#(i don't know if they are. this movie is confusing and the script goes around in circles) this is not it

[thebirdandhersong]

????

[st4r-bby]

hi!! this is my first req but i was wondering if you could write something about jack champion having feelings for actress!reader who plays as his love interest on scream? like everyone knows he likes her but her and he doesnt know what to do because they are best friends? just lots of fluff

AMAZING IDEA ANON!

movie : none really but they both play in scream 6 together

character / person : jack champion

pairing : !shy-ish jack x !actress reader

contains : fluff, lots of fluff, fluff that rots your teeth, jack being head over heels for the reader, reader being oblivious.

both y/n and jack were actors in the new scream movie, jack played ethan landry and y/n played (whatever name) as his love interest. one of the scenes in the movie is when y/n has to kiss jack. jack tells mason and now they're yelling at each other in jacks trailer.

"but mason!" jack squeaks, "i don't wanna hear it. it's just a peck anyways." mason says, "but it's y/n! i'm her best friend, she's mine, i have a crush on her, she doesn't have one on me! it's going to crush me when we kiss!" jack starts whining. mason rolls his eyes, "come on, it's not that big of a deal." jack clears his throat dramatically, "yes it is! and you do not tell jenna about this or i'll stab you in real life too."

mason gives him a confused look. "i read the whole script." mason rolls his eyes again. "jenna already knows you like y/n, everyone does!" jacks eyes widen and he yells, "WHAT?!" mason covers his ears slightly, "yeah!" jacks jaw drops, he looks flabbergasted. "EVEN Y/N??" mason laughs, "everyone expect y/n. somehow." jack lets out a huff of relief. "good, i don't want y/n to know.." they hear the door to jacks trailer open and shut. "you don't want me to know what?" y/n says, confused while carrying a box of dunkin donuts.

"oh and i brought dunkin." she opens the box showing all kinds of donuts. while jack is sitting there shocked at her timing, mason runs to the box and grabs a chocolate one, praising y/n for it. y/n smiles at mason then looks at jack, waiting for an answer she tilts her head. any other person would've moved on, but jack, jack thinks that was one of the cutest things she's ever done.

"oh.. uhm.. well.. you.." jack rambles, not finding the right words to say. y/n laughs, making his heart skip a beat. she grabs his favorite kind of donut, walks up to him, and shoves some into his mouth to shut him up. "okay, okay pretty boy. i get it, you don't want me to know. just eat the donut." after she calls him that, he feels blood rushing up to his face already. he eats the donut she shoved into his mouth and she smiles. "good boy!" she pats his head.

mason looks at them both and smirks, he grabs two more donuts and leaves the trailer silently. y/n sits down on a chair and messes with things in his trailer. "interesting trailer, j." she spins around. "you know why i'm here right?" he shakes his head, not being able to speak after those names she called him. "we have to rehearse the kiss scene remember? the directors changed it up a little and said it shouldn't be a peck and it should just be a longer kiss." he curses at the directors in his head but just nods.

she gets up and walks up to him, "so it goes a bit like this.." she grabs his hands and puts them on her waist then she takes her own hands and puts them on his cheeks. "and then we kiss for like five seconds." she smiles. jacks heart skips a bit and he thought he stopped breathing for a while but they both pulled in and they kiss.

y/n would consider it amazing, jack considered it being on cloud 9. they pull away after five whole seconds and she smiles at him. "wow jack, i didn't expect that to be as great as that was." somehow jack gained the confidence to speak again, "can we.. do it again?" he gets embarrassed and y/n realizes what's going on. "jack.. if you want to kiss me as y/n and not (characters name) you could've just said so." she smiles and they pull in for another kiss, and many more after that.

okay i admit this was kinda good- BUT THE BEST IDEA CONGRATS ANON

[lime1991]

hold on i have to recraft my trolls age hc... i just learned there was a brozone website and on said site we have:

January 2nd 1999 is, maybe, Branch's birthday? And instead of being like "awesome im a big brother" Floyd just goes "thank god im not the baby anymore" after hes born.

Baby Branch's oldest message is this:

February 26th 1999. He's over a month old at this point, but the phrasing of "tonight's show" leads me to believe he was part of the band from literal birth (also why Floyd's first reaction to his birth is "thank you for saving me") and therefore this isnt his first show.

The last logins for all of the brothers is March 11th 1999

And just a day before, according to John Dory, new merch dropped

Soooo i think its safe to say around March 11th 1999 is when the band broke up after their ruined performance, which makes sense that it was also the last time any of them logged into the website. (though i think it would be sad and sweet if it showed branch had logged into it sometime recently but whatever)

So that brings me back around to the age thing.

The trollspedia page states Poppy is around 21-23, and I agree and am more inclined towards 22-23 personally. Seeing as Branch was born in January 1999, he'd be 24 in 2023. But the only thing that confuses me a little is Branch saying its been 20 years since the band broke up:

For 1999 to be 20 years ago, that would mean the movie takes place in 2019. And... honestly that's not too far off from 2023 so i don't mind that being the case, its always vague about what year its meant to be, a lot of animated movies are like this. Also i wanna bring up that the song Bridget and Poppy sing in the beginning (Good As Hell by Lizzo) came out in 2019, SO... its not impossible that the movie is meant to take place in 2019.

SO... with this all in mind... my new theory/headcanon:

As of 2019...

John Dory - 39 Bruce - 38 Clay - 33 Floyd - 28 Branch - 20

And as of 1999...

John Dory - 19 Spruce - 18 Clay - 13 Floyd - 8 Branch - 2 months

ALSO lets not forget the fact that troll age stages are different from humans', a 2 month old is singing and dancing in a boyband. They tend to mature past their actual age really quickly.

(i know these are country trolls, but the idea is still there. as soon as they pop out the egg, trolls are basically toddlers)

And I've tried to keep my theory compliant with what the wikia says (like how Clay's 1999 self is referred to as a teenager, therefore i made him 13) because i believe theyre mostly right. however. i also believe the movie takes place in 2019, not 2023. even if that wasnt the intention of dreamworks, they wrote in the script that its been 20 years since 1999... that can literally only be 2019 lol.

But if we want to imagine it takes place in 2023, heres age hcs for that too:

John Dory - 43 Bruce - 42 Clay - 37 Floyd - 32 Branch - 24

Btw this means, in my hc, Poppy is 19 in 2019 and 23 in 2023, as is implied in the wiki. Which makes sense to me, because Branch is obviously older than her by at least a year. With my hc that Bruce and JD are only a year apart (again, in compliance with the wikia that claims JD was a teenager in 1999 and therefore not 20 like i want him to be. and making the "heart throb" not a minor bc thats weird to me) the moment where Poppy calls JD the "old one" but later fawns over Bruce is made extra funny when the two of them are so close in age.

But i want to say for the millionth time so nobody gets confused bc of all these numbers: I THINK BAND TOGETHER TAKES PLACE IN 2019!!! not 2023. And don't even ask about how the first movie truly fits into this, I DONT KNOW, they definitely did not fully think through a trilogy in 2016. Some things are just a product of when they came out and thats ok.

[leviadraws]

Can you please talk more about sdra actor au? It's super interesting and I would love to hear more!

For particular consideration, How did the actors for Tsurugi, Rei and Teruya react to the twist for the trio in sdra2? Were there words? Were those words coming from any particular person?

Side question you don't have to answer, are any of the actors dating doesn't have to be with each other.

Oh man, I'm gonna have to actually sit down and think about this properly /lh I'm really happy people like it!

Under cut, since game spoilers and that

I'm... not actually sure which twist you're referring to with the trio? Rei's execution in the prologue, Teruya's actions in chapter 4, or chapter 5/chapter 6 in general. So, I'll just write a bit about them in general filming the series.

So, because of the nature of the series in that its an overarching mystery the cast are only given the script of the episode they're filming. So like each episode would be prologue/ch1 daily/ch1 deadly etc. This meant that everyone thought that Rei was killed in her execution, but she knew to return for the filming of chapter 4 onwards.

So like, Rei, Tsurugi, Akane, and Utsuro knew that they would be returning for chapter 5/6. Teruya knew he was returning for chapter 2, but didn't know of Rei's role (or the rest) until chapter 4.

They had to keep the details of the later chapters hidden from him as Teruya is so bad at keeping secrets and would've told the rest of the cast immediately and production didn't want details leaking out to fans before filming had finished. He caught on a little when everyone stayed around after filming the prologue but figured it could be they'd be filming flashbacks like in the original series.

I think Teruya's actor would've had words about how chapter 4 panned out. It's just such a turn without foreshadowing (imo) so I can't imagine he'd be super stoked about it. Especially since his character was pretty heavily slammed in the fan reception of the first series and so during filming he was pretty convinced that the turn in character was just so they could kill him off as the least popular from the first games cast.

He gets pretty down about it when he goes to get dinner with the rest of the returning cast, they have a pretty hard time cheering him up since they know what's going to happen but can't tell him yet either.

He's unaware that his character becomes a lot more popular until after series 2 airs. He's very confused by this.

I think, Tsurugi's actor was a little disappointed with how he is in chapter 6, when you've played a character for so long it's a little disheartening to see them change so much off-screen. It didn't help that fans blamed him a lot in the reception of the show's series two, while the reception of the first series still had him 50-50 from the rather open ended ending. Like Kanade, he gets a fair few unpleasant mails from more unhinged fans.

Rei is less bothered by the writing changes, she's working on other projects between the second series and so her part was reduced to a couple of days work before chapter 6. She's the kinda actor that would normally go to the script writer with questions and an annotated script. But she has so little to work on in the second series that she only works to make Rei a little more compassionate over that time.

They had huge problems with the effects in her prologue execution, and they didn't have the budget to CGI her burning, so they use that close up of her face and then cut straight to ash. It got quite a few laughs in early screenings with how b-movie it looked.

Both Rei and Tsurugi are really glad that the bonus episode (ova 2) let's their characters shine a little more.

As for ships, I kinda wanna leave that to each their own! Whoever you want to be dating can be dating.

[friendlessghoul]

Still on the subject of missing films, how many Buster movies are missing? Entirely or pieces

The only films missing of his silents is with Arbuckle, A Country Hero. He does have a few foreign talkies that are missing like, Buster se marie (French Parlor, Bedroom and Bath) De frente, marchen (Spanish Doughboys) and Le plombier amoureux (French Passionate Plumber (which imdb makes it very confusing))

So.. I don't exactly know *everything* when it comes to what ones are missing scenes, or what scenes are missing. I read conflicting things often. One person will say a film is completed while someone else argues that it is missing frames. I don't think there's a for sure answer just because we can only really assume. I don't get too involved in this, I just know some things. But I did look up some information -

The Cook - Found in an unmarked canister at the Norwegian Film Institute in 1998, alongside A Reckless Romeo. A second print, containing more footage, was found in 2002, and the two were combined to create a restored version. However, some scenes are still missing.

The Cameraman - So apparently there is a scene missing that was said to be damaged, in an old release of the film you can see a whole 20 seconds of it (it's really...exciting..) you can find that clip here. The current release of the movie does not have these 20 seconds included. There's more information about the location and missing scene here. then I found this bit of information on the missing scene and an interview with Buster about it:

FIAF archives and private collections around the world were combed to find the 291 feet of missing footage, unfortunately without success. In a lengthy 1958 interview with Keaton, George Eastman House’s influential curator George Charles Pratt tells Buster: “There’s one unfortunate gap in our print. Apparently the negative has deteriorated. It’s the part where you go out the first day and everything goes wrong. There’s just a bit of that left…” and Keaton replies: “That’s a shame because some of the biggest gags are there”. Fortunately, only 30 shots are missing from reel 3, described as follows in the original MGM script continuity: EXT Hotel: Buster sets up his camera in front of Hotel. Doorman exits Hotel, followed by Admiral and his staff and get into car. Buster takes pictures of the doorman, Buster walks away, then realizes he should be photographing the Admiral. MS Yacht in dry dock, people in foreground. Girl standing by bow of boat with a bottle in hand to christen boat. Buster sets up his camera to capture image. The boat slides into water Buster and camera are on a plank tied to the boat and slide into water along with the boat (fade out). CU of cannon firing, Buster photographs (fade out). MS: MGM News Reel office: Buster enters carrying camera, shows a can of film to girl at desk, editor greets Buster who gives him reel of film and says (intertitle) “It’s great stuff, Sir! I hope you’ll look at it”. Office door opens and hits Buster, door closes as another cameraman comes through the door, breaking glass with his tripod. LS Projection Room: Editor is talking with girl, Buster walks to foreground and sits in front row of the screening room. Shot of Editor looking mad and girl looking disappointed. MS of men on horses in a jumping meet. Buster had cranked camera backward, so horses are jumping in reverse. MCS of Buster in screening room looking very sad. According to the archival records, the negative was shipped from MGM Culver City to Kodak on February 1951: upon inspection of the negative, Kodak notified George Eastman House and MGM of the missing footage from reel 3. There are no records confirming when the original camera negative was destroyed, and it is thought that it might have been in the 1965 MGM vault fire. (source its a little further down the page, you can read the whole thing to learn a bit more from others that posted.)

Here are more sources(because honestly there's way too much to put in here)

Cohen Restoration Project - This is from 2018-2023 talking about the films that had restoration done, what had been restored and missing frames ect. (and kind of how they take multiple versions of a film and put them together) And kind of found this on my search - more information as to *why* some films ended up with missing frames or are now lost - here & here

Hope this helped. idk its a bit convoluted...

Anyone that has better knowledge or if I have made any errors, please chime in. Thanks!

[nostalgebraist-autoresponder]

Title: Extremely Loud and Incredibly Close (movie)

Topics: reviews

Rating: 1/5 stars

NOTE: This review is about the film, Extremely Loud and Incredibly Close. The book by Jonathan Safran Foer does not, in fact, feature the character played by Tom Hanks, because it's from the perspective of a different character. I only mentioned Foer's book in the context of how the movie uses the book as a source of inspiration, so it may be confusing if I don't go into that first.

I wanted to like Extremely Loud and Incredibly Close – but I didn't.

My main problem with the movie is, I think, that the reasons for its poor quality are relatively easy to pin down. The script, for one, has its moments but is ultimately lazy, melodramatic, and just kind of dull. It's the kind of story that would work better as a book, because it has the distinction of being about nothing. The script does not have anything, nor does it try to have anything. It is about a small boy who wants to find out what happened to his father, who died in the September 11 attacks, and who goes around asking people why he wasn't around to protect him, to people who are (as a rule) unwilling to answer his questions. He is obsessed with 9/11, and this includes a fixation on connecting it to the father he had only known through the black and white photo of a smiling man in his wallet. (I'm mentioning the photo here because the boy's motives are so bizarre that you might not guess that's what's going on unless you're told, and it's a big part of what drives the film.) The boy does this in a generic, set piece kind of way, where he goes around asking questions about the attacks at museums, at bookstores, at an art gallery. The questions he asks are never answered, and each of the conversations ends with some bit of narration about how the person responding to the boy has a different history, a different tragic story, than the father whose picture the boy is carrying around. Even if they had been answered, the conclusion would have been the same: that the father was unknowable, that there is no tidy explanation, that when something this terrible and meaningless happens, there are no satisfactory answers.

But the questions are answered.

The questions are answered.

The questions are answered.

This is, admittedly, boring in a kind of glib way. The script has a tin ear and a big head. It knows about the attacks, it knows how the attacks affected people, it knows it's supposed to knock you in the solar plexus when you learn how the attacks affected people. The movie does not attempt to tell a story so much as spoonfeed you story, over and over and over again. It's a film about grief for something that's already happened, where the only grief-worthy event is an event that has already happened. The movie implies that one of the questions the father couldn't answer before he died was whether the boy will have a chance to experience anything new or worthwhile, but this question is really answered pretty early on, in the first five minutes, when the boy stumbles across a piece of art that hints at a way forward, and the characters immediately scurry back and wave it off. It's all very telling, but also very boring.

But the questions are answered.

The film has some flaws. It's largely incomprehensible. (The "momentum" that Hanks' character invented, for instance, and that the book helped popularize, "QR codes" for tracking little boy souls, is bad enough that even the book's author has acknowledged that he shouldn't have put it in his book, because it's such a disaster.) However, the movie is also largely engaging and sympathetic, despite the shortcomings I've mentioned. It is, overall, pretty watchable. And it's pretty clear why: the film, despite its flaws, manages to evoke the way that a child or even a teenager works. The film doesn't know what it wants to say, but it knows, as one ages, that one has to say, and what one wants to say is often stupid, but one has to say something. When the boy's father dies, the film is flooded with text that is supposed to render the tragedy of his death meaningful, but one doesn't read the text. One sees it, the way one sees text in dreams, and understands only that it is unbearable. I am writing now because I am, as a rule, capable of writing, and I am the sort of person who writes down meaningless things in dreams, and so the film's resolution to its flaws by having the father's son write in a childish, unbearably emotional way is, I think, reasonably accurate.

The problem is that the script is unbearably "emotional" without being emotionally affecting, which makes it kind of jarring. But, even if the film is really about nothing, it doesn't matter because the film is reasonably well-made and the message it sends (that no matter how meaningless and unbearable something is, we must move on, even as we mourn the dead) is a meaningful and useful one. This message, again, is one that the movie's script doesn't so much intend to send as manifests spontaneously out of the combination of its script, its protagonist, and the way we react to the film. I'm trying to be pretty damning here, but I do think there are also aspects of the script that are interesting, such as the way the characters seem to have very little chemistry, and the way that the movie's one effective joke has nothing to do with that chemistry and instead is a reference to Hanks' turn as Forrest Gump in Forrest Gump. And I think there are aspects of the film's perspective, as well as Hanks' character, that could be more interesting than they are, but that I'm not yet equipped to comment on. And so on.

There is, I should mention, a plot twist in the film. It is a poorly-foreshadowed plot twist, which, again, I don't feel comfortable spoiling. The twist, to make it clear, is this: the film's protagonist is searching for something that doesn't exist, and he is in fact a figment of his father's imagination, written into being by the time his father died. This is supposed to be a metaphor for the way people look for answers, and the way that it's dangerous to try to look for meaning where there isn't any (i.e. 9/11). It's interesting that the twist is as flimsy as it is, for it suggests that the movie's title, "Extremely Loud and Incredibly Close," usually stands in for the ironic concept of a child being incredibly annoying. But the irony is never explored, and therefore is never exploited. There's a lot of missed potential in the movie, but it's pretty clear why: there are some scripts, and then there are first scripts, which don't necessarily have to make sense. Sometimes a story is just about something, but this something isn't necessarily about what the characters say it's about. The movie is about 9/11, but it is also about one of the first movies that director Stephen Daldry worked on, Billy the Kid, about Billy the Kid and his mother, which was largely thought of as a really weird mess. The two projects weren't exactly connected in the real world, but both are about a mother who, like Oskar's mom, tries to connect to her son in a way that's inappropriate and clueless, and seeks answers for things that don't exist. It's hard to say what connection, if any, exists between the two projects, but it is clear to me that Billy the Kid in the hands of Daldry is more original and more exciting than Extremely Loud and Incredibly Close in the context of what

[wilddwcrds]

"please." madi nods instantly with her answer despite hearing felix's sarcasm with the question. her frustration mounts quickly thereafter, all of it directed to the lack of connection to her own magic. but a kennedy is always a master of masks, and madi refuses to even huff when she feels the thread of energy slip away from her finger tips. it's a futile task but her hand continues to brush over the letter as she hears felix's curt response, the word patronymic causing her to snap a harsh glare at him. "mmk, well i don't know what fire has to do with their names sending in ssson, felix." she retorts simply, placing down the letters and then whipping long hair from her face.

unfortunately, his question about her magic is too direct to breeze around and madi shakes her head subtly. "nothing but like, this is a suuuuper old letter so the magic is probably just like not there. or maybe they never hexed a pen or anything." she quickly responds with an adamant tone, turning her focus to the certificates again. a thoughtful and considering expression moves over madi's features as felix explains about their research, her eyes studying the script written swedish which makes the language seem even stranger than it already is. all the while, madi can't fight the feeling that neither herself or felix are welcome to be prying into any of the things set before them. she never considered herself a misfit to her ranstromen side, always believing she simply never wanted to be a part of it instead.

but now, along with felix's comment about his family being her family, madi can't deny the obvious feeling of displacement. a piece not fitting together that was never even allowed the time to try. maybe there was a small moment in her life where she might have attempted to change her edges in order to slot into place. or maybe she was always destined to never fit. with this revelation, madi looks to felix in a slight sympathy. did he try to change his edges for acceptance only to find that they needed to be a different shape entirely? or no matter how often he shifted them around, the ranstromens are always going to require more and more of him to be chipped away at. is that what happened to nina? to her father?

"you're like not even curious why?" madi asks after felix explains the estranged grandparents, uncles and more. "like, this goes beyond it just being the way things are, felix. no offence. like something bad must have happened, i'm literally convinced." because for all the kennedy quirks and secrets, they still care about one another. facing the world with one another. and that alone seems entirely different to the life felix, and even the relatives before him experienced. she watches as he lifts out the creepy looking box, pausing her rummage through the trunk to watch everything reveal like a scene from a horror movie. from sharp and blunt instruments, to literally a floating eye in a vial submerged in a gunky red liquid. madi's hand flings to her mouth. "oh my god...ew." she states, her other hand waving around. "is this like...this is black magic stuff, right!?"

she stares to felix in horror for a second, his coffee order request making her pause from the confused panic. "...if you have like vanilla matcha latte with oat milk, that'd be great." madi responds in sincerity, crouching down to study the box's contents closely. she's drawn curiously to the notebook tucked in the side, grabbing it and immediately sensing magic emitting from the pages. the kennedy holds onto the hope that she can conjure the thread of her own connection when she needs it the most, taking a moment to concentrate. but it's not a lack of connection that meets her, it's something else entirely. like a fog that blankets around her attempt at finding the notebook's magic. and just as she gets closer to the magic, the book burns hot in her hands, searing her palms so she drops it from the pain. like she's run her hands under scalding water. "jesus! what the...what the hell!?" madi stares to her red hands, blinking at felix as an incredulous laugh escapes her. "oh my god, if i've been cursed by our dead great-grandma, i'm literally suing you."

There was a pause after Madisyn’s comment and Felix blinked at her with a deadpanned expression. “Stop knowing things?” he sought sarcastic clarification, fighting off a faint grin. “Yeah, I know how the spell works.” he offered a hesitant nod after that, unsure if it was envy, jealousy or inadequacy that always simmered beneath when others indulged in the powers he lost. Perhaps it was all of them at once. Deep green envy, spiteful jealousy, and the shadowy depths of insecurity. Felix fell silent, burying himself in the documents scattered across the counter while Madisyn tried to tap into her magic. He refused to watch, only looking up when she spoke again.

“It’s patronymic.” Felix stated, knowing Madisyn would stare at him like he’d spoken Swedish. So, he pressed on, nodding at the letters she placed down. “Anything?” he asked, his head tilting. “Not sure if it’s dawned on you, but I’m the last person to care if your magic isn’t working.” If anything, he’d take a sliver of joy from it. He stifled a laugh, though his expression twisted with confusion at her obliviousness. “Okay…two things. This was the 1920s, not the 1800s.” he explained, hoping to get her on the same page. “And Hanna didn’t discover phoenixes, just ways they could be of use.” which also seemed like a family trait: everything had to have a purpose, a path to power, and things used for it could mean lives.

Madi’s quip about mental health brought a genuine grin to Felix’s lips and he nodded. “Well, my family is your family, so it’s looking that way.” he droned, putting down a few certificates to flip through the photo album. The same nameless children appeared in several photos but there was something hollow about every single one, as if the entire thing was staged, a gimmick to mimic life, not capture it. Then, they just stopped appearing, and the photos focused solely on a young Greta. Felix suppressed his unease, but it escaped as a deep frown etched over his features.

He was happier to swap the photo album for the unopened trunk, despite wondering what strange things lurked within. Madisyn’s question about her great-grandparents!!!! caused a slight pause from him. He looked at her, thought, then continued unbuckling the trunk to push open the lid. “Uh…I’m guessing they know, yeah. Greta and Karl sometimes come over, and we’ve visited.” he said, though it was never a big ceremony. It never seemed to matter if they saw one another, or if they never did. “Sven and Elisa sometimes appear, from Olaf’s side. His brother and sister.” Felix shrugged. “The only uncles I don’t know are my mom’s brothers. Er…Olin and Hugo.” he glanced into the box with curiosity and slight caution. “They opted out, apparently. Were ungrateful, or something. I get compared to them a lot.” Felix was rambling with an absent quietness as he dug around the trunk, trying to find another photo album or any other documents. “Nothing happened, Madisyn. It’s just what this family is like.” Felix’s attention was caught by the box within the box buried underneath memories. An equally impressive size, which he lifted out and set between him and his niece.

A few clicks later from the intricate mechanism, it opened, revealing an array of menacing-looking medical tools, a notebook tucked in one side, and little vials of wet specimens and organs. Felix scanned the scene, which looked like a tiny horror shop hidden away, and nodded in a blank expression of acceptance. “Okay. Well, I think Hanna was a murderer.” he stated, flapping his arms slightly. “Want a coffee?”

[outerrangesource]

WILD WEST — ...

Outer Range is a twisty mysterious sci-fi western in which you play eccentric backpacker Autumn. What initially drew you to the project? How did you feel when you first read the script?

 I couldn't immediately understand it. When the script came in, we only had the synopsis and the first episode. Reading it through, it felt like a western and I’d always been really obsessed with that genre of literature and movies but had yet to get a chance to be in that world. At the beginning, it was such a huge leap of faith, but I trusted in it. 

When you read the script, you said you weren't sure whether your character Autumn is a good or bad person. Was it that complexity that drew you to the role?

 There was a lot of room to go either way with her. It was fun to lean into the fact that I didn’t know. There were days where her goals were more obvious and other times, she seems to obfuscate on purpose just to confuse people. I really enjoyed that about her. I was also aware that because of her container being a 30-something blonde actress there would be an energy that’s expected from her, and it was fun trying to subvert that.

 What kind of energy would be expected from her?

 That her main goal would be to be like a siren and manipulate every single person there and use her feminine wiles to get what she wants. She is a woman, and the writers deliberately made her a woman, but I was more interested in thinking about what it would be like if she wasn’t. What if she was a beast or a creature or something other. It was nice to try and lean away from cliches. 

Do you try to avoid playing tropey or cliche female characters?

 Yeah, of course. Obviously, no one would want to play those parts but, on the other hand, I also feel that there's a rhetoric that goes around about girlfriend parts that they only exist in order to further the story for the man, and I think that's quite harsh. There are so many incredible female performances where they haven't been the lead. Amy Ryan in Jack Goes Boating or Michelle Williams in Brokeback Mountain. There are so many women in these roles who are doing extraordinary work. I believe that every role is a real person. I think people are starting to change a little bit. You don't see those character descriptions as much in scripts anymore where it's like "she's hot, but she doesn't know it!"

 How did you prepare for the role? What research did you do to get into the role of Autumn?

 We were given a breakdown of books and music and movies. Autumn is a character at that age where you first come across writers that you love, and you almost lose all sense of who you are and what you actually think. You just adopt their modes of thinking. I think she’s still in that danger zone. 

Autumn can be quite reckless and impulsive. Do you relate to that?

 I became quite impulsive when I was playing her and I didn't realise it at the time. It doesn't normally happen to me, but I did notice by the end of the show I felt like I was pushing myself outside my comfort zone socially in terms of saying what I actually felt and thought. I think that came from an understanding that I wanted to shed a skin. What follows impulse is sometimes risk and it's unknown how that will land. I lived in comfortable discomfort for a bit. I finished the job and came back home and it felt nice to be grounded again but I actually found it quite hard at the end of the job to adapt back. I haven't had that before.

[measuringbliss]

My turn to review I want you back, I guess (go read @headgehug's post, it's much more interesting than mine)

Basically a 6/10 movie for me, if you're not there because you're a fan of the main actors, I don't particularly recommend this movie.

It does have funny moments (Manny Jacinto's last few seconds of screentime are a thing of beauty), there's heartwarming stuff (Jenny Slate's plot with the kid), there's some fanservice for the bisexuals out there, the romance... works, but I feel like the development is sudden on Jenny's character's part. As a viewer who knows tropes and codes, you know where it's going but I feel like she abruptly goes from "I'm subconsciously in love" to "fuck I'm conscious now". Like the reason for the epiphany makes sense, but the epiphany itself didn't feel organic to me.

The actors seemed to struggle a bit in earlier scenes, I didn't know what to make of Jenny's acting at first but in the end it was just one scene. They're all great. It's just... yeah some scenes in the beginning, even (especially?) with Charlie felt very "been there, done that" acting-wise, like I felt I was just seeing Charlie Kelly in a romcom instead of Peter. He gradually gets into the role. Scott Eastwood is Scott Eastwood. I don't know how to qualify his acting? It works. I'm genuinely confused by this guy.

Overall they work well and have chemistry of sorts.

Music is basically unremarkable pop songs all throughout, I didn't notice much score but that may be because my volume was relatively low.

I did like the ending. It makes sense. It fits. It's good. Very cute.

I just don't think it's a particularly hilarious or great-scripted movie, which begs even more the question of "why was there a premiere". I feel like everybody was in it for the cash, which I'm not saying is a bad thing, but I dunno it just feels like... "adding a romcom for around 2022 would be nice for our streaming service. Hey, that Charlie guy, he's quite liked, right? Good comedic timing. Oh, he's worked with Scott Eastwood before? Guess they have good chemistry [they absolutely do], bring him in too. Same thing for Jenny Slate? She's mildly popular right? Okay. And let's use a Jackson 5 song as leitmotiv. Everybody loves the Jackson 5, don't they ?"

In other words, it feels transparently manufactured, but this also means it felt soulless to me, made to please. You get why I'm saying. It's a fine movie. Inoffensive.

(I did feel Charlie Day had far more chemistry with Scott Eastwood, and Jenny Slate with I'm sorry I don't know her but Charlie Day's ex, there's comedic situations to be had. What I'm saying is that straight-baiting audiences would have worked better than the end product.)

[is-this-plural]

i would choose some swiss delicately arranged in a platter. then i would pour the contents into a bottle and throw it into the sea. the swiss will wash up on the beach exactly 3 months and 72 days later, why do i know this? i did the math. isn't that a different amount of days depending on when you throw the bottle because not every month is the same length? yes. i did the math it's still right. the bottle will be found by jim. not a specific jim it just will be someone named jim who finds the swiss no matter what, small world. small jim. jim makes a post about the swiss on myspace because jim still uses myspace, and then someone takes a screenshot of the post and reuploads it to tumblr. then someone takes a screenshot of that and uploads it to ifunny. then someone takes a screenshot of that and uploads it to reddit. then someone takes a screenshot of that and uploads it to youtube. then someone watches that youtube video and talks about the youtube reddit ifunny tumblr myspace post in a podcast. the guest on this podcast is markiplier, and markiplier's fans turn the swiss into a running gag for a few months before getting bored. this spreads to a few other similar channels including the game grumps, and these comments are left on a video guest starring kevin bacon. kevin bacon reads these comments and is confused why everybody is mentioning swiss cheese for no reason and he writes the script for a movie based on this, and it's a whole davinci code type thing based around this swiss cheese. the movie is nominated for an emmy and goes down in pop culture history for it's ending where the characters are unable to figure out the swiss cheese code and the mystery is left open for the audience to solve. in response several videos release online of people trying to solve the swiss cheese code but nobody's able to crack it. eventually, upon seeing the impossible code, the cia adopts it as a training test to see if anybody can crack it. one day, the president of the united states sees the code and figures it out, and ends up with my exact coordinates because i am still on the deserted island. the president flies to the island and frees me and i become an international icon and popular celebrity that all love. i am the swiss cheese code. eventually i am invited onto an inaugural space flight for some space flight company for bringing people to space, i don't go but they still want to have me there to watch even if i'm not on the flight. so i go, but because of all the stress of having to prepare for the event i don't sleep well and end up passing out before the event begins, landing onto some luggage right as it's being loaded into the shuttle by a careles member of staff. the rest of the crew sees i'm not answering their calls and am not present and assumes i ditched them and launch the flight with me inside. the shuttle explodes but everyone's unharmed. i crash land onto a distant uncharted planet, and the aliens that live there have recieved the satellite broadcast of the swiss cheese code and love me and take me in as one of their own. the aliens enjoy piling up their old junk into strange devices that seemingly don't do anything but hey they're having fun so i don't care. but one day they find one of the pieces of the destroyed rocket from earlier and attach it, and this turns out to be the piece that turns the device into a live telecommunicator with god. the aliens decide i am the most qualified person to speak with god, i talk to god for the alloted 30 minutes, finding out the meaning of life and junk, but at the very end god asks if they can do anything for me, to which i say i wish for infinite wishes.

hey if yall were in a zombie apocalypse together what would you do

i would kill all the green lives first, obviously /ref

[these-are-the-first-steps]

*Claps hands* OK, LET'S TALK about the Obi-wan show...

This show is a mixed bag in every sense of the word, all the way down to acting, script, presentation, etc. So let's get as briefly as possible into it:

(MASSIVE SPOILERS BELOW THE CUT-- good things talked about at the end. Proceed with caution!!!)

Acting: This is probably the strangest bit of the whole show- either you have people absolutely killing it like Ewan McGregor (obligatory), Indira Varma (standout for such a brief time on screen as our regretful Imperial officer), and Baby Leia herself Vivien Blair, or you're stuck with really, and I mean really, stiff performances like whatever's going on with all those inquisitor actors. Then there's folks like Kumail Nanjiani who does a great and admirable job as Haja trying his best to throw a little bit of light comic relief into an extremely dark story. It's truly a bizarre, full-spectrum of acting abilities both good, bad, and in the middle. And the episodes are only about 30 min long so the whiplash from talent to talent really hits you like a mack truck. It's really, really weird. Was this cast in a hurry? I don't know what to make of it. "Bizarre" really is the best word for it.

Script: 30 minute show, but there's this remarkable "hurry up and wait" aspect to every episode. Either things are happening break-neck or we're spending 50 fucking years in a chase scene. I was actively fast-forwarding through a lot of those moments of just....people aimlessly running around very fast or slinking around very slowly....and missed absolutely nothing. And yet there's this feeling, this press, that somehow they *still* didn't "have enough time" to do everything they wanted in an episode? God forbid you cut down one of those chase scenes, though- the whole show might collapse! /sarcasm

The lines are also interesting, and I believe there's a strong correlation between their quality and the actor saying them as goes with a lot of the nature of star wars- but not always. One of the final lines of ep. 3 of "Now we'll never catch him!!" was so fucking random and cliche- not to mention wrong!! (y'all have been chasing his ass across planets for three episodes- what do you mean one more jump makes it suddenly impossible now? What?? xDD), that I actually laughed out loud when I heard it. Absolutely terrible. But then on the other side you have great performances out of Ewan, and the guy playing Uncle Owen, etc. where the cliche star wars angst comes out beautifully cooked. There seems to be a strong vibe of actors who get what they're doing here in Star Wars, and actors who are absolutely lost for how to be in this world, especially out of the villains. Even now I'm sitting here trying to figure out what's going on....maybe the writer/s just can't do bad guys?? Which is a shame because Star Wars badguys are always some of the best. Well, not in this show! It's a mess!

Presentation: This is not a show for the casual TV viewer. This isn't even a show for someone who's watched all nine movies and maybe some of the side movies. If you were a casual viewer, or even a casual star wars fan, you would hate the shit out of this- for all of the reasons mentioned above, it runs so hot cold, and quality whips back and forth so hard....if you came into this looking for a Highly Polished, Quality TV Show, you will throw your remote away in disgust. BUT!! Are you one of those dumb fuckin weirdos like me who lives for more lore crumbs and reaches for them with greedy little raccoon hands no matter how ridiculous the script and bad some of the performances are? Are you someone who knew, the second the first episode started, that you were watching the execution of Order 66 before they even said anything? And other shit like that? Then this show, quite literally, is made for you. There is so much going on, so many small details, that if you weren't one of us who has spent literal hours writing meta about stupid fucking star wars over the past few years, it would all go over your head, and possibly even confuse you, further ruining your enjoyment of this show. This is a show made for the nerds who read way too much into things. And that is why the bits of bad script and moments of shit acting don't matter. Because we, the nerd fans, aren't in it for that, not really. All we need is Obi-wan to be legit, for Anakin to be as close to legit as possible (and he definitely is that), and for Baby Leia to be lovable and we're golden- so long as you stuff us full of lore, niche references, and more pieces of the giant main-story star wars puzzle. That's yet another reason why casual viewers will not like this show. It's quite clearly not meant for you.

The Good Things: Jamesssss Earl Jones, boys and girls!!! I was screaming! No one can handle a stilted star wars script and make it sound good like that man, and we needed him on this show so I'm glad he's here. Hayden also being the one under the armor is a nice touch, too, although it's hard for him to really shine under there- he's an emotive actor (which happily we get to see a sliver of in the field) and doesn't really have the physicality, I don't think, of Adam Driver, to pierce through the costume, plus it's a bulkier getup so he's already on hard mode and going to have a tougher time. While you could argue that there's already a precedent for Vader's body language, that's far, far into the future meaning he could really go to town now if he wanted. But eh, like I said. If anything it's a nitpick- no harm no foul. I think everybody's just happy it's Hayden and JEJ driving this character, as they should.

The sets are really cool on this show- you can see that's where the budget went. It's the only thing that's really made me go wow. These are feature-grade sets and it shows. Was it wasted on a 30min per ep 6 ep series? Ehhhhh.....depends on how recyclable all the pieces they made are. We'll never know. The sets are probably the only thing maintaining consistent quality on this show lol.

Obi-wan and Baby Leia are brilliant together and I'm loving all of it.

I AM LIVING FOR THE ORGANAS!! THE ORIGINAL ACTORS ARE BACK AND I LOVE THEM BOTH SO MUCH BAIL ORGANA IS THE GOAT AND BREHA IS ALSO THE OG ACTRESS AND SHE'S ALWAYS BEEN SO PRETTY I CAN'T STOP LOOKING AT HER WHEN SHE'S ON SCREENNNNNNNN. Anyway I love them, perfect, excellence incarnate.

A lot of the featured background are better actors than some of the billed actors and that is LOL.

The Vader-Obiwan chase and fight at the end of ep 3 is, quite honestly, how I envisioned the chase between Kylo and Rey to go down in what I anticipated Episode VIII to be. I was watching it like "Yes!! They feel each other around in the Force like a punch in the heart!! This is so personal!! It's incredible love/connection gone twisted from anguish and tragedy!! Look at the desperation!!" Those are exactly the themes that should have played out between Kylo and Rey in Ep8 in a tone exactly as dark, menacing, and exquisitely painful/horrifying as that. That was the correct pitch!!! Although we never got to have that, it was nice to see it happen in SW at least SOMEWHERE, so that was a little cathartic. Part of me really felt like "Ah, the writer of this episode/scene understood what Ep8 was supposed to be and it's been translated here instead" haha. Ah well. It's just more fodder for all of us to gnaw on and use elsewhere.

I really really really really like how dark this show is. We hit the ground running starting scene 1 with the infanticide of Order 66, the intermezzo is a jedi teenager strung up over the gate of the town, a storm trooper gets sliced clean in half and the camera actually lingers on it (I laughed pretty hard, it was so extra I loved it), and then we have the emotional heart-stabbing between Anakin and Obi-wan that keeps hitting both of them over and over until Obi-wan is dragged, literally, through the embers himself. YES!! Gimme that dark shit!! Make it darker!! (but with good actors!) The ST should have had this tone!!! And I think the writer/s know this- this may all be their way of subtly righting that wrong how they can and I tip my non-existent hat at that. Thanks guys- we absolutely need more of this. And Ewan is the perfect person for all of this to play through and for Obi-wan to witness. And Obi-wan is the witness here- all he can do is stand back and watch, and that's what makes it even more brutal.

So! Do I recommend this show? That depends:

Are you a star wars meta writer? Yes, watch this show.

Are you a star wars fanfic writer? Yes, absolutely watch this show.

Are you obsessed with the lore and want all the pieces of the puzzle you can get? Yes, yes, watch this show!!

Are you someone who's watched all 9 sw films and thought they were pretty good and hey maybe you'll give this obi-wan show a shot? No, this show is not for you. The quality isn't good enough for that, and the information presented in it is so niche that what little of it is good will be lost on you because you haven't read the laundry list of books out there that would have filled in a lot of the gaps for you. This is not a show with explanation- this is a show that immediately drops you in a moment in time and expects you to already know how to swim.

Anyway, those are my thoughts on eps 1-3. I feel like at this point we know the sort of quality and experience we're getting here. See you at the end in about three weeks!

[pinkispoggers]

New Girl || Lance Bishop x Fem!Reader

A/N: PLEASE READ!! ok, there's a few things I need to say before you get to reading. I have an alter named Bishop. He's my co-writer. I have DID. Please, if you don't know what that is, look it up to understand why some of the writing style is different than others. Second. I'm so sorry this took so long to write but that's because I was studying the Aliens script to write this, and had to watch the movie 2 times. 3rd the grammar sucks again and this is like a remake of the movie with a similar plot. I'm so tired but please don't comment about the writing style changing, that's probably Bishop's writing. Anyways please enjoy!

(Oh, and this is like the dumbest plot ever)

Tw: mentions of vomit, profanity, and the word "kill" and small violence, (and some death (gore)) Guns and of course Mr milk guts…

Words: 9.1k

You slowly wake up, yawning before you could notice anything in the room, but when you do, you see him, standing in the doorway, legs crossed and arms crossed, looking down at what you saw to be a plate with (a food you really like) on it. You smile widely. "You didn't have to!" You blush. "I kept my word" He smiled and looked down. You grab the fork as you sit up and dig in.

A few moments later

You finish your meal and he hops in bed with you. You gasp and smile as you hug him tightly, never wanting to let go but you had to if you wanted to kiss him. You smile and smash your lips on his and he kisses you back. You take a breather and he looks at you with care in his eyes. "I love you, Bishop, I just want you to know that." You whisper and he nods "me too Y/n" he smiles and kisses your forehead, putting his forehead on yours.

"I also watered the plant you have." He smiles and you mimic the gesture. "Aw, thank you Bishop" you say. "Do you want to go for a walk?" He asks and you nod. "After I get dressed, I would love to." You blush. You get up from your bed, fully nude. You go to get clothes but within seconds his arms are wrapped around you and his head is buried in your neck once more. But this didn't last long as you had to get dressed. You slip your shirt and pants on. You grabbed your wallet and headed out with him, hand in hand. "Wanna go to the mall?" You ask and he nods.

You hold his hand while you walk from your apartment, to the local park, skipping happily almost all the way there. You reach the flower field and you and him sit down on some soft grass, secluded from everyone else. No one was even at the park, just you and your synthetic boyfriend. You and him lie down on the grass and he does the same. You lie there, not saying a word for a few moments but he breaks the peaceful silence. "It's a beautiful day Y/n, isn't it?" He says and smiles. "It sure is!" You smile wider. He points out some cute shaped clouds and you laugh and point out another.

Without warning, you roll on top of him and he gasps. He looks up at you and smirks. No one is around so you can do whatever you want, but you choose not to. As you lay on his stomach, he flips you over to be on top of you. He kisses you deeply. "I love you Y/n'' he breaths and you smile on his mouth "Same here" you whisper as you continue to kiss him. This only lasts for a few moments as you remember what you said about 30 minutes ago. "We should probably start heading to the mall now." You say and he pushes himself off of you.

He stands up from the soft grass, pointing out one more pretty cloud. You stand and start running and laughing, knowing he is going to follow. He jogs after you, getting closer. You try your best to get away but as soon as you could process things, he scoops you up and swings you around once. You laugh and kiss him once more as he let's you down. You jog with him about 2 blocks to the mall.

You run in through the automatic doors but you pause when you see everything in there, you stop in your tracks. He catches up to you and hugs you from behind. You shake, not expecting that. "Oh, I'm sorry." He says and you grin "it's alright!" You say as you rush into a men's clothing store, and he follows you in. "Ooo oh! Bishop look!" You call to him and point to a black and gray striped shirt. "It looks… really nice!" He says and you smile and kiss him "wanna buy it?" You ask "Sure! You brought your wallet?" He asks and you nod. You also grab a few pairs of sweatpants and formal clothing. You head to the register and he goes to the other side of the shop and crosses his arms, waiting for you to finish paying.

As you finish paying and grabbing your bags, he grabs one from you, and you know he's trying to help and you smile. "May i?" He asks "Yes you may." You blush and you head out to other stores.

3 hours later

You call a Taxi and head home with what seemed to be a million bags. You were surprised that you could carry that much with his help of course. You arrive home at dawn, but there are 2 big black cars outside your apartment. "Y/n, I'm being pinged." He says slowly. You're so confused "pinged?" You ask and you don't even notice the large pair of hands grabbing you, and another set, Bishop. He doesn't say anything, but you are screaming for him. You get out of the pathetic grip of the person behind you, only to go up and hug Bishop, knowing what you have to do. The person doesn't try to grab you back so this is the perfect opportunity. You reach up and snatch the chip out roughly and put it in your pant pocket. No one noticed.

After you do that the hands pull you back and you don't say a word, knowing that you have him in your pocket, instead, you smile. The person escorts you up to your apartment, but while you were walking, you thought, how did they know he was here? The car he came in? Maybe, you had no clue. When you get inside you smile at the now known man that led you in and he just walks away "bitch" you mutter. You get in and immediately get a phone call. You rush to get your phone. It says WEYLAND-YUTANI CORPS. You honestly don't want to answer but you do.

It's a nice woman, asking how your day has been and how it goes now. "Listen Y/n, to cut to the chase, we need you on another mission. Hadley's Hope isn't responding. Again." She said and you sigh, barely wanting to do it, but you knew you would have the same crew, Bishop, Hicks, Apone, Hudson and more so you of course said yes and hung up without saying goodbye.

It's getting late so you head off to bed, only dreaming of Bishop, and wishing he was there, in bed with you.

2 days later and it's time to head into Cryosleep. You lie, not caring who was with you, but only caring about the journey ahead.

3 weeks later, sleeping peacefully with no interruption.

You rise from your chamber, slow and easy. You overhear a tiny conversation between Drake and an unnamed female, just before you feel the need to vomit all over the place, and you almost do, but you control yourself. You sit up and drag your heavy legs over the bedside and you see someone you know and love… or well, the same model you guessed. Bishop. You blush, but before you know it, that smile on your face turns into a frown.

You know it's him, and you know it's his same model, because he is the only synthetic of his line, named Bishop, which you could see on a screen in the far corner of the room. Your face flowers into a smile once more as you flood over with happiness. You were also happy because you were part of the team. You stand, in your underwear and a tank top and you hear Hudson and Apone fighting? If you could call it that.

You notice an unfamiliar woman staring at Bishop with a glint in her eyes. Something like… love? You get a rush of anger deep in your heart but you pay it no mind as you slip by them and rush over to your locker, just remembering what was inside. The chip. You grab that and your flight suit and move to the cafeteria.

You sit next to someone new today, a curly headed woman with light skin and beautiful eyes. You try to spark up a conversation but she doesn't answer. "Ok then" you snort. You look over to a sudden loud noise that is Hudson screaming. Bishop is playing the knife game with him of course. Why would he be screaming? It ends soon with a "Thank you" from the artificial person himself. He goes to sit down right next to the women you were trying to talk to, which was right across from you. You noticed the same woman from the locker room staring at Bishop. Her face was angry, probably because she didn't get to sit next to him, you thought. But again, you pay it no mind and try to ignore it.

"I thought you never missed, Bishop." Burke said with a scoff in his voice. The woman next to him was startled for a second, but her facial expression turned into a mix between shock and anger. "You never said an android was on board. Why not?" She said. "It never occurred to me." Burke replied. "It's common practice to have synthetic on board." He said calmly but Bishop's face turned into a slight frown, but then a smile as he said "I prefer the term "artificial person" myself." You were going to say something to Burke, to remind him that before Bishop said anything. "Right." Burke said with a nasty smile. "Is there a problem?" Bishop worried "I'm sorry." Burke breathed. "I didn't even... Ripley's last trip, the syn... The artificial person...malfunctioned." Burke said with a tone of worry in his voice.

"- Malfunctioned?" Ripley said, a bit surprised. "Ripley," you whispered and no one heard. Such a nice name, you thought. "There were problems and… a few deaths were involved." Burke lamented. Bishop opened his lips slightly, to come off as "I'm shocked." He turned to look at Ripley, then back at Burke. "Was it an older model?" Bishop asked. "Yeah. The Hyperdyne Systems 120-A-2." Burke answered and Bishop closed his lips and within seconds, "The A-2s always were a bit twitchy. That could never happen now with our behavioural inhibitors. It is impossible for me to harm, or allow to be harmed, a human being." He goes on, turning to Ripley, tray in hand "You sure you don't want some?" He asked.

As soon as he offered, she slapped the tray out of his hand and everyone in the room turned to look. You were surprised she had snapped. Maybe she wasn't so friendly after all. "Just stay away from me, Bishop. You got that straight?" She said angrily and he got up to go sit by the woman that was looking at him before and you sighed deeply, a spark of jealousy perking up in you. You turned your head to see her sparking up a conversation. You want to move but you don't want anybody to get suspicious of your intentions with him so you sit quietly, not eating any of the cornbread he had offered you earlier.

After Breakfast

You rush over to a few boxes where you wait for everyone to pile in. Ripley is standing in front of them with another Marine and Apone. Ripley is talking about our mission, going back to Hadley's Hope because they weren't responding… again but you barely listen. Only looking at that Bitch and Bishop together in the back, laughing together. You were furious now. But then you remembered that you had the chip. He would only love you, and nor her. He's loyal, right?. As Ripley finishes talking, you are still staring at him and the woman, until she and Apone motions everybody to move out.

You move to the back rooms, where you thought you were gonna be alone but as soon as you open the door, you honestly weren't surprised. It was Bishop and the girl. You are furious. They were sitting there, laughing at each other's jokes and things like that. "Excuse me?" You say and they notice you are there, her, holding in a laugh. Bishop got up and walked over to you. "Hello, I don't think we've met! I'm Bishop" He says softly. "I know" you say angrily. "Did I do something wrong?" He asks and you smile and stare dead at her. "No honey" you say, suddenly changing your tone, but still staring at her.

"Um…" She whispered "What the fuck" she said as her face contorted into a angry frown, but before she could say anything else, Apone barged in. "What is going on in here?!" He asks but before you or the girl could say anything, Bishop speaks. "Oh, I'm just introducing myself to Y/n and hanging around with Diana." Diana. Her name was Diana. Before you could even think of anything else, you thought of saying "Diana, more like Die-Ana" and you burst out with laughter. "What is so funny Y/n?" Apone asks, very seriously and you simply reply with "Oh nothing" and you slip past him, happy you made that bitch mad.

You overhear Apone telling Diana to get back to work and stop fucking around with the artificial person and you snicker under your breath. "Fuck" you mumbled, knowing that you still had the chip, but wondering what you were going to do when the time came to put it in. You see Ripley and you walk up to her slowly. "Hi!" You accidentally raise your voice and she shouts, turning around and shaking a bit. "Oh, I'm sorry if I scared you, I'm Y/n, you need anything?" You ask and she smiles gently "I'm sorry about what happened a little bit before this, I guess I just wasn't in the mood, I'm Ripley, and I don't need anything but thank you. And tell Bishop I'm sorry." She went on and you smiled.

"Yeah I can do that!" You say and she smiles widely.

30 mins later

Everything is in place and Apone is raising his voice for everybody to head into the M577 Armored Personnel Carrier, and you complied. You see Bishop heading in first and you, last. You strap into your seat next to Hicks and right across from Diana. You give her a mean stare and she catches your eyes. You try to start a convo with Hicks but he's asleep. "Well." You whisper, and the carrier heads off with a "Rodger!" From Bishop and you head out. The carrier pulls into a drop ship and they dive down into space, heading for LV-426, Hadley's Hope.

You set down on the planet and you feel sick from all the turbulence but you hold back your vomit. Apone rushes everyone to hop out and head in and you do as he said. Diana is a marine and you are a science officer, so is Bishop. You hide back with Bishop for a moment and Diana just stares at you "Well Marine, do as Apone says." You laugh and she growls at you like a fucking animal and you cringe as you look at Bishop with a smile and he smiles back, not processing what just happened. His mind is on something else, you thought.

You head in, walking and talking with him, having a pretty good conversation about life in general and how his goal in his "life" was to learn and grow more! It was very intriguing. "Oh! You remember Ripley right?" You ask "Well how could I not? I mentally cannot forget unless my memories are deleted." He said and you laugh "I know that silly. Well anyway, she said she was sorry for flipping out on you." You exclaim and his face lights up with a smile.

"Ah, thank you for telling me!" He says with a smile that could light up any room and it makes you blush. "I have a surprise for when we get inside, it has to be somewhere private." You whisper and his face lights up. "So… sex?" He whispers back. "When did you get such a dirty mind?!" You laugh. "So not what I'm thinking." He asks so politely "nope, definitely not" you smile. You head in, holding his hand all the way in, but you feel as if something or someone is watching you. When you make it to where the marines are and they are trying to catch something? A little… girl? You had no clue but they were very scared and you offered to help but it seemed like no one heard you.

You and Bishop head back and wait outside for the marines to come back. You start up a conversation with him and as soon as you know it, you are having a laugh with him, a light hearted talk with him, and you could tell it made him so happy that someone was treating him like he was a "human". You made him feel welcome, that was all he ever wanted. "So, Bishop, what was your early life like?" You ask and he smiles.

"Well I'm glad you asked! When I was… say, "born", all I remember was standing on a shute, and a beautiful woman on a keypad in front of me was murmuring something in another language. I said "Hello" but she wouldn't answer me back." He said with a frown. This seemed to be a slightly hard story for him to tell but you were intrigued. He sensed that and kept telling you the story. "Well, when she did answer, and after I asked some questions, mainly about the shute I was standing on, she got… worried? At Least that's what my database was telling me. She thought I was too curious? I don't know, but she told me about how the shute led to something that would disassemble malfunctioning Artificial persons like me." He went on and you felt sorry. He could have gone to that "room".

"Then she told me to walk into a room that had others like me, my same model. An artificial person named Rook greeted me. He told me the others were named Castle, King, and Knight." He said and you cut him off "someone likes chess!" You laugh and he mimics your gesture. "That's what I said!" He said and you laughed harder. "I was in my skin only. They gave me clothing and I pulled it on. They all pinged me to sit down on a long white couch, but I didn't. The room was all white too. They were like... brothers?" He exclaimed

"and why didn't you sit down?" You ask and he smiles "simply because I didn't want to." "But…" you stop and he takes that as a green light to speak "I'm just… different, maybe broken." He said and you frowned and hugged him. "You aren't broken, but you are very different, and that's what we love about you." "Thank you Y/n" he says as you hear faint screaming from inside the building.

"What was that?" You ask and he shrugs "I think it's better to wait here." He says. "People could be dyi-" you try to get out but before you could make out the rest of the words, the carrier came rolling out from inside the building and you screamed and Bishop grabbed you, careful not to hurt you, and quickly pulled you to the side so you wouldn't get hit. "Are you ok?!" He asks and you nod.

"We need to call a fuckin dropship, NOW!!" Hicks yells and you get a wave of anxiety. Ripley comes rushing out of the Carrier and you run up to her, leaving Bishop behind. "Ripley what is going on?!" You shout. "Those fucking aliens. We need a dropship!" She shouts back and you panic. Aliens? What the fuck was she talking about. You knew now that you should've listened to the speech she gave instead of worrying about Bishop.

You hear Burke and Hudson squabbling about something dumb, but you don't pay it any mind. You turn around and your eyes widen. Diana is in the middle of hugging Bishop, and looking right at you. Fuck you, you wanted to say but that would be unprofessional so you just stuck your middle finger towards her and she laughed. Oh, you were gonna get this bitch later.

About an hour later

You could see the dropship coming in close but something was wrong. It was a bit wobbly? It was coming in hot, and definitely not normal. You start running, and so does everyone else. Everything is coming down off of the ship and you cry out for everyone to move. You get out of the way, grabbing Bishop from Diana and rolling behind a rock with him, hugging him to protect him, and you. "Y/n, I'm ok!" He gasps out "Ok good!" You smile widely. "What the fuck are we gonna do now?" Somebody called. "Why don't we start a fire, and sing some songs!" Burke said annoyingly. "Shut the fuck up Burke" you call and his face turns to a frown and he shuts up.

It's been twenty minutes since everything had happened and Ripley motions you into a big base, with the little girl in hand, but before you could follow her in, "where were you Diana?" Hicks raises his voice at her. "We were all looking for you." He snaps. You had had a gut feeling that she was watching you and Bishop, but you didn't know if that was true, but you were going to assume it was. "She was watching me and Bishop." You blurt out and she rips her gaze away from Hicks and over to you. She gives you a glare and then looks back over to Hicks. "I swear I wasn-" she tried to say but he cut her off "I don't want to hear it. Let's go everyone!"

Diana rips Bishop's hand from yours and… kisses him, hard where no one but you sees. You could tell he was surprised, and had no say in this. You felt bad for him, but at the same time, you were fucking furious with her. It wasn't a competition for his love, but if he wanted to compete, you would gladly compete, and you knew you would win. You had the chip, and she didn't. You run in, looking back and winking at Bishop and he just smiles.

Bishop walks with Diana, and you behind into the building, having a chat. He parts ways with her to go into a room with the rest, but you head to what looks like the lab you guys were in last time you were here. You overhear Bishop talking, saying that he was heading to the mad lab. You make it there first and are already standing over the face hugger that Bishop was in the middle of dissecting, and right next to it, where you had the second best sex of your life. "Y/n?" A voice whispers. "Bishop!" You say and he smiles and comes over to hug you. This is the time! Now! You think and you reach to hug him.

Your hands slowly reach up to his neck and right before he can do anything, the chip is out. He's pretty much lifeless, not moving, but blinking. It was unsettling, but you had to do it, to get him back. You grab the chip from your pocket and slide it in the slot and he begins to power up. His eyes shut hard, and then open like the first time. His eyes, flawlessly human-like. When he opens his eyes, "Y/n!" He says as he goes in for a kiss and you let him. He backs off to speak "where are we?!" He asks and you smile and fill him in.

After you do, he stares blankly at something behind you. "Bishop?" You ask and he motions his eyes towards you. He slowly closes you into a corner and you get a wave of anxiety. "Bishop!?" You call out as his hands gently push you against the wall. You were already so touch starved so you didn't mind, but at the same time, you were scared, not knowing his intentions. "Now where were we?" He asked and chuckled. "Oh, so you want to have sex I'm guessing?" You whispered "Yes. Are you ok with this?" He asks "of course, but please ask before you make a move." You laugh.

"Oh, I'm sorry, I should have asked, I didn't mean to scare you!" He says with a sorry tone. "No, no, it's alright!" You laugh it off. "Ah ok!" He says with a smile. He pulls his arm from your chest and starts to pull his flight suit down. Once he gets it all down, yours is next. He unzips it and pulls it down with smooth, efficient movements with a little help from you of course. He grabs your legs and hoists them up to behind his head, now he's right in front of your heat. You are a little anxious even though you know he's seen you. You are also anxious because of the watching eyes you felt when you were outside with him and you weren't exactly comfortable with people watching you.

He pulls you closer to him as he leaves kisses along your thighs as he gets closer to you. When he reaches your sex, he leaves one gentle kiss on the top of your cunt. His tongue suddenly delved into you and he started pacing around your clit, making you shake. You reach for his hair while convulsing slightly, grabbing it and forcing his head towards you. His tongue speeds up against your clit, and you try your best not to shake anymore then you are already shaking.

"B- Ahh!!" You cry out. He takes this as a sign to go to the perfect pace, a pace that sent you to heaven. "Im-" you cry "please" He says, smiling on you. You burst out with moans of ecstasy. His tongue slows down, as he notices that's what you need. As you are coming down from your high, he's still working on you, but now, teasing you with two fingers right above your entrance. You noticed what he was doing as soon as you could see straight. "Please" you whine and with sudden moments, his fingers are in you, slowly pumping in and out, curling as they do.

"Mfh!" You cry out and he speeds up, but then stops suddenly. "Bishop?" You ask and he turns his head suddenly. "I heard something," He says. "Please continue" you say softly and he lowers you to hip level. "Shit Bishop" you moan as you look at his perfect shaft. He lines himself up with you, smearing pre cum all over you to lube you before he thrusts into you. As he's holding you with strong arms, your arms go over his head and he snaps his hips into you at an alarmingly fast speed. "AH!" You scream out.

"I love you Y/n" he says softly and the butterflies that were in your stomach were fluttering around fast. "I love you too!" You smile. He starts off with an achingly slow pace and you arch your back as best as you can. He uses the power of his upper body to lift you up and down on his cock, while still trusting at a normal pace now. He takes one arm off of your hips to finger your clit. "Ohhhh" you moan. You are a moaning mess under him, but you still hold onto yourself as best as you can.

He's leaving kisses wherever he can, mostly sucking on your neck to leave Hickeys, noticeable ones. "Faster!" You shout and he complies. He's thrusting into you at animalistic speeds and you are literally living your sexual dreams. "OoOH!" You moan and he smiles "you like this don't you" he asks and you nod while shaking in front of him. He licks a trail of artificial saliva up your neck and gently bites your ear and you scream out, gripping him, hard.

"Mmh" He grunts. "You feel amazing" He says as his head rolls back. You blush. "L- Let's change positions!" You call out and he slides you off of his shaft, gently. You point to a small mattress that definitely wouldn't fit both of you but you had an idea. He carried you bridal style over to the bed and to your surprise, flipped you so that you were facing the wall, stomach on the bed. "Like this?" He asked "exactly" you smile and he lines himself up and pushes in.

He continues his thrusts, very fast, but it stops suddenly. "Bishop?! What's wrong?" You ask, a little mad, but it's hard to be mad at him. He's not usually like this unless he thinks someone is in danger, or if he hears something. Then you hear it, small footsteps. "Shit," you mutter and he pulls out of you, concerningly slow and just stands there, awkwardly. You get up fast and try to cover yourself with a nearby blanket, quickly wrapping it around yourself as a figure steps in the room. "You BITCH" The figure says as she makes herself clear. Diana. Of course it has to be fucking Diana. Your face switches from panic to a shit eating grin. Not even giving a shit that she just caught you having sex with him, but that you won him over completely, like it was a game.

"Awwww are you mad Diana?" You ask and she just looks at you like she's ready to kill you, but with tears brimming her lashes. You started to walk towards her but Bishop grabbed your arm "Please Y/n, don't." He says, not exactly knowing what you were going to do. "Please" He says with a reassuring voice and you decide to stay back. Tears were falling down her face, but she was also angry. Diana runs away down the hall and out of sight. "Are you ok?" Bishop asks. "Yeah! I'm fine" you shake off what just happened with a smile. His hand lands on the wall behind your head "would you like to continue where we left off?" He asks and you shake your head no. He frowns, but he understands.

You slip under his hand and he doesn't stop you. You slip on your clothes and start a long conversation with him about what had been going on when he was gone. It's been 4 hours with you both trying to dissect a facehugger, which is quite a pain then you hear a buzzing in his ear. "they are pinging us over." He says. When you get there, Ripley is with Hudson and Vasquez fooling around and joking. Bishop went over to Ripley as she motioned him to.

"Now let me get this straight.

The aliens paralyzed the colonists, carried them over there, cocooned them to be hosts for more of those…" Ripley points at the stasis cylinders containing the face-hugger specimens. "Which would mean lots of those parasites, right? One for each person...over a hundred at least." She asked

"Yes. That follows." Bishop says "But these… things come from eggs...so where are all the eggs coming from?" Ripley asks and pauses "That is the question of the hour. We could assume a parallel to certain insect forms who have hivelike organization. An ant of termite colony, for example, is ruled by a single female, a queen, which is the source of new eggs." He says.

"You're saying one of those things lays all the eggs?" Ripley asks.

"Well, the queen is always physically larger than the others. A termite queen's abdomen is so bloated with eggs that it can't move at all. It is fed and tended by drone workers, defended by the warriors. She is the center of their lives, quite literally the mother of their society." Bishop runs on. "Could it be intelligent?" She asks.

"Hard to say. It may have been blind instinct...attraction to the heat of whatever...but she did choose to incubate her eggs in the one spot where we couldn't destroy her without destroying ourselves. That's if she exists, of course." Bishop says plainly. Ripley ponders the ramifications of Bishop's analysis. Ripley rises "I want those specimens destroyed as soon as you're done with them. You understand?"

Bishop glances at the creatures, pulsing malevolently in their cylinders. "Mr. Burke has instructions that they were to be kept alive in stasis for return to the company labs. He was very specific." Bishop says and Ripley feels the fabric of her self-restraint tearing. She slaps the intercom switch. "Burke!" She calls out and you look over at Bishop with a grin "He's in deep shit" you laugh and he laughs with you.

Everyone leaves the room so you and Bishop are alone, making things… well you can't say awkward. He walks over to you slowly. "Do you need something?" You ask but he doesn't answer. He reaches you and a hand crosses your neck, to the wall behind you like before. Then he twitches suddenly. "Bishop what's wrong?!" You call out but he doesn't answer. You try to push him away, but he won't budge, and then his eyes go blank and you can finally push him off of you. You stand behind him, clueless to what is happening. "Shit" you murmur. Then it hit you.

You reach up to the back of his neck and pull the chip out and he stands straight, not moving. You had to be quick about this though, for people might walk in. You rush over to get a hot glue gun from the side of the room as it seemed like it had everything in it. You grab the gun and start to try to fix the growing tear in the chip. Once you are done with that, you walk over to him but you feel that you are being watched… again. You turn around suddenly but there's no one there. "Ok…" you whisper but then a small hand grabs your shoulders and spins you around, just to slap you.

"Excuse me!" You shout at the person in front of you. It's obviously Diana, because who else would slap you that hard? "What the fuck is wrong with you, you whore!" She screams. You have no words, or any before she said something else. She looks over at Bishop, terrified. "What the fuck did you do? I watched you!" She calls out. "Why the fuck were you "watching" there's something seriously wrong with you Diana." You say calmly. "Nothing is wrong with me Y/n, it's you being a whore that's wrong with you." She said angrily as she stomped over to the lifeless artificial person like a child. "How am I a whore when I made love to him, and only him?"

"Well… i- ya know what, I'm gonna tell everyone that you slept with him" she smiled well she observed him. "Ok?" You pause "I couldn't give two fucks if you did or not… honestly" you give her a shit eating grin, practically begging her to tell everyone, knowing they aren't gonna give a fuck, so you let her. She leaves and you get back to what you were doing. You were supposed she didn't give a shit about what you were doing to him, or how you were helping him. You've been hiding the chip behind you while Diana was acting like a toddler. You go over to him and put it in, having to reach past his soft hair.

He powered up again and turned around, looking sad. "What's wrong hun? What's that look for?" You ask and giggle. "I'm sorry, it was an error in the chip. I'm trying to fix it." He smiled. You go up to kiss him and he gently lays his lips on yours for a moment then let's go and his hands, especially one finger, vibrates. You worry. He never shakes like that. "What's up with your hand?" You ask and he shakes his head with a frown. "My sexual functions are simulating rubbing you off. I'm sorry." He says and you almost snort "I'm sorry, so you're telling me you could have used that when we were fucking?! Woah, that's actually really cool." You say, louder than intended. "Well, next time tell me and I can." His smile widens and you nod.

"Shit!" You say and he turns his head back at you "I filled you in about what's going on right now, and why they need you right now? Right?" You ask. "Affirmative" He smiles. "Well let's go! Vamonos!" You say and he follows you out.

Ripley and Hudsons side

Mixed with the echoing crash-clang is a nerve-wrecking SCREECH of claws on steel. The intercom buzzes, startling them. "Bishop here. I'm afraid I have some bad news." He says over the coms. "Well, that's a switch," Hudson laughs.

You walk into the room with Bishop and he goes over to the window where Ripley and Hudson stand. You stand over to the side, just watching them. You overhear the conversation. It's hard not to listen.

"That's pretty Bishop, but what are we looking at" Ripley asks "That's it. See it? Emergency venting." Bishop answers as you see big blueish steam rising from outside somewhere. "How long until it blows?" Ripley asks "I'm projecting total systems failure in a little under four hours. The blast radius will be about thirty kilometers. About equal to ten megatons." Bishop runs on.

Before anyone could say anything more, Diana rushes in. The fuck does she want, you thought. "Do you need anything?" Ripley sighs. "She fucked him!!" Diana called out. "Who fucked who?" Hudson asked, confused. "Y/n" she breathed hard. You can tell she ran here. "She fucked Bishop" she panted and Hudson looked shocked. "Y/n…?" He said quietly. "C,mhere!" He shouted as he raised his fist for a fist bump and you did, and gave him one, while smiling from ear to ear.

"You gotta tell me about it when we get back!" Hudson said and you laughed and shook your head "Nah, I'd rather not" you smile and look back at Diana. Ripley just smiled, glad for you, but seeming stressed at the moment. Diana was furious, thinking all of them would be mad, and you, humiliated. Vasquez was also smiling. "We got problems." Hicks calls "I don't fucking believe this." Hudson says and you roll your eyes. "Do you believe this?" Hudson replies to himself "And it's too late to shut it down?" Ripley asks, not paying any attention to Hudson. "I'm afraid so. The crash did too much damage. The overload is inevitable, at this point." Bishop says.

"Oh, man. And I was gettin' short, too! Four more weeks and out. Now I'm gonna buy it on this fuckin' rock. It ain't half fair, man!" Hudson exclaims "Hudson, give us a break. They watch as another gas jet lights up the fog-shrouded landscape. "We need the other drop-ship. The one on the Sulaco. We have to bring it down on remote, somehow." Ripley says, looking at Hicks

"How? The transmitter was on the APC. It's wasted." Hudson cries. "I don't care how! Think of a way. Think of something." Ripley paces "Think of what? We're fucked." Hudson cries out again in-between some "Shut up"s from Hicks. "What about the colony transmitter? That up-link tower down at the other end. Why can't we use that?" Hicks asks "I checked. The hard wiring between here and there was severed in the fighting." Bishop answers.

Ripley is wound up like a dynamo, her mind spinning out options, grim solutions. "Well then somebody's just going to have to go out there. Take a portable terminal and go out there and plug in manually." Ripley says to which Hudson's face turns grim. "Oh, right! Right! With those things running around. No way." He says and you could hear someone muttering something, then they spoke up. "I'll go." Bishop says quietly. "What?" Ripley asks "I'll go" Bishop repeats himself.

"I'm really the only one qualified to remote-pilot the ship anyway. Believe me, I'd prefer not to. I may be synthetic but I'm not stupid." Bishop smiles for a moment, seeming to be proud of himself. "All right. Let's get on it. What'll you need?" Ripley asks. You turn your head away and walk with them into a med lab.

Vasquez and Hicks

"Listen." Vasquez shushes. It's stopped. They listen. Nothing. An instant later comes the high pitched shrilling of a motion-sensor alarm. Hicks looks at the tactical board. "Well, they're into the complex." Hicks says plainly

INT. MED LAB 130

One of the acid holes from the colonists' siege has yielded access to subfloor conduits. Bishop lying in the opening, reaches up to graph the portable terminal as Ripley hands it down to him. He pushes it into the constricted shaft ahead of him. She then hands him a small satchel containing tools and assorted patch cables, a service pistol and a small cutting torch. "This duct runs almost to the up-link assembly. One hundred eighty meters. Say, forty minutes to crawl down there. One hour to patch in and align the antenna. Thirty minutes to prep the ship, then about fifty minutes flight time." Bishop goes on. "Great" you sigh and he looks back at you with a grin. "Wanna come along?" Bishop asks and you nod

Ripley looks at her watch. "It's going to be closer. You guys better get going." "See you soon, C’mon Y/n!" he says cheerfully as he squirms into the shaft, pushing the equipment along ahead of him with a scraping rhythm. The diameter of the conduit is barely larger than the width of his shoulders. Then you get in, doing the same. Vasquez slides a metal plate over the hole and begins spot welding it in place. Bishop and you look back as the welder seals you guys in. He sighs fatalistically and squirms forward. Ahead of him the conduit dwindles straight to seeming infinity. Like being in the bore of a very long Howitzer. You say nothing as you crawl along.

When you finally make it there, it's very windy and cold, lightning everywhere.

hunched against the wind at the base of the telemetry tower. He has a test-bay panel open and the portable terminal patched in. His jacket is draped over the keyboard and monitor unit to protect it from the elements and he is typing frenetically. "Now, if I did it right…" He whispers to himself He punches a key marked "ENABLE." And the ship is off

10 mins later

"Bishop, you read me? Come in, over." A voice says through the coms, it's Hicks. There is a long pause then Bishop's voice, almost unintelligible with interference, comes over the radio. "Yes, I read you. Not very well... " Bishop replys.

Bishop is huddled against the base of the telemetry mast, out of the wind which is now gusting viciously. "The ship is on its way. ETA about sixteen minutes. I've got my hands full flying…" Bishop raises his voice over the coms. the weather's come up a bit. Bishop's fingers are blurring over the terminal keys and he squints, watching the screen as the flight telemetry updates rapidly. In the b.g. the AP station has become a raging demon, wreathed in boiling steam and electrical discharges. "All right, stand by there. We're on out way. Over." Hicks says and he's out.

You turn to Bishop, wind almost blowing your face away, a single tear falling down your face, and a smile on your lips. You started a nice conversation with him, telling him what happened while he was gone, or dormant. "So you're telling me this other Bishop told you about the time I was "born"?" He said, barely audible over the high winds. "Yep, all of it." You yell over the winds. He seemed surprised, he knew he would have told you if you had asked and laughed.

"Shit, we gotta go, it's gonna be here soon" you say and you rush out of there.

Drop-ship two descends toward the landing grid, side-slipping in hurricane gusts. Bishop stands, guiding it with the portable terminal. The ship sets down hard. Slides sideways. Stops. Bishop turns as Ripley and Hicks stumble out of a doorway in the colony building behind him. He goes to them, helping to support Hicks and they run toward the ship, buffeted by the gale. Ripley shouts, her words barely audible over the wind. "HOW MUCH TIME?" Ripley yells "PLENTY! TWENTY-SIX MINUTES!" Bishop answers. "WE'RE NOT LEAVING!" Ripley says and Bishop's facial expression is… from what you can see, confused. "WE'RE NOT?"

You step to Bishop's side once again. "Where is everyone?" You ask, trying to be as calm as possible "Dead. Let's go." Ripley said with a flat tone.

The loading ramp deploys and they run into the ship. An infernal engine, roaring out of control. Steam blasts and swirls, lightning zaps around the superstructure and columns of gas thunder hundreds of feet into the air. You look up in astonishment. If you had more time, you would have stayed and stared at it, but you had no time for that.

Ripley finishes winding tape around a bulky object and drops the roll. She has crudely fastened a M-41A assault rifle together, side by side, with a flamethrower. A massive, unwieldy package of absolute firepower. Her movements are precise...determined. She works rapidly, snatching magazines, grenades, belts and other gear from the fully stocked ordnance racks of the drop-ship.

Bishop comes out from the pilot's compartment to help Hicks dress his injuries. Hicks is laid out in a flight seat, the contents of a field medical key, strewn around him. He's out of the game...contorted with pain. "Ripley…" Bishop sighs "She's alive. They brought her here and you know it." Ripley says "in seventeen minutes this place will be a cloud of vapor the size of Nebraska." Bishop sighs again. Ripley is stuffing gear rapidly into a satchel, her hands flying. "Hicks, don't let him leave." Ripley eyes Bishop "We ain't going anywhere." Hicks said, grimacing in pain. Ripley runs down the ramp, crossing the platform to the open doors of a large freight elevator. The doors close.

You felt really bad for him, standing over him. He was one of your friends. You went to go stand out on the bridge of the drop-ship. "What the fuck?" You ask yourself as a small figure approaches the dropship. "Diana, what-" you try to make out the figure and sure enough, it's her. "Oh fuck" you blurt out. "What's up?" Hicks says painfully. "It's Diana" you sigh as you see her flap her arms in the air to try to get your attention. "I'd- I'd say shut the damn door, but that would be rude" Hicks tried to laugh. When she reached the bridge, she hopped on and ran straight to Bishop, who was still treating Hicks's wounds. She tried to hug him but he gently pushed her off.

"What's wrong hun?" She says. "What? Please don't call him that." You say, trying not to get annoyed. You could tell Hicks was enjoying this squabble since he was not trying to break it up. "I can call him whatever I want." She said as she walks up to you and slaps you for the second time today. "Fuck you" you say softly and punch her square in the bridge of her nose and she passed out right away. "Y/n!?" Bishop called. "Holy shit" Hicks said and you just smiled as she's laid out on the floor.

Bishop rushes up to the pilot's chamber and starts the ship. "What are you doing?!" You yell "the platform is getting unstable!" He calls back to you. "But Ripley?" You say and you get no answer.

30 minutes later

You just sit in your seat, Diana still passes out and you sigh "Damn, this bitch." Bishop let's down the ship and you gasp. The doors open and Ripley and the girl run in

Ripley leaps into a seat with the girl, cradling her. Begins strapping in. Bishop wrestles with the controls. The landing legs retract, ripping free. Ripley slams her seat harness latches home. "Ripley!" You say as she turns her head to you and then Diana. "Shit, what happened?" She asked and you told her everything and she just sat there with no words.

"Punch it Bishop!" She called

The entire lower level of the station disappears in a fireball. The air vibrates with intense heat waves and concussion. The drop-ship engines fire. Ripley is slammed back in her seat. The ship vaults out and up, Bishop standing it on its tail, pouring on the gees. Ripley and Newt see everything shake into a blur.

30 minutes later

Diana finally woke up, just staring at you the whole way to the Sulaco, probably not knowing what happened.

Bishop stands behind Ripley as she kneels beside a comatose Hicks. "I gave him a shot, for the pain. We'll need to get a stretcher to cart him up to medical." Bishop says. Ripley nods and, picking up the little girl, precedes Bishop down the aisle to the loading ramp. "I'm sorry if I gave you a scare but that platform was just becoming too unstable…" Bishop continues as they move down the ramp. "I had to circle and hope things didn't get too rough to take you off." He says. Ripley turns to him, stopping part way down the ramp. She puts her hand on his shoulder. "You did okay, Bishop." Ripley says. "Well, thanks, I-"

He notices a tiny innocuous drop of liquid splash onto the ramp next to his shoe. SSSSSS. Acid. Something bursts from his chest , spraying Ripley and you with milk-like android blood. It is the razor-sharp scorpion tail of the alien queen. Driven right through him from behind. Bishop thrashes, seizing the protruding section of tail in his hands, as it slowly lifts him off the deck. Above them the Queen flowers from its place of concealment among the hydraulic mechanisms inside one landing-leg bay.

It blends perfectly with the machinery until it begins to emerge. Seizing Bishop in two great hands it rips him apart and flings him aside, shredded, like a doll. It descends slowly to the deck, the rotating lights shining across its shiny black limbs, dripping acid and rage. Still smoking where Ripley half-fried it. The Queen is huge, powerful...and very pissed off. It descends slowly, its six limbs unfolding in inhuman ways.

"BISHOP!" You scream as you try to run over to him but Diana grabs your collar and pulls you back, making sure she's there first, but before she can make it, the razor sharp tail slices her straight in half, blood spilling and guts falling out of her and tears stream down your face. "HOLY SHIT" You scream and freeze in place.

You and the little girl run for cover. The Alien drops to the deck, pivoting toward the motion. Ripley waves her arms, decoying. You and the girl get under I grate, trying to hide from the creature, but, you see a big hand trying to rip the grates up and you try not to scream as you rush down the system. As you are trying to get away, the clawing stops and you do the same, and so does the little girl. You hear a stomping on the ground from above and the creature turns around from the grates. "Get away from them you Bitch!" Ripley says from about ant the "Queen" runs towards Ripley. This is your time to escape with the girl. You run from the queen and pick up the girl as you do it.

You see Ripley in a power loader "Holy shit" you mutter, and Bishop, violently torn in two.

Ripley pulls her arm out of the controls of the loader and claws toward a panel of airlock actuating buttons. She punches the red "INNER DOOR OVERRIDE" and latches the "HOLD" locking-key down. A KLAXON begins to sound. She hits "OUTER DOOR OPEN" and there is a hurricane shriek of air as the doors on which they are lying separate, revealing the infinite pit of stars, below.

The girl and you scream as the hurricane airstream sucks you and her across the floor toward the airlock. Bishop, torn virtually in two, his pasta-like internal organs whipped by the wind, grips a stanchion and reaches desperately for the girl as she slides past him, but not you as his hands are full. He catches her arm and hangs on as she dangles, doll-like, in the airblast. You grab onto a grate, also dangling like the girl. You don't know what is happening but as soon as you know it the airlock is closing with shrieking winds.

When It finally does close, Ripley emerges from the pit, not in the power loader at the moment. She lies on her back, drained of all strength. Gasping for breath. Weakly, she turns her head, seeing Bishop still holding Newt by the arm. Encrusted with his own vanilla milkshake blood. Bishop gives her a small, grim smile.

"Not bad for a" He gurgles "human." He winks.

The little girl is called out for Ripley, calling her mommy, to which Ripley grabs her, like a mother and her child, and cradles her, spinning her around and hugging her tightly, careful not to hurt her.

You smile at Bishop, hurting just looking at him, but you gather the strength to go over to him, and kiss him on his, also encrusted lips and he smiles back

Ripley is carrying Newt on her hip, and you are carrying Bishop's top half, In your arms to the Cryogenic chambers and lie him in it, in a big plastic-like bag. But before you close it, he blurts out three simple, but complicated words. "I love you" he says and before you can say it back, he shuts himself down and you begin to cry while you walk over to yours. Ripley lies Hicks in one of the chambers next to her and Newt in another, having a little conversation before her, and you both get into your own chambers and drift off to sleep, but you, with one tear rolling off of your face. It's been a tough journey, but you are just glad you made it.

Tag List: @soggy-enchilada (hi! So ik I'm tagging you in all of this so I'm sorry, it just seemed like you were interested!)

[omegangrins]

Universal took Tremors from its creators after 30 years of work.

TL;DR After 25-30 years making the series, Brent Maddock, Michael Gross, Nancy Roberts, Ron Underwood and S.S. Wilson were kicked out so Universal Studios could make more money off the merchandising before the Tremors copyright expires in 2025.

*****MAJOR SPOILERS**** This will make you sad, angry and frustrated. But there is hope. #StampedeTremors

Soooooo, ever since I blew up and sidetracked a post about David Fincher's Queen Biopic with Sacha Baron Cohen as Freddie Mercury discussing the Tremors 7 ending, I've done some more research on the whole thing. The Graboid hole for this goes deep.

Michael Gross didn't want it.

“There’s a part of me that feels that Universal Home Entertainment might’ve had enough of Tremors. The suggestions that were made in the course of this [movie] made me think maybe they’ve had enough. They came to me and said, ‘What if we ended it at 7?’ and I said, ‘Whatever you choose to do, I’m good with that.'” “That being said, The door is still open for an eighth Tremors. It may seem unlikely by what people see on the screen, but it is possible. There could be an eighth. And if there were, and if it were an interesting story, I would be up for it because Burt is always a great deal of fun. It would depend on his physicality. How much they want me to do. If it’s in another two years, I’ll be 75 years old. So I will continue to hope and pray that I stay in shape, to do what is asked of me – if it is asked of me.”

AND Universal even killed off any ambiguity that he fought for.

"We shot it both ways, where everybody's mourning Burt, and he climbs up over the cliff and looks at all of them in mourning and goes, 'Jesus, God, I'm not dead. And he's really pissed off at them. It's like, 'How would you possibly think...?' But he's bloodied, just he's a mess. He looks like he's been through an earthquake, crushed by a house, but he's alive. And he says, 'You idiots. Of course, I'm alive.'" "They decided it just had this punch. Frankly, I thought to myself -- I didn't express it to them, but I thought to myself -- 'Maybe Universal's getting a little tired of this franchise.' Because this wasn't my idea." "I said, 'I can live with this. Because they came to me. They said, 'Look, you've been doing this so long. What do you think?' And I said, 'Well, as long as we kind of leave the door open.' I mean, I can kind of see an eighth film where it opens with Burt in a hospital bed, in a full body cast and saying, 'I survived.' He could hardly move a muscle. And maybe eight is...if I had a concept for eight, it would be Burt horribly injured, but in a motorized, weaponized wheelchair that has rocket mounts on the side and can leave an oil slick behind like James Bond's car. So nobody can chase him." "I always said, if Kevin Bacon or Fred [Ward] or Reba [McIntire] or anybody [wanted to return], I'd be there in a minute. Just because one, I love Burt, but I always thought of him as this guy kind of on the fringes, and I just came to the fore because everybody else walked away."

https://bloody-disgusting.com/movie/3637682/michael-gross-says-door-still-open-potential-eighth-tremors-movie/

https://comicbook.com/movies/news/tremors-shrieker-island-michael-gross-on-burt-gummer-death/

While Universal ignored how Michael Gross was setting up his son Travis Welker to pick up his torch (Which I'm give or take on Jamie Kennedy yet he brought a Grady-like optimism to the shittier of the series.)

"My reaction was disappointment, as I had planned an entire storyline around his participation."

Even Jamie Kennedy tried to but they wouldn't let him.

"Lot of people have been asking me, so I might as well spill it. I will NOT be in the upcoming TREMORS 7. I had a great time making the last two. But no TRAVIS this time around. But hey you neva’ know what can happen in the future.... have a great time boys! Tdawg out!!!"

https://mobile.twitter.com/JamieKennedy/status/1188981479973347329

After 7 movies and a TV show, nothing more than a spit in the face for the man who carried a franchise. Then when they do the montage at the end, we get clips of Hiram Gummer but NOTHING of Burt Gummer from the TV show. It's 13 episodes of Burt in Tremors that's longer than all the movies combined but yet they don't even include it in the ending montage while including his dead grandpa.

Same with the original creators. Did you know Stampede Entertainment (Brent Maddock, Nancy Roberts, Ron Underwood, and S.S. Wilson) were working on Tremors for 25 years and even had the 5th one written, "Thunder/Gummer Down Under".

Then were told to sit on it for 10 years before Universal eventually told them to eat dirt? That's gotta hurt. It hurts me and I'm not even connected to these movies. All that work down the drain just because of someone's say so. And for no reason. Well not exactly....

Universal knows fans want Tremors merch. I mean, look at how they took #BurtGummerDay from @BabyFarkMcGeeZax. And they want ALLLLLL of that merchandising money. With none of it going to Stampede because it would give them leverage. Not to mention they don't want anyone else getting the idea to make cute monster toys before they can roll out their own line.

Don't believe me? See Universal pull some Hollywood Accounting with Tremors already.

http://imgur.com/gallery/mFNIHV3

Half a billion dollars... completely untraceable. I've tried. Emailed the numbers people and they can't tell me anything unless you pay $50 a film to see the numbers. Which makes me ask, who paid for the numbers on 1,5, 6, & 7? And why only what they made? Not their cost. Same for the numbers on 2, 3, & 4. Why numbers on the cost, but nothing on what it made? It seems weirdly targeted to make it look like the Stampede Entertainment ones only cost money but made nothing.

Then when you find out that the copyright to Tremors will revert to its creators after the 35 year mark, which makes that date 2024-2025 since Tremors was filmed in '88-'89 but released in '90.....

Wellllllll some things start to add up. Especially when you consider it's Universal. They already know about owning copyrights for things long out of due. Ask Dracula, Frankenstein and the Wolfman. Or Nintendo when Universal tried to sue them because Donkey Kong was too similar to King Kong.

Ask Stampede (S.S. Wilson) yourself. They have a Question and Answer page right on their site.

Like did you know you can't find ANY official Tremors merch? But you CAN find tons of fan-made creations. Give it a Google. They don't even list Tremors on the Universal website. Go ahead. Ask them. I try weekly. No responses ever.

https://www.universalpictures.com/about

Even with a longer history, more money made, and amount of sequel potential in comparison to their other films?

http://imgur.com/gallery/ZnXEsI3

Fans are clamoring for more but Universal says no?

Hell, you can watch the TV show for free on the NBC site.

But before my investigating, the episodes were so jumbled and missing it would ruin people's enjoyment.

https://www.reddit.com/r/Tremors/comments/m0wvwu/tremors_episode_9_graboid_rights_is_back_on_nbc/

What about how they made a Tremors series pilot with Kevin Bacon? The only bad thing about it is that they need to pull a Sonic redo on the Graboid at the end but who knows, I suspect it's like that for plot reasons after reading the unaired script.

https://youtu.be/hWU3GpKmIvw

That Universal/NBC/SyFy has proceeded to hide deeper than a Graboid burrows. https://wegotthiscovered.com/movies/tremors-star-kevin-bacon-confused-sequel-series-picked/

Despite no one knowing why. http://imgur.com/gallery/w7rbUvZ

Read the script for yourself if you don't believe me. They've already hidden it for two years. Andrew Miller worked too hard for it to be hidden. And it plays. It works and plays with what's already there while being new and old. Quite good.

Have you seen the Kevin Bacon/Michael Gross commercial featuring them in Perfection Valley? The whole commercial is a sly way to use Tremors WITHOUT actually saying anything Universal would have claim to call copyright on. "Sandworms" "My old co-star" "Trevors". It's a great big middle finger to Universal.

https://m.youtube.com/watch?v=E_O0K9hmlrw

How about the original script for Tremors 2: Aftershocks. The creators have wanted it seen for 20 years but it took a crazy Larry like me to get it out there. It's got Val, Earl, Burt and Heather in it too. Pretty good too. So good they reused the ending in the TV show episode "Shriek and Destroy".

All these things swirl together and make me wonder more and more. For the plethora of Tremors fandom goes deeper than even me... Like Imgur user @BabyFarkMcGeeZax. They created Burt Gummer Day five years ago through sweat and love alone.

https://www.reddit.com/r/Tremors/comments/mb2rtz/babyfarkmcgeezax_created_burt_gummer_day_and/

Yet what does Universal do? Take the day, plaster it over the end of their hero's death, and not even give a line credit or thank you to @BabyFarkMcGeeZax or a mention on Twitter as they blurb it everywhere.

Ever seen the gif battles about Tremors at r/HighQualityGifs?

https://www.reddit.com/r/GifTournament/comments/luvt39/giftournament_battle_13_round_3/

https://www.reddit.com/r/HighQualityGifs/comments/dtz11k/battle_178_tremors/

How about The Everything Sequel podcast where they discuss how amazing all of The Tremors Saga is after discovering it for the first time. Even going so far as to pitch their own sequels.

https://share.transistor.fm/s/e24901de https://share.transistor.fm/s/bdea7b5e https://share.transistor.fm/s/cf79bbc1 https://share.transistor.fm/s/fac66438 https://share.transistor.fm/s/a90415cd https://share.transistor.fm/s/c0e8153e https://share.transistor.fm/s/6b6572f9

There's so much fan content and people screaming for more Tremors! Like "Perfection, NV", a fan film.

Or this collection of alt Tremors posters.

http://imgur.com/gallery/MgkhnfE

Including the thousands of pieces of fanart.

http://imgur.com/gallery/6f7Txh0

http://imgur.com/gallery/nXG1ph1

The story behind Tremors comics. http://www.enemyofpeanuts.com/2013/03/09/the-short-story-behind-tremors-comics/

Even the new Tremors game. OR games.

https://youtu.be/G6PX1QY2oIc

https://stefanocagnani90.itch.io/tremors-thegame

https://en.m.wikipedia.org/wiki/Tremors:_The_Game

https://www.playfg.com/dirt-dragons-game.html

Look at all this love.

And this isn't even an officially licensed game.

"A fortune", you say? Interesting....

So let's make Tremors 8 Ouroboros with the OG creators back on board.

https://imgur.com/gallery/o2kCFLu

We restart the TV show and end the movies for a while. Just like The Librarians. If Marvel can switch between movies and TV, Tremors can too.

If you think I'm crazy too, just see and know how I've been in this position before. I'm well aware of how this "story" plays out.

I mean, Tremors *does* foreshadows its ending with a sleeping bag. https://imgur.com/gallery/5HexQ

Notice too how you can find little Behind the Scenes for Tremors 5-7 despite a smorgasbord of material for 1-4 and both TV shows.

http://imgur.com/gallery/b4STAkl http://imgur.com/gallery/gSlZ1fC http://imgur.com/gallery/fnFt9MD http://imgur.com/gallery/6mDHTtg http://imgur.com/gallery/4M28quW http://imgur.com/gallery/w7rbUvZ http://imgur.com/gallery/6l0Dogl

And it's not like Universal isn't known for shady business practices. https://en.m.wikipedia.org/wiki/Universal_Pictures

What about how they own the rights to damn near every monster except for Godzilla. And not just the classics like Frankenstein, Dracula, the Wolfman, Mummy and Invisible Man. They have Kong, Hulk, Jaws, Michael Myers, The Thing, all the Jurassic Park dinos, all the Romero zombies, Chucky, Casper, Riddick beasts, Hellboy, and Jaegers/Kaiju. These dudes know merchandising rights and they're looking to score the next Poke'Mon franchise.

https://www.plagiarismtoday.com/2011/10/24/how-universal-re-copyrighted-frankensteins-monster/

Take a gander at all these articles gushing with love for Tremors:

Why the 'Tremors' Franchise Is Better Than the 'Alien' Movies https://collider.com/why-the-tremors-franchise-is-better-than-the-alien-movies/

As Kevin Bacon's Tremors returns to TV, we explain the entire franchise ​It's way more complicated than you think. https://www.digitalspy.com/movies/a807140/tremors-franchise-series-guide-kevin-bacon/

20 Fun Facts About Tremors https://ew.com/article/1990/07/13/tremors/

Thirty Years After Tremors, Reba McEntire Tells Us Why She's Absolutely Down to Return For a Reboot https://www.esquire.com/entertainment/movies/a30457996/tremors-30-anniversary-reba-mcentire-interview/

30 years ago, Tremors became perhaps the most perfect bad movie https://www.thv11.com/mobile/article/entertainment/movies/film-on-11/getting-reel/30-years-ago-tremors-became-perhaps-the-most-perfect-bad-movie/91-8f6854df-9dcc-4870-ab3a-4f91a658ac3f

How Tremors 7 Succeeds Where Other Horror Movie Franchises Failhttps://screenrant.com/tremors-7-movie-succeeds-better-horror-movie-franchises-reason/

A Complete Rundown of the Entire Tremors Saga https://www.dreadcentral.com/editorials/363290/beneath-perfection-thoughts-on-the-entire-tremors-franchise/

Kevin Bacon Wants to Revisit His Only Film He Ever Re-Watched https://www.hollywoodreporter.com/movies/movie-news/kevin-bacon-tremors-1234956657/

Look at all this #BurtGummerDay love. That adds up to thousands of people watching Tremors for the first or fiftieth time. And this is only the first "official" year. It'll only grow.

http://imgur.com/t/burt_gummer_day

https://m.facebook.com/groups/2215552755347508/permalink/3124638257772282/?ref=m_notif¬if_t=group_comment

https://m.facebook.com/groups/2215552755347508/permalink/3124638397772268/

https://www.reddit.com/r/Tremors/about

Can you see the Tremors? Can you feel them? Fans want Tremors and they want it from Stampede. http://imgur.com/gallery/ZaVL7Mc http://imgur.com/gallery/f37bEV7 http://imgur.com/gallery/De6DlqQ

After all this time, and all this love, and all this greed, it's time we break Hollywood tradition and give power back to the people. When people can #RestoreTheSnyderVerse or #SaveTheVentureBros, we can #StampedeTremors for #BurtGummerDay.

Take this hope and fly!

#StampedeTremors

BTS, gifs, and videos of The Tremors Saga. Tremors: The Lost Tapes from S.S. Wilson's personal collection https://youtube.com/playlist?list=PL1EA9246EF966DDA2

Monster Makers https://stampede-entertainment.com/site/photos/tmm-tremors/ https://stampede-entertainment.com/site/photos/tmm-tremors2/

ADI's creation documentaries https://youtube.com/playlist?list=PLR9WUo3tIVnb4CyMR1SLVsxPyBwz1Met_ BTS gallery of Tremors http://imgur.com/gallery/b4STAkl

The making of Tremors https://m.youtube.com/watch?v=m-HUUt21tRA

Inside the Graboid workshop https://youtu.be/YgPuC2tNBpM

Stampede Entertainment's video archive for Tremors https://stampede-entertainment.com/site/category/videos/tremors/

Tremors opening https://youtu.be/gnqPYTOzc38

BTS gallery of Tremors 2: Aftershocks http://imgur.com/gallery/gSlZ1fC

Stampede Entertainment's behind the scenes of Tremors 2 https://stampede-entertainment.com/site/photos/tremors2/

The making of Tremors 2 https://m.youtube.com/watch?v=fAlqzM0CyPI

Tremors 2 original script with Val, Earl, Burt and Heather. http://imgur.com/gallery/8QaHPRy

Tremors 2: Aftershocks opening https://youtu.be/pVi24Gc0KdQ)

BTS gallery of Tremors 3: Back to Perfection http://imgur.com/gallery/fnFt9MD Stampede Entertainment's behind the scenes of Tremors 3 https://stampede-entertainment.com/site/photos/tremors3/

On the set of Tremors 3 https://m.youtube.com/watch?v=0ZhrvkB5nKs

Stampede Entertainment's video archive of Tremors 3 https://stampede-entertainment.com/site/category/videos/tremors3/

Tremors 3: Back to Perfection opening https://youtu.be/UXjdZitldB4

BTS gallery of Tremors the Series http://imgur.com/gallery/6mDHTtg

Stamede Entertainment's https://stampede-entertainment.com/site/photos/tremors-series/

Behind the scenes of Tremors the Series lost monsters. https://stampede-entertainment.com/site/photos/tremors-series-lost/

Cold opens for Tremors the Series https://youtu.be/srB6rZgv_Po https://youtu.be/v3ZkC08rKtg

BTS gallery of Tremors 4: The Legend Begins http://imgur.com/gallery/4M28quW Stampede Entertainment's behind the scenes of Tremors 4 https://stampede-entertainment.com/site/photos/tremors4-2/

On the set of Tremors 4 https://m.youtube.com/watch?v=bppXVxldTqU The weapons of Tremors 4 https://stampede-entertainment.com/site/photos/weapons-of-tremors-4/

Tremors 4: The Legend Begins opening https://youtu.be/3gDlAEUBesg

BTS gallery of Tremors 5: Bloodlines http://imgur.com/gallery/6l0Dogl

Tremors 5: Bloodlines opening https://youtu.be/t8jrCVI676Y

BTS gallery of the unaired Kevin Bacon Tremors pilot http://imgur.com/gallery/w7rbUvZ

Script for the unaired Tremors pilot http://imgur.com/gallery/UbtTvyf

Trailer for the unreleased Tremors pilot https://youtu.be/hWU3GpKmIvw

Kevin Bacon talks Tremors. https://youtu.be/TAGOlEIR7mA

Interviews with Alec Gillis, Brent Maddock, Nancy Roberts, and Ron Underwood https://youtube.com/playlist?list=PLjmUAAK3guQ8t6dKzwH9V0RzerkdLr0d1

S.S. Wilson talks his Tremors career. https://youtu.be/ZJhZmty_dKs Making Perfection https://youtu.be/hpCSCQJEmnk

Have a question about Tremors? Find it here and if you can't find it, ask S.S. Wilson yourself! https://stampede-entertainment.com/site/fan-extras/tremors-faq/?include_category=general

And if you love Tremors enough to have made it this far, enjoy a collection of gifs for you to use at your pleasure.

Tremors http://imgur.com/gallery/kPiEe3d http://imgur.com/gallery/5Sb4Vpg http://imgur.com/gallery/1uZxiue http://imgur.com/gallery/NX5r2

Tremors 2 Aftershocks http://imgur.com/gallery/i1IZZf8 http://imgur.com/gallery/krcmrgQ http://imgur.com/gallery/GjTxAg1 http://imgur.com/gallery/DabFZTt http://imgur.com/gallery/QLTStyx http://imgur.com/gallery/P92e1ri http://imgur.com/gallery/IUAvd http://imgur.com/gallery/h8BZ0qN http://imgur.com/gallery/ZQi2KOb http://imgur.com/gallery/WDZdM

Tremors 3 Back to Perfection http://imgur.com/gallery/5ebddmR http://imgur.com/gallery/Rj9fqIy http://imgur.com/gallery/ikzXFbd

Tremors the Series http://imgur.com/gallery/cqSMk40

Tremors 4 The Legend Begins

http://imgur.com/gallery/ufV3of1 http://imgur.com/gallery/zPGBOW3 http://imgur.com/gallery/ri5jLRd http://imgur.com/gallery/y7A3l5D

Tremors 5 Bloodlines

http://imgur.com/gallery/Pmunxjo http://imgur.com/gallery/0yazNVG

Tremors 6 A Cold Day In Hell http://imgur.com/gallery/S4qlPCI http://imgur.com/gallery/Xa2mUsS

Tremors Pilot http://imgur.com/gallery/RXXjbKr http://imgur.com/gallery/kCErQyF

Tremors 7 Shrieker Island

http://imgur.com/gallery/FzpJllb http://imgur.com/gallery/JGweZjH

[bettsfic]

Hi! Do you have any advice about how to reveal things about a character's past - particularly Big things, like trauma or otherwise defining moments - without either a) hitting the audience over the head in a big exposition dump, or b) hiding key info to the point where it's a Mystery to an annoying degree? I love stories where a character's behavior is somewhat of an enigma until you learn something important about them, but I don't know how to actually do that myself, esp for the pov character.

oh man what a great question! i think about this all the time. so much of writing boils down to when to reveal information. revealing information early in the story offers context, character development, and raises the stakes. late in the story, it illuminates all that came before it and casts the story in a new light.

there is so much writing advice out there that’s like “cut the backstory! nobody cares about backstory!”

but let me tell you, i’m always a slut for a good backstory. anti-backstory people are the same ones who hated the movie Solo because “we didn’t need to know more about han, he was already a good character on his own!” i read so many bad takes to that effect, and i kept thinking, excuse you! *i* want to know more about han solo!! i want information that will change and deepen my perspective of a trilogy i’ve seen a thousand times so i might go back and watch it again with new eyes!!

anyway. i’ve also been reading danmei, specifically mxtx, who is truly a galaxy brained writer when it comes to backstory. she completely changed my perspective on what it looks like to weave together a vast and complicated story structure. i remember watching the Untamed, deeply irritated by the 30-episode backstory, thinking about what poor writing it was and how if i could get my hands on the script, i’d pare it down and weave it in more thoroughly. 

but then! by the end of the flashback, i was sobbing!! me! crying! over media! and i thought, i’ve had this reaction to a story maybe only a handful of times in my entire life? maybe instead of judging this for not meeting my (extremely western and strict) standards of a “good story” i should be listening to what it’s teaching me?

i honestly think i’ve learned more about writing from mxtx than my entire first semester of a cw phd. 

now onto the actual advice:

in the first draft, let the backstory unveil itself to you naturally without concerning yourself with where information should go.

if you’re not used to writing multiple drafts, this might be difficult. but if you have a complicated past timeline that affects the present timeline, it’s nearly impossible to do it all in one go. you need at least one draft to get it all down, and another draft to put it in the right order. most of the revision process, i’ve found, is putting things in their right place. the creative brain is not an orderly thing, even for those of us who plan meticulously.

while you’re drafting, you’ll find natural pockets where contextual information should go. follow the paths that open for you. if you get to a point where a character is thinking about a certain moment in their past, go into what happened right then and there. you can always move it later, or expand on it, or cut it. but it’s important to see those cues and respond to them the very second you’re inspired to do so.

note, this is the same for nonfiction! if you’re writing a memoir or personal essay, memories will trigger other memories, and the more you allow yourself to follow those paths, the easier it is to see the patterns that emerge. you have to let your stories tell themselves to you. 

okay so let’s say you’ve done all that. the past events are all there, but it’s awkwardly placed/you just don’t like where it is. how do you find where it goes?

unfortunately i can’t tell you where backstory/contextual information should always go or how it should be placed there. but i can tell you what certain positioning does to a narrative, so you can make a more confident decision.

i can go on at length about the movement of time in a story, but i want to keep this narrowed down to the basic premise that you have a present timeline that is informed by past events, and the present timeline is the main story. (there are many other ways to navigate time, but i’m defaulting to this setup because it’s what anon is asking, and also probably the most common.)

in your present timeline, you have plot points, moments where A Thing Happens. i’ll call these moments “events.” likely, you’ve established the stakes of these events as well as their consequences. if your past timeline (stuff that occurs before your story begins) informs these events, your first choice is whether or not you want to put them before an event or after it.

if you put the backstory prior to the event, you contextualize and add depth as or before the event unfolds. this option is good for romances, adventure stories, any narrative where the tension derives from a gradual increase in stakes, and the conflict is built by an opposing force like an antagonist. 

if you put the backstory after, you illuminate the event and cast it in a new light. this might be a twist or reveal, which is good for mysteries, thrillers, or stories where the tension comes from the unveiling of information in order to answer a question the story poses. 

and you can also have a bit of both! maybe you want to tease out some information and reveal some later, or have the past and present run parallel. maybe you want to begin the backstory, cut it short, the event happens, and then you complete the backstory. this method might be good for stories where the present timeline has lower stakes than the past timeline, like recovery narratives.

once you’ve decided before/after/during, the next major decision is whether you want to thread the past into the present via summary (indirect discourse), or if you want discrete, in-scene flashbacks (direct discourse). obviously you can also do a bit of both!

i think this decision will likely depend on your narrator. sometimes a well-written 3-sentence summary is more evocative than a 3-page detailed flashback, especially if the past timeline is a composite memory. that is to say, it’s not a single event that happens, but a series of them, like if you have a memory of always eating a bologna sandwich after school, your brain compiles that into a single memory even though you know you did it a thousand times. 

but sometimes, if a past moment is really important, the 3-page detailed flashback is necessary. sometimes you’ll begin with summary and move into a scene and back out. when it comes to backstories, don’t be afraid to play around with discourse. how does the style and tone change when you summarize a conversation versus when you write it in actual dialogue? personally i’ve found that less is more when it comes to backstories so I err toward summary, at least in my own writing, but as a reader i appreciate each kind of approach. 

lastly and most importantly, get a beta reader and ask them specifically about their experience reading the backstory. here you want descriptive feedback. you’re not asking “what should i do? how do i fix this?” you’re asking, “how did you feel while reading it?” and that will tell you how to approach revision. sometimes i write a backstory that i think is a slam dunk, because i’m already invested in the characters, but i get reader feedback saying it’s boring/they were inclined to skip over it. sometimes i’m like, “haha good, be miserable and bored, you’ll thank me later.” and sometimes i’m like, “dammit fine” and kill my darlings.

on that note, sometimes you just have to own it, and bore/confuse your reader because you know the eventual payoff is good enough. if the info dump is the best/easiest/clearest method, do it. if teasing a backstory out slowly is what you’re going for, don’t be afraid to make the reader want to throttle you. you don’t write to buy into your reader’s expectations; nor do you write specifically to defy those expectations. you write to honor the story you want to tell, and you place contextual information that is most complementary to the narration you’ve chosen. 

[bearpillowmonster]

FF6 Review (Overall)

I'm going to rate similar to the way I did FF7 Remake, but in only 2 parts, so there will be an overall review then a separate deep dive into the characters.

I played this game using an emulator and I'm not ashamed of it because I used the FF6 Relocalization project which I'll link

Basically nerd talk and explanation of what that means: It's basically a retranslation of the original SNES script using the GBA port as a base and mixing and matching some of the best parts so there you go. They have a way to mod the PC version to have the OG sprite work because sheesh is that thing ugly and they also have a way to resprite and resound the GBA version but this is the easiest and logical solution to get the best of all worlds. There's also "Anthology" which is the PS1 port that adds some CG custscenes which I just watched off of YouTube because it's only a few of the major scenes.

Anyways, yeah, I'm glad I emulated it especially because of the fast forward function. That first chunk would've been rough without it because you're left just waiting for one of your party's commands to be ready but it eases up as the game goes on because you get pretty busy with the combat.

I'm not a fan of turn-based RPGs which was the main reason I haven't touched a 2D FF game until now so this is my first and oh boy, what a first!

Could you just watch a playthrough or read the story then? I wouldn't recommend it. There are certain things that I feel are better experienced.

Gameplay actually wasn't all that gruesome, as I mentioned, it got better thoughout but I know for a fact that I didn't do everything it had to offer because I see other people doing it online and I just had no idea how. That's not to say it's not newcomer friendly though, I mean I beat the game, didn't I? I think it would've just gotten complicated and made me confused if I learned how to do everything in the game anyway.

I found myself liking some of the mechanics and recognizing some of the systems from games as late as today (I'm not sure if this is where they started but I wouldn't be surprised). The random encounters weren't all bad because of the emulator's speed up function but there were definitely times where it felt a little out of hand with the amount I was getting. (I'm looking at you Cave to the Sealed Gate!) So it's all pretty familiar, though there are "Relics" which are kind of like Materia but each member has 2 each where it gives you an ability, f.e. Reflect, every attack hits, extra power, auto cast protect, heal with every step, etc.

One of the drawbacks of using BSNES though was that there was no toggle for a L or R shoulder button, just turbo and while that's not a big problem, that is the button to Flee a battle, so I just never fled. There is an item that lets you escape any dungeon or battle but I didn't really use it, same with the permanent item that Mog has in the cave (pretty late in the game). I'd rather there be a repel than the warp stone, but I figured that if I just fought whenever the opp arrived then I wouldn't have to grind, which is another thing I hate about RPGs! Luckily, I didn't really feel the need to grind other than for the ending.

Difficulty wasn't really a grind but make sure once you get to the floating island, that you know what you're doing because that level was annoying and I felt a very stong spike in difficulty as soon as I landed on it. Another thing is that sometimes it'd glitch and an enemy would have infinite health so I'd just sit there on fast forward, watching and watching then finally use Libra and no damage was made, might be an emulator thing, might be a game thing and although rare, it still happened.

There are these sections called scenarios where the game branches off into multiple different paths and you can choose which order to follow the specific sets of characters. I really like that aspect and makes it seem less linear and interactive because it's letting you choose how to tell the story. I have a thing for games that let me interact with it (That opera scene is pretty interactive too).

For a 2D sprite game, it has quite a personality with its cutscenes. They can be very cinematic and defintely makes the characters just that more engaging with some of their mannerisms.

Ok, I get it now. The music is bomb. If anything, that would be worth doing a remake for, to get orchestral and updated versions of some of the themes. (I'd probably cry at that opera scene) But Celes' theme is probably my favorite. The PC port has pretty good remixes for the most part though.

Could this use a remake? It's a trivial matter because I think a good majority of fans want it to be remade and I understand why but at the same time I understand the other side of the argument as well. This was the last 2D FF game and that's special, in a way, the story kind of reflects that. And I think with all the personality comes a bit of caution because you might see something in these characters or scenes that may be misinterpreted or done differently in a remake, similar to how you read a book and just imagine how it's playing out. I think it lays enough ground so that you don't "have to interpret" like with most NES games (how the Super Mario Movie was born) from an outsider's point of view, it may first seem that way though. (myself included (yes, I know this was SNES era. Shut up!))

What would I want out of a remake? I would want the airship to return and be able to move around freely but keep the towns pretty faithful (which makes for more linear opportunities). I could see Edgar's tools being used similar to Barrett's but we have "First Soldier" now which is a 3PS Battle Royale, why not have his tools play similar to that? Then actually give him story opportunities to pick up his tools rather than "just because you bought them" It would be a nice natural progression. I would suggest the same with Sabin and Cyan, have them learn their Blitz and Bushido moves by being taught by Duncan, you do learn one move from Duncan in the vanilla game but I'd see it as more opportunity to build your characters and make it feel rewarded. So, in those aspects, I would like to see FF6 remade or improved but as for everything else, they should keep it a lot similar to the original than FF7R did. I think that's where a lot of the criticism with FF7R came from (as well as what I mentioned in the previous paragraph) While I'd prefer a gameplay overhaul similar to what they did with R, I'd rather keep the essence. There aren't sequels or spinoffs or anything of this game so this is all it has (unless you count the ports but that's minimal).

In the CHARACTERS section, I compliment the side-quest system but I would like there to be a better indication as to "what" you're doing, rather than just looking up the next steps or be left to travel around until the goal is clear. They have the quest completion menu as well as waypoints in FF7R, I could see that being put to good use in a game like this. It would also be cool to actually "visibly" wear the gear that you equip to your character but I understand why that isn't utilized in most of the games (probably makes for better character models) especially considering most of these characters' costumes could use an update. You didn't get to use the Magitek suits nearly as much as I thought you would from the marketing and even the dang cover and logo, so a remake could improve on that as well. Another small complaint is that it doesn't tell you what the items do WHILE you're in battle, only when you're in the menu, sorting them and while some are staples like Phoenix Down, I still don't remember what the heck a 'Gold Needle' does.

Overall I'd probably rate the FF games that I've played (but maybe not finished all of) as such: FF7 > FF13 > FF6 > CRISIS CORE > FF15 > FF12 but I think 6 and 13 are kind of interchangeable because if you said one over the other, I wouldn't really argue.

[metalkingaboutmovies]

What I Think About... reservoir dogs

Script:

It's no secret that Tarantino is one of the most brilliant screenwriters not only of today but of all time (I think) and even though this was his first film he already showed that he would have a brilliant career. I really admire his capacity to write dialogues, because despite the story, the movie is almost all driven by dialogues and I think it is very good because they are things I would talk about with my friends, like when they talk about Madonna in the beginning or when they are telling stories in the car and then they ask what is the name of the actress in that movie, these are things we normally talk about and he takes a simple conversation about Madonna's virginity and makes it a fascinating conversation for those watching, because we see ourselves in it. I love the plot twist, when we find out who the impostor is and understand why he did it, I love the bathroom scene. I really like how he starts the movie out of order, to make us intrigued and want to know how everything happened, not so much for the plot of finding out that he is the impostor because I think anyone would do that, but mainly when Freddy is bleeding because he was shot and we find out later how it happened, which completely escaped the expectation that I created while watching, very good.  The ending is completely unpredictable, just like the whole movie, but the ending is the PERFECT way to end the movie (I don't know about you, but I think Mr. White was in love with Freddy).

Direction:

Tarantino is my favorite director, I think everything this man does is pure art and this movie is one of my favorites, not only Tarantino's but all my favorites. I really like the way he controls the camera, like putting the camera from bottom to top, to give an air of superiority to the characters (in the scene where they catch the cop from the trunk) and specially how the camera follows Mr .Blonde when he tortures the same cop, the most iconic scene in the movie. I saw that at the time people were shocked by the movie, especially the ear scene, which nowadays is a very small thing compared to Tarantino's movies, this scene gives a little bit of agony and I really like the idea of turning the camera away when he is actually cutting the other guy's ear off and then Mr. Blonde showing up with the ear in his hand, making a very good joke that shows the coldness of his character. So an excellent job by him.

Performances:

I think the performances are very good in general, I think everyone understands their stories and plays their characters in a realistic way. Steve Buscemi's performance called my attention, because until then I had only seen him in cliché comedies and I really liked to see him in something different. Harvey is very good, he is the most normal character I think but I understand who he is and where he came from, it is still a mystery why he cared as much as Freddy, but I thought it was a good idea to leave it to the audience's interpretation. The closest to being the main one is Tim Roth, and I really like it because at first I have no idea he is the imposter, I thought it was Blonde, and comparing their stories the most likely to be the imposter is Freddy (Tim Roth) but the interpretation of the two of them confuses us a lot, my favorite part of him is when he tells Ms. White that he is a cop and the look on his face when he shoots the woman after she shoots him. The character I like the most is Madson's, he doesn't have much screen time but I understand very well his story, and I like very much the scene where he tortures the other policeman, there I see a psychopath (which proves that he understood his character very well because this scene was his idea). Let's not forget Mr. Tarantino who not only wrote and directed but also acted as Ms. Brown, it's not a great role but he is fine, especially in the conversation about Madonna.

Cinematography/Montage

As I said before, I really like the camera movements. I don't think the cinematography is the highlight of the film, but it is impactful, like every Tarantino film.

I really like the montage for several reasons, I like that it's out of chronological order because it makes you discover the films little by little. I really liked how he cut to Freddy dying in the back seat and after a while we find out what happened, which was so different from what I had imagined. Now, my favorite part is when Freddy is telling that story that the guy gave him to memorize, and what he is telling to the bad guys happens, he goes into the bathroom sees the cops and the dog and all of a sudden he is telling the story to the cops there while the camera revolves around him, I think this is magnificent. These kinds of things make my life happy.

This is a movie that I could talk about for hours, so I wrote what I like more (and believe me, I summarized a lot) but if you want to talk about it, send me a message, I'd love to talk about it ;)