you on a summit sometime.
Visit Eighteenth Element Yoga and practice with me.


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Finishing the OKGP CX Series - Undercross
This past weekend was the finale of the Oklahoma Grand Prix Cyclocross Series. The TLC boys did an incredible job putting a fun, dogged, unique cyclocross race together for the local racing scene.
In fact, all the local races this year had their own unique-ness and approach. I've only been racing cross 6 years, but this year it felt like all the local Oklahoma courses had their own challenges, terrains, and a lot more technical aspects added in then in recent years. It was a physically and techincally challenging year!
Going into Sunday's Undercross, and looking at the Elite Men's standings, I wasn't going to hold off Mr Drummond for 2nd place - but only had to finish to seal in 3rd and a place on the overall podium. So, I decided to double up and do the 30+ Men's Race as well.
We rolled in waves with the 40+ first, then 30+, then Single Speed/50+ after. Chris was able to quickly jump up and get with Jake in the 40+ race. And the rest of us at the lead of the 30+ group (8 of us) were lined out and pretty close the whole first lap.
After we started getting lines dialed, and that first hero lap in, I was able to start consistnetly pulling away from a couple of guys that had come from Arkansas (THANKS for coming to OK cross). It was a 40 min race, and lap times were right at 7 minutes - so we only did 5 laps. I was close to a group of 3 at the head of the 40 race - Raton, Sammy and Chris Siemens forever. I could see Raton and Sammy 1-2ing Chris and getting seperation.
On the last lap I was able to roll up to Chris and we had an outright battle that had me turn my 2nd fastest lap! That was a blast to have an ending like that to the race. I ended up 2nd in the 30+ race, and Chris finished well enough to seal the overal win in the 40+ OKGP Series (congrats!)
Legs felt really good in the 30+ race so I was pretty optimistic for the 1/2 race. At the start, in tongue in cheek fashion, after we got to the 180 pavement turn around I zipped past Chris, Jake, Dylan and Ray into the course. But - honestly - I corner like shit compared to those guys. I was laughing as I went past and it didn't take until past the mid-field barrier/logs for them to easily be clear of me.
There is plenty of Skill work that needs to be addressed the next 12 months to be able to battle with those guys.
As I got a couple laps into the race it was clear that I didn't have the punch I needed in the few really steep uphill 180s to make a dent. Ryan, Pete, Raton and Cody were able to catch and pass. I was able to hunt down on Cody for a while until the last lap when I gave up the ghost. All of those guys continue to ride stronger and stronger.
But, I was able to finish the race, and enjoyed getting to step onto the Elite Men's Series final podium for the first time.
Have learned a lot in the skills area and training area *during* the season that I'm processing, and adjusting as I think about next year.
One CX race left on my schedule - the 2/3/4 race Sunday at Ruts and Guts. Then it's time for 2017 road focus.


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Applying Science to the Art of Marketing
Our team of data scientists, engineers, and modern marketing experts help brands and agencies translate marketing signals into masterful marketing performance. #MustLoveData is what we live by.
Origami Logic is a marketing analytics company that helps brands and agencies master their marketing performance. We empower organizations to do their best marketing by providing the most timely and accurate way to collect, explore, understand, and optimize marketing results. In today's rapidly changing marketing environment, marketers need tools that allow them to stay agile and gain a better understanding of their efforts – what's working and what isn't – so they can take action and optimize performance. From day one, we built Origami Logic for modern marketers so they can improve their understanding of performance, accelerate decision-making, and make an impact on their company's bottom line.
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We are passionate about pushing the boundaries of what's possible and changing the way marketing is done. We are trusted by the largest, most-recognized global brands. We draw on experience from our work at Facebook, Google, Yahoo!, AppDynamics, Juniper, Sprinklr, IBM and Teradata.
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Origami Updates
Our Company Values
Show up as yourself.
(Be real)
…and bring your best game. We take pride in our cultural diversity and unique experiences, as our rare blend of DNA is what makes us strong. We have a no a-hole policy and don't have time for egos or hidden agendas. We speak our minds and express our opinions, and always welcome feedback. We value humility and integrity, and always strive to stay true to who we are.
Do the right things right.
(Get sh*t done)
We have a passion for getting sh*t done. Our curiosity fuels our innovation and our drive to deliver ensures that our business continues to thrive. This is why we're always thinking unconventionally, obsessing over quality, and taking action rather than sitting still. We count on each other to make smart decisions and do what's right by our company, customers and partners.
Every fold counts.
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Each of us contributes to our product and our success. We are creative problem solvers who go beyond our job descriptions, wearing many hats and jumping in to help each other overcome challenges. This is why we value team-first thinking and aim to put the company and our customers ahead of our individual ambitions. We support each other during setbacks and give high-fives when we succeed, because every fold counts.
Our customers are our inspiration.
(Customer centric mindset)
We work with the world's biggest brands and most sophisticated marketers, and aim to help them navigate the uncharted waters of marketing signal measurement. Together we have a collective wisdom that inspires our product development and user experience. We never settle for good enough and strive to turn feedback into action every time we work with our customers and partners.
Origami Logic is headquartered in the heart of Silicon Valley and has offices in San Francisco, New York City and Tel Aviv. Our Mountain View, Calif. main office is steps away from CalTrain, multiple beer gardens, noodle houses, and a variety of fantastic coffee shops. We're a diverse team of sky divers, Game of Thrones viewers, recipe exchangers, and beer enthusiasts – and we have the Slack channels to prove it.