#Mark Barriere

[adamwatchesmovies]

The Dallas Connection (1994)

The Dallas Connection is hilariously inept. In many ways, it’s got everything you want out of a "so bad it's good" action film. The performances are awful, with the title of “least convincing” constantly moving from one actor to the next. The plot is simplistic, bordering on idiotic, making it easy to follow even if you’re spending more time shouting insults at the screen than paying attention to what’s going on. The script contains gems like “I’d like to suck the polish off your toes” to keep you laughing. There aren’t a lot of action scenes but when bullets are exchanged, they usually result in some unconvincing dummies blowing up. Most important of all, it takes itself completely seriously, with several final act twists proving that some of the “mistakes” we saw previously were actually intentional. Only one thing prevents me from wholeheartedly recommending it to everyone. What is it? Read on.

A trio of beautiful assassins - Black Widow (Julie Strain), Cobra (Julie K. Smith) and Scorpion (Wendy Hamilton) - eliminate three of the four scientists involved in the creation of an advanced satellite system. To ensure Antonio Morales (Rodrigo Obregón) doesn’t fall prey to the same fate, special agents Chris Cannon (Bruce Penhall), Mark Austin (Mark Barriere), Samantha Maxx (Samantha Phillips) and Nicholas Lang (Roland Marcus) are sent to protect him.

Though the plot is easily summarized, it’s made to seem needlessly complicated. This is because of some equation that was split up among the scientists and then converted into microchips that need to be brought together so the satellite can be activated by a meteor shower. This will allow whoever uses it to detect any weapon on earth, anywhere - even underground. Huh? What? It makes no sense but doesn’t matter. The point is, we have a bunch of male scientists with something the evil people want. How do you get a man to hand over something useful? By seducing them, or blowing them up. Enter the trio of female assassins, all of whom are played by Playboy playmates. Like I always say, if you can’t be good, be sleazy and this movie takes that mantra to heart. Unnecessary shower scenes, prolonged sex scenes, a trip to a strip club and loads of inappropriate outfits make this the kind of movie that would be watched over and over by teenage boys late at night. It’s not quite as bad as Skyscraper, but it’s close. The most hilarious R-rated moment has to be a sequence set in a fancy restaurant. Mr. Morales begins fantasizing about what his bodyguard would look like in lingerie so of course we see Samantha Philips out of her clothes. They had to find some way to get it done… beyond the sex scene she had earlier.

While this obsession with the female body is hilarious and pleasing to anyone who might enjoy the female form… it might also be the one thing that won’t make The Dallas Connection fun for every crowd - especially if your group contains couples. Reportedly, Bruce Penhall’s wife was pretty upset by his enthusiasm in the hot tub scene. It’s easy to see why.

The ladies were cast primarily for their ability to dazzle audiences with their shirts off but the male characters aren't exactly Shakespearean all-stars either. One-liners that should have you cheering will instead make you groan, important dialogue is thoroughly unconvincing (and contains grammatical errors at least once) and everyone comes off as an idiot. It certainly doesn’t help that the story is full of inconsistent behavior - even if you take the twists at the end into consideration. You can spot a boom mike in the upper left corner of an early scene and the story will have you scratching your head. You’d think with the villains’ team being primarily composed of three “strong” women that Samantha would be the big hero at the end. She’s the only one that can’t be seduced, she’s the one that gets closest to Morales, and as the only woman on the team, she stands out. Except she’s a terrible agent. One punch and she’s down for the count - hardly a badass. You might say I was expecting too much but some of the reveals at the end are proper "Oh!" moments that force you to pause and think. Not much, but for a movie of this level, that counts for a lot.

Ultimately, The Dallas Connection is light on the action but makes up for it with the gratuitous nudity. At first, you'll say “Alright, I see what you did there” but it’s expected out of a film like this one. It’s what the poster is promising, after all. The third, fourth, fifth, sixth, etc. time the film finds a way to get the women out of their clothes are so absurd you'll be howling. Once in a while, it also switches things up with some bad performances, unconvincing dummies, lousy dialogue, and nonsensical writing. From my research, it sounds like this is par for the course for director Christian Drew Sidaris. If that's the case, I’m looking forward to seeing more. (March 26, 2022)

[milkybishop]

"- but with whom can you sit in water?"

and who can hop in the bath with you to make a show of not caring about your tattoos, and how can you not find it hard to hide your disdain at the attempt.

because either this is a trap you have blindly walked into again . . . or he really does love you and could have loved you all this time. and despite all that-

you cannot turn from the path that you are on.

[itissadbutitsmy-artblog]

the first time you go to bufos classroom and the second time

[darkwood-sleddog]

yeah sorry neighbors your dog does absolutely *not* stay behind his invisible "fence" and absolutely does *not* listen to you.

[sleepyminty]

Guys i just discovered there’s a prequel story of shibito magire in bilibili, if anyone find these videos pls share or translate it tks

[mythserene]

I got a message I figured I would try to answer out here because updating my less-informed, earlier Lewisohn musings has been on my To Do list for a while.

From anonymous:

I am enjoying your Lewisohn analysis. Do you think he has taken a bribe from the Lennon estate to play down J&Y’s heroin addiction? I can think of no other reason he would lie about this. He is obviously aware how stupid it makes him look.

Thank you for the question, anonymous. Back in October when I first started publicly posting about Mark Lewisohn I knew a lot less about him and hadn't been able to form any sort of picture about what happened between him and Paul/Apple. Or the ongoing and seemingly increasing enmity between he and Paul (+ the Beatles' families), or the anger that seems to be almost boiling over in Lewisohn these past few years.

And for what it's worth—as far as I can understand—even Yoko has locked Lewisohn out. Apple is a unified front on this one.

I do not think that anyone has gotten to Lewisohn to make him say these things, or even that he is aware that he looks stupid. I think that Beatles' fans are extremely straight-laced in the best way, and that the habit of trusting someone like Lewisohn dies hard. Until AKOM's Fine Tuning series I'm not aware of anyone ever putting forward a concerted challenge to even his most extreme narratives. The voluminous word count of the book and the simple fact of all those citations lulled most people into complacency. Until Fine Tuning no one had looked further, or if they did they were shy about stating it. People in the Beatles' community are afraid of criticizing Lewisohn, and I've heard that again and again these past few months. But AKOM went for it, made a persuasive case, and opened the floodgates. (And gave me an opportunity and an outlet for the problems I had been finding, and supported me. Phoebe and Daphne are the only reason you're reading this.)

Back to the question.

First of all, I think that Lewisohn genuinely idolizes John, and I think he is fanatically committed to the narrative of John-as-demigod. And I tend to think that he is now perhaps more committed to his telling of the Beatles' story than even to the beliefs that undergird his narrative. But the other half of the equation that the Solomon-like part of my mind failed to accept for a long time is just how much Mark Lewisohn seems to hate Paul McCartney. And I do not use that word lightly.

When AKOM started their Fine Tuning series I was half-excited and half-nervous. I am a citations freak. I like original sources and I basically mine books and podcasts to find sources and hunt them down. I also came into the Beatles without the background that most fans have. I didn't understand the John vs Paul fight in Beatles historiography. I loved John and Paul both, for different reasons, but mostly I loved them together. What initially caught me about Tune In were all the claims that were completely unsourced, and before long I began discovering more troubling issues, but after a while I forced myself to set it aside because I was just frustrating myself and it seemed like a waste of time to argue with Mark Lewisohn on my computer.

It was Shells and Barriers that made a new thought intrude and begin to become inescapable: Mark Lewisohn must genuinely detest Paul McCartney. This was the episode I most dreaded because, well, because I was ignorant of a lot. I expected it to be the most subjective, and I have a lot of empathy for John as I am an only child who lost both parents a month apart. It makes you feel like you have no tether at all. Like you're floating in space and that any breeze might carry you off. There's no cushion and you feel exposed.

But that episode did something that I was unable to do on my own—that I didn't have the breadth of knowledge to comprehend on my own—it filled in a lot of gaps that I was unaware of. And I simply could not fathom any reason for most of how Lewisohn framed Paul's childhood besides pure loathing. Daphne's word counts are pretty incredible, too. John is jealous twice, both times of Cynthia. (+a "Jealous Guy" mention.) The numbers that stood out to me right away and have stuck in my memory were Paul being "jealous" eight times and "envious" five times = thirteen. And even beyond Lewisohn making Paul out to be completely unmoved by his mother's death and painting the aftermath as safe and comforting, it's notable that Paul is only said to be "loved" four times in the entire book, and he is only said to be loved by John. (Stu is said to be loved nine times.) I realized when I listened to that episode that my picture of Paul's relationship with Mike had been refrigerated and flattened out by Tune In, all without me noticing it. Because Lewisohn doesn't hit you over the head with things, instead he subtly and slyly frames things in a careful and deceitful way, and that framing shapes the reader's opinions.

The case of bias in his writing about John and Paul's childhoods is not easy to make, especially in the ways I like to make a case—finding discreet objective evidence that can be straightforwardly disproved—but AKOM's overall case in that episode was devastating, and there were several details that stood out to me and have stuck with me. Jim hitting Paul until Paul basically threatened to hit back as a teenager and the unnoted redaction of that in a John quote Lewisohn uses is fairly indefensible, and the choice to leave out that Jim was suicidal after Mary's death and to instead paint a picture of a loving and nurturing extended family swooping in that almost sounds better than what the boys had had before losing their mum impressed me as almost malicious when patiently laid out. And then there were a lot of smaller details that struck me. Lewisohn describes Mike as "shattered irrevocably" by Mary's death, which is contrasted with Paul's callousness. (And the way the "shattered" sentence is written it also leaves the impression that Paul wasn't that close to his mum, although Lewisohn is careful not to say that in so many words.)

Jim broke the news to the boys. Mike, who was especially close to his mother, burst into tears, a core part of him shattered irrevocably. Paul's response was less expected and not at all what Jim or anyone else wanted to hear. ... Eight years later, Mike looked back with candor on these first few days ... "Paul made some flippant remark which sounded pretty callous at the time" ...

(Emphasis mine)

Then in a Frankenquote that is half author interview, Paul is quoted as saying about both he and John losing their mothers:

“We had a bond there that we never talked about—but each of us knew that had happened to the other ... I know he was shattered, but at that age you're not allowed to be devastated, and particularly as young boys, teenage boys, you just shrug it off.”

And Dusty Durband, Paul's English Master, was quoted in Chris Salewicz's 1986 biography of Paul describing him as “shattered.”

“Paul had a bad break, his mother had died. He did go through a bit of a rough patch then. I think it shattered him a lot. Maybe it made him turn to other things like practicing his guitar...”

It's like Lewisohn is screwing with Paul by keeping that adjective away from him and even teasing him by handing it to his brother, just out of Paul's reach. I hesitate to write that because it probably sounds as extreme as some of Lewisohn's conclusions, but my Lewisohn immersion has made it seem completely logical, and in fact, almost undeniable. It's a small detail that doesn't seem that important in isolation, but even with just the context of the rest of that AKOM episode it was a piece of evidence that my mind caught and held onto. Lewisohn, by his own testimony, is a Paul watcher. He obsessively listens to, watches, and reads McCartney interviews and is forever bringing them up on podcasts, waxing on about how he understands Paul McCartney like no one else. (This is invariably followed by an example that is freakishly twisted inside Lewisohn's mind to reveal some negative aspect of Paul's character.)

I don't think that Paul and Mark Lewisohn had some great falling out. Instead what I think occurred added up to a thousand paper cuts in Lewisohn's very thin skin. He felt humiliated by Paul one too many times, and he pushed every humiliation down into his gut, coated them in bile, and remembered them.

Last November there was a Lewisohn interview in a Spanish language magazine, Jot Down, where Lewisohn tells one of these little anecdotes. They're always couched in neutral language, and he usually says how whatever happened was understandable, but the theme is the same: some perceived slight by Paul that he had to swallow in silence. (The translation is 98% Google translate. I corrected three or four pronouns that it had mistranslated, but nothing else.)

“He didn't say goodbye to me, he didn't give me a hint of grace.”

Q. I remember a television program in which Paul was asked for a detail of his own life, and he answered "ask Mark Lewisohn." LEWISOHN: Yes. It was a little weird, sometimes. On one occasion, for example, I worked with George Martin on a television documentary about Sgt. Pepper. But he also kept working with Paul. So there we were, on Abbey Road interviewing McCartney with all the equipment, the television cameras and everything else. Then the director of the documentary tells me to let him know if Paul makes a mess with any information, so that I can ask him to repeat his answer with the correct information. I sat there, hoping that I didn't have to intervene. But Paul said he had the idea of making the album Sgt. Pepper's Lonely Hearts Club Band flying back from the United States. And I knew that hadn't happened like that. Let's see, I wasn't there, but I know he had the idea coming back from Nairobi. In fact, he didn't fly to the United States until Sgt. Pepper was finished. And, on the return trip, he was already thinking about the Magical Mystery Tour. I usually let these details go, they're really not that important. Except if they are recording him for a documentary about the 25 years of Sgt. Pepper that was going to be broadcast on television. So, while the cameraman was changing the movie roll, I approached the director and said "Paul was coming back from Nairobi and not from the United States when he had the idea for the album, I don't know what you want to do about it." And the director goes and releases him, "Paul, Mark says you didn't understand it well. That you didn't have the idea when you were flying back from the United States." To which Paul stared at me and replied "Yes, I did." It was a very uncomfortable, difficult and embarrassing moment when I wanted the floor to swallow me. He didn't say goodbye to me, he didn't give me a hint of grace. And I had to learn when to say something and when not to. But, in that place, my job was to say something. I was paid to say something. So I said something, and he didn't like it. Nobody likes to be corrected.

Sorry, anonymous. I wrote far more than an answer because I used your question as an excuse to get on the record an addendum and some corrections to my earlier musings, but I do not think Lewisohn has any idea of how ridiculous he sounds. He is insulated from almost all criticism and is constantly praised as a sort of Beatles' god. He worships John and wants to shape the Beatles' story to redeem him, but I also think he believes in the story that he has shaped. I think he is lost and frustrated at being locked out by Apple—and actively thwarted by them—and that has made his criticisms of Paul much more public. It's as if his new job is just going on podcasts and taking pot shots at Paul McCartney. And for Mark Lewisohn it's clear that the Holy Grail is the breakup. He is intent on recasting Allen Klein as much more of a positive force than history has given him credit for, and Lewisohn has foreshadowed a parallel between Klein and Epstein by manipulating all the evidence about Paul and Brian. He is going to cast Paul as the bad guy and John as the hero. As always. And if John and Yoko are addicted to heroin that throws his whole rewrite into chaos. He simply cannot concede that there was a real issue. John cannot be fully human. He robs John of what makes John so magnificent.

So everyone else has to be wrong.

Just for fun before I go, another narrative Lewisohn was working on putting forward in this “John was actually right” case, was rehabilitating Magic Alex. “Get Back” seemingly thwarted this line of nonsense, but after bingeing the Nagras Lewisohn was seriously pushing the idea that Magic Alex had been slandered by history and that John's judgment about him had been vindicated. It takes listening to a lot of these interviews—something that I can only do in small doses—to begin to see the fuller picture that Lewisohn was wedded to, and Magic Alex is as much a part of that as the heroin comments are. They are all of a piece.

“And they just had to get mobile gear in. So, big deal.”

In the end, I think what Mark Lewisohn means by “right” is different than what “right” means to everyone else. “Right” to Mr. Lewisohn means warped quotes that tell a fabricated story of Paul McCartney not wanting Brian Epstein as his manager. “Right” means Magic Alex being a wizard, unfairly tarnished by the lesser Beatles. “Right” means Yoko being John's artistic savior, and of a heroin addiction dreamed up by bad actors who don't understand things the way he does. A myth perpetrated by those who cannot grasp the truth. And I genuinely believe that Mark Lewisohn revels in the power of being able to take Paul McCartney's own story away from him and use it to hurt him and to hurt his legacy. To use his power over the Beatles' story to wound Paul, the way he feels that Paul wounded him. In so many interviews when Lewisohn talks about Paul he seethes. (It's quite impressive.)

And I think the thought of Lewisohn's retelling slipping away or being supplanted is a very threatening idea in his mind. I think it scares him. I think he is holding onto a delusion of his own making, and he fears that he will not be able to finish his life's work of solidifying that warped tale into historical fact.

Nothing is Real - Lewisohn seethe quick mix

[licollisa]

Since you did a take on Sans' personality, how about Papyrus? He's my favorite character but I always see him characterized as some childish and ignorant character that just likes spaghetti and puzzles when he's really so much more! That's just what I think though. What do you think?

(I saunter over the middle of the stage, holding a mic in one hand and a pillow in another)

Right. Okay, okay so I'm just going to assume the one's reading this is well aware of the… being 'infantilized' thing fanon Papyrus got going on.

Wholeheartedly agree about Papyrus being more than most of his (inaccurate) portrayal of being childish or ignorant. Like this shit, more often than not, always happens to KIND characters and if anything peeved me more than that one time I accidentally slept through the deadline of my midterm exam it's slander towards any good-natured characters (and I already wrote 12 pages for that thing!!).

Just like the former tumblr sexyman, he's often flanderized beyond recognition. Except a lot of the exaggerated traits are just made up?? Like where'd you got him being dumb from?

I'm just kind of highly suspecting that there's this notion that being kind and positive in the face of... pretty much anything horrible that could happen to him across timelines equates to stupidity. Somehow. Instead of thinking wow that's cool as shit. Trying to keep the hope thriving when you've got every reason not to, in spite of everything, would be anything but brave and rad as hell. Err something about the difficulty of being kind and the effortlessness of evil.

Another thing that's been microwave rotating inside my head is how fanfic writers counter this strange phenomenon. I'm super aware writing a character perfectly accurate is like the chances of Toby making skeleton ectos a thing: impossible. So when he's written to be this perfectly flawless and paragon of an adult person where the only recognizable thing about him is his speech in full caps and hatred for all things bad puns, well, I'll take neurotypical Papyrus over the infantilized one any day.

But that's just my personal take! I know I come off strong about this but I'm mostly just being dramatic. Again, Papyrus is fictional so I'm not going to put him above any actual person. Maybe you already did your best to write him and that's cool of you.

(I put down the pillow, and straighten myself up to hang the mic over and drop it. I missed and the mic shattered to pieces. The curtains are drawn.)

[natjennie]

do NOT message me. I'm busy mourning all of the languages I'll never learn and countries I'll never visit and books I'll never read and foods I'll never eat and art I'll never see and history I'll never know and skills I'll never have and events I'll never be able to go to and people I'll never meet and hobbies I'll never try. btw.

[vivianquill]

Impulse didn't quite know why he'd originally gone down to the beach with Skizz after their shifts at work, but he'd heard the whistles as soon as they'd stepped out onto the sand.

They sounded eerily like Tango, when their mer friend was curious about something they'd brought him. Impulse put a finger to his lips, motioning for Skizz to stay quiet. He didn't want to scare whatever it was away.

They made their way out onto the jetty of rock, Skizz using his phone to light their way, until Impulse saw it.

It was another merperson. It had to be.

Impulse couldn't see much more than the outline of a head and shoulders. He could tell their hair was white, with the way the moonlight bounced off of it, and he could see-- spines, maybe?

Whatever it was, they seemed to be looking for something, calling out with whistles and clicks now and again. Was there more than one? Tango was always more vocal when someone else was around.

Impulse's gaze was drawn away by Skizz crouching next to him, moving to shine the light over the water, "It's gotta be another merdude like Tango. Right?"

"Shhh-- Skizz, you gotta turn off the light or you're gonna scare it away--" Impulse reached out for the phone, hoping to point it away from the mer.

"Ugh, fine. But it's you're own fault if you trip and fall into the water and drown." Skizz huffed softly, putting his phone back into his pocket.

Impulse saw the mer flinch, disappearing with another high-pitched whistle.

"Skizz--" Impulse huffed, disappointed.

"Hey, it's not my fault!" Skizz huffed right back, before pointing out at something in the dark, tapping Impulse repeatedly on the leg, "Look! look look look look look-- there's another one!"

Impulse twisted, and sure enough, there was a different head poking up from the water.

But before he could do anything else, there was a splash and a flurry of movement, and there was nothing left except ripples.

He carefully scanned the gentle waves, looking for any more movement.

"I wasn't seeing things, right? There's two merpeople down there." Skizz stood up, folding his arms across his chest.

"Yeah, I saw them too. They know we're here though." Impulse frowned, edging further out onto the rocks. "I didn't see where they went. Can you?"

"No dude, they've completely disappeared!"

Impulse sighed. On one hand, it was probably a good thing that the mer were so wary of them, but on the other hand, Impulse was hoping to get some more information about where Tango might've been taken. Odds were, these were just random mer who'd gotten washed in on the tide. But hey, they might get lucky.

"I've got a recording of Tango on my phone from before he started talking." Skizz pulled his phone back out, flipping to his photos, "Maybe we can get them to come up?"

"That might work. Just be careful."

Skizz hit play, and there was an almost instantaneous reaction from the mer, an answering call coming from the darkness off the side of the jetty.

Impulse crouched, trying to see if they could get closer to the water, instead of being up on the rocks like they were. He pulled out his keys, because he had a flashlight on those and also he still hadn't gotten a new phone yet. Impulse used the light to see where he was going as he slid down to a shelf that was probably covered at high tide.

There was another series of chirps and warbles, and Impulse could see the vague shapes bobbing up and down at the edge of the sea.

Skizz shuffled down after him, and Impulse gave him a steadying hand as he looked over to where the figures were.

There were two of them, but it was hard to see anything but vague outlines in the dark. Impulse didn't want to turn his flashlight back on-- he didn't want to startle them any more than they probably were.

Skizz, apparently, had no such reservations, turning on his flashlight and shining it right in the mers' faces. Great going Skizz.

They were undoubtably the same kind of creature that Tango was. The one with white hair had a woven band holding it away from their face, and because of the light, Impulse could see the red-black heterochromia. A scar cut over their left eye-- the red one-- and instead of ear-fins like Tango, they looked like they had a frill of spines framing their head. Strangely enough, he looked like he was wearing some sort of ninja mask, with one webbed hand pressed over his mouth. Impulse could also see striped, spiney fins running down his arms. In fact, the mer was so still that the only movement Impulse could see was those spines flexing.

The second one had flinched away from the sudden flash of light, drawing Impulse's gaze away. He had dark hair, and big, dark eyes almost too large for his face. While the first mer seemed to be covered in spines and stripes, this one seemed to be coated in algae? He'd brought his hands up to shield his face from the light with an offended squawk, and all up his arms was covered in-- it had to be some sort of moss or algae or something, because it certainly wasn't scales. He looked so confused, almost like a kicked puppy.

"Hey-- hey, do you guys understand English?" Skizz asked, shifting closer.

Impulse pushed the light down, "Stop it, you're scaring them. How would you like to be flashed like that?"

"Do you wanna get pulled into the water cause we can't see where they are?" Skizz countered, "You know how jumpy Tango was at the start--"

"Speaking of, you can turn off the video now, I think. That one looks so confused." Impulse gestured over to the green mer, "I don't think mer have phones in the ocean, do you?"

"Right. Uhm. Hold on one second--" Skizz flicked off the video of Tango, and it was like a spell had been broken.

The spined mer lunged at Skizz with a violent hiss and a rattle of spines, coming at least halfway out of the water. Skizz tripped backwards, dropping his phone onto the rocks.

Impulse wished he had a pole or something to get between themselves and the mer, because those spines looked nasty.

"Woah woah woah hey--!" Skizz shouted, scrambling backwards. The mer's spines just barely missed his feet as he yanked them back.

Impulse had managed to retreat back up the rocks, getting out of reach before the mer could try to attack him too, "Hey-- woah calm down! We're friends. Friends--"

Impulse stayed put as the mer proceeded to talk at each other, clicking and chirping and whistling so fast that Impulse couldn't even hope to keep up, even if he did understand them.

The mer disappeared under the water, the green one pulling his friend down and out of sight. Skizz took the oppurtunity to snatch up his phone from where it'd fallen.

"Oh hey, it didn't break."

"Skizz-- get back here! Just because Tango's not venomous doesn't mean that these mer aren't!" Impulse shifted back so Skizz could climb back up too.

"I don't think they're going to come back up, dipple-dop." Skizz protested, but he backed away from the water anyway, "And I don't think they like us."

"Yah think?"

The only thing to be heard for a long moment was the lapping of water against the rocks. Impulse took a deep breath, waiting to see if the mer would reappear.

"Yeah, looks like they're gone. . ." Skizz muttered, "I know you miss Tango, I miss him as much as you do buddy, but these guys are wild. They probably think we're going to hurt them."

Impulse let out a sigh, "Yeah. . . I bet they don't understand what we're saying."

Skizz was proven wrong a moment later when both mer surfaced again, the spiney one rising head and shoulders above the water, while the other barely poked their eyes and ears out. They were further out than before, well away from the rocks.

"Oh, hello." Skizz sat forward, "They've gotta want something, right? They'd have run off otherwise."

Impulse was the next one to be proven wrong, when one of the mer called out in heavily accented English.

"How do you have that recording? Where is our--?"The next word was a warble-- "Where is--" That was the one series of clicks and whistle which Impulse recognized. It was one Tango had repeated to them countless times, trying to get them to say it right-- Tango's name.

What were the odds indeed?

[badmovieihave]

Bad movie I have Snow White and the Three Stooges 1961

[thecoolerbrother]

i think something moonage daydream was really good at doing was capturing a vibe

[spotaus]

I was just possessed to show you guys this thing I commissioned from someone years ago (@/gumballfan13 , I am unsure of their current social medias-) but this is Ichor's actual like- his legit ambient music

Obviously I want y'all to go support this guy because on-god is their music-mixing fire, but also I forgot about this and!!! I want to use it for something here soon!!!

[theflyingfeeling]

because today seems like a great day to make unwise decisions, I secured my ticket to BC's Berlin show and am about to do so with Leipzig as well, but is it just me or is there no pdf-ticket (€ 0.00) available for Leipzig?! 🤨

[nice-profession-mechanic]

Thief considering what their EoD elite spec should be: I don't want something heavy this time. Rifles were so heavy I had to sit down to use them.

Engineer: You were kneeling, you weakling.

Thief: You guys looked so small from 1200 range, I should try to be closer this time.

Mesmer: Can I teach you how to use an axe?

Thief: I refuse to learn how to use a weapon correctly, seeing how mad shortbow ricochets makes you gives me 10 seconds of aegis.

Mesmer: My ricochets make sense because they're magic, it's just a bow?l! How does it work?!

Thief (Aegis [10 secs]): I'm thinking about inventing a skill that heals someone.

Guardian: Not only do we all have that, but I can heal everyone.

Thief (Aegis [6 secs]): Nah, I'm selfish. I'm gonna pick one person on the team and keep them alive through a party wipe. The rest of you can die of jealousy.

Elementalist: After some experimentation: Scepter is my lightest weapon, wanna try that?

Thief: Yes! I'm gonna be so lazy this expansion. I'm gonna put all my points into looking fierce and teleporting everywhere.

[gilliontidestriderchampionoftheu]

TIDE AND MARK ARE HERE!!

[snazzyscarf]

uhoh. thought abt dennis too long catastrophic event several people killed.