#doesn't mean it's a BAD movie it's just fitting a different purpose

[funkytoes]

"is this movie featuring female empowerment roles ACTUALLY bad or are men just sexist" - me whenever a movie with unconventional and/or very powerful female leads gets super bad reviews from male movie critics and youtubers lol

[sugar-grigri]

Fujimoto answers you directly in this chapter (yes)

How about reading CSM differently? Or at least cut it up differently? Because the more the chapters progress, the more a certain pattern seems to repeat itself: Part 1 sounds as if Fujimoto is unveiling CSM in its purest form, then Part 2 sounds as if CSM is responding to its own reception by its fans. 

I've already said many times that Fujimoto likes contrast in form and in writing, and this chapter, though brain-numbing, simply follows Fujimoto's own rules, only in an even more accentuated way. 

To prove my point, I recommend you reread chapter 133 "Protest", which for me speaks directly to the divisive image represented by Fujimoto and his work Chainsaw Man. 

I've already done an exhaustive analysis of it, but let's get one thing out of the way: Fujimoto answers his fans in part 2. 

Whether it's by posing a heroine who seems incompatible with Denji, hating the figure of CSM which is nonetheless the work in which she's included, whether it's through the themes addressed by part 2, the question of dual identity, creating antagonists like Fake!CSM, setting up a church (us) around CSM 

We're in a work that speaks for itself, as chapter 137 confirms, and for this very rule, we refer to the previous chapters (an eternal restart).

Chapter 136, entitled "Normal Life", refers to a more-than-CENTRAL theme in Chainsaw Man, the nerve that irrigated the whole of Part 1 Denji's disillusionment, a bargaining chip for the former antagonist, Fujimoto takes his fans by the hand and puts them back into the game they know. 

We see what we'd all expected to see, a Denji who doesn't know how to fit into normal life, who's not cut out for 

In my previous analysis, I explained how not only is Denji incapable of having a normal life, not only because of himself but also because of Yoshida, who offers him this life, and above all because of Fujimoto, who abruptly breaks the rhythm of his own chapter with this aggression, frustrating (I'm sure on purpose) his own fans. 

What Fujimoto does is make you think you were reading in the right direction, showing you a Denji depressed by his normal life, and like a child amused by not wanting to be predictable, he breaks what would otherwise have been a logical thing to see. I mean… Who could have foreseen such a title?

Chapter 137 simply follows the same logic: Fujimoto has foreseen your frustrated reactions and knows full well that you've become attached to Denji, hoping that he'll break out of the cycle of manipulation. 

He plays you in this chapter by setting up a confident, emotionally well-adjusted Denji who pushes this stranger away, reminding her of the rules of respect and consent. 

It's not just Denji's thoughts, the way he would have liked to act, it's also the way YOU would have liked him to act. 

Now I can explain why these chapters, which break with the previous ones in their absurdity, are surely the most important in CSM. 

Many had pointed to the famous cinema reference in chapter 136, others had even noted that chapter 136 constituted chapter 39 of part 2, responding to Makima's date with Denji in part 1 in the same chapter. 

But chapter 39 of part 1 wasn't just interesting for the cinema scene, it was the one that set the rules for understanding CSM. 

In fact, it was this chapter to which chapter 93 responded, with Denji's ideology (in favor of bad movies) confronting Makima (against bad movies).

In the same way, the second chapter 39 (the 136th) also seeks to lay down rules

Chapters 136 and 137 have never been more responsive to CSM fans, stubbornly denying them what they want. 

What Fujimoto does is to return to cinema in its purest form in the second half, using the codes of the middle-aged male slasher. 

That's why the two high-school students go to Fujimoto's karaoke bar, because you're going to find yourself in its purest essence: having fun with the utmost absurdity. 

It's no longer a question of representing cinema, as in the two chapters 39, but of making cinema.

But why a slasher? Think of the mythical slashers that traumatized a generation… Yes… The Texas Chainsaw Massacre is a work that has achieved cult status for having opened the door to a new trend in American horror cinema: the slasher movie. Nothing represents a slasher movie more than a chainsaw-headed hero?

Inspired by the Italian "giallos", slasher movies feature a masked killer, a gang of youngsters and the killings of the serial killer in question. Fujimoto takes up this theme in his own way: Denji doesn't kill with his iconic chainsaw, he's not masked, and it's the young couple who hold the beats and the shady men who get killed.

If we go back to the depression we all expected to see, it's actually more complicated to understand: Denji's depression at being trapped in a type of writing that's too serious for him. 

Here Denji follows the rules of the game, enjoying himself by killing all those old people, saying ironically: "not bad this normal life". 

Because this scene is perfectly normal in Fujimoto's karaoke.  

In itself, Yoshida was right. Indeed, no, Denji is not the hero of the normal film that was unfolding before them. Because they're not in normal life, it's projected onto the screen. CSM's reality is an absurd slasher. It is in this slasher, in this false normal life, that the protagonist, Denji, is.

Denji is the protagonist of another film. And maybe in this one, the world needs Chaisaw Man.

[beadyeyes]

Alien Romulus review so spoilers because I'm so so disappointed after being told by every one how good it was and how great the effects were (you all lied to me) so so so long so so so so I don't know if it's worth reading

👍 Loved that they kept up the tradition of killing the people who smoke on screen first

👍 Technology design choices were so fun and did what Prometheus failed to do as a PREQUEL. Also failed to do what the movie itself should've done as a SEQUEL and kept notably similar design choices BUT STILL ADVANCE THE TECHNOLOGY?

👎 They made a group of people so unlikable or undeveloped that I didn't care if they lived or died.

👎 The cousins blatant bigotry against Andy came off mostly as racist AND ableist with no good reason whatsoever. Especially since it clearly wasn't justified by his mother's death because the synthetic in question that "caused her death" was justified in saving more lives over the few. His choice to leave his own family behind despite being so torn up about his mom too? And finally his weird breathing and hovering scene with the pregnant sister right after his girlfriend died was lowkey creepy and I hope it wasn't trying to imply he was the one who got her pregnant? Bottom line he deserved it and his death was the only entertaining one. Was that supposed to be on purpose?

👎 The boyfriend was a bland unlikeable character who failed to even be good enough for meat fodder + deserved to die for wasting screen time AND for letting his cousin be a racist dick to Andy despite them needing the for the whole fucking trip to happen. Worthless character.

👎 First facehugger impregnation being a woman. What a spit in the face.

👎 The fact that it was also a woman I didn't even know the name of! But had 1 more second of development than the rest and seemed like she could've been a cool character if the screen time wasn't logged by unlikeable men. Her alien birth scene was so tone deaf to the original horror of the series idk. I get not wanting to repeat the same thing but the worthless guys survived those facehuggers too easily for her to be the gratuitous birth fodder.

👎 Pregnant sister. I don't know how that could've been done differently but yea. Her boob slime was so. 🙄

👎 Her alien wannabe engineer baby thing sucked. It was so corny I laughed outloud I don't know how it could've been done better but making the aliens more humanoid but not in an uncanny way, like a weird trying too hard to be scary way, felt like a disservice to the viewers intelligence? The fact that it was a full sized thing in like 3 seconds too? No offense but wouldn't it be scarier to fight something small and newborn baby like instead of Grown Ass White Man #72

👎 Rooks facetracking shit was so gagworthy and bringing him back wasn't the tribute to the og movie like they wanted it to be. Remember how the big bang theory would make references by just naming randome nerd shit in succession? That's what he was. Just because you have a character come back doesn't mean it fits the theme of the movie you're developing.

👎 Rook's non-ambiguous characterization as evil. Just lame and defeats the complexity of the original character as well as how the synthetics have been developed.

👎 Her name is Rain and that's my name she wishes she was me so bad.

Rain was just so? Such an underdeveloped character who kicked ass and I appreciated her like? Waiting till Andy had seizure to help him out? I don't know. She just had no backstory or substance and Andy's whole character being there to protect her was fucking lame. Seeing her change that at the last bit was like yay development but then Andy gets killed so then it was just whatever.

Andy's character again, being there to protect Rain and not develop on his own. His disabilities being "cured" for most of the movie. Why the accent? Anyways I'm glad he was there because he was the shining star of the whole thing and even that felt a bit too on the nose as if they knew every one else was worthless.

The movie had a few jumpscares and the gore was nothing compared to ANY of the previous movies. Ultimately I felt nothing for the entire hour and half except for when the cousin got slimed, which I laughed. The mix of CGI was strange. 1 out of 10 as fuck! Do you think they're gonna make a sequel?

[argusthecat]

The storyline of Duskmourn is interesting to me, because it feels like it's struggling to contain multiple different plots, some of which the author didn't want to write. I don't want to really speculate wildly about corporate interference or forced changes or anything, but I do think I have an interesting way to take what to me feels like a story missing a spark, and fix at least a little of it.

Make Jace the main character.

Go with me on this odd journey.

In Duskmourn, a group of plucky adventurers that supposedly fit the tropes of horror movie characters are assembled and go into the house dimension to save Nashi. Nashi is there with a bunch of expendables chasing his mom's memory scroll thing, which has been stolen. Jace is also in the house, chasing Loot, who has been stolen. There's some side stories that are really really good.

A lot of this story doesn't work for me, but weirdly, I think it's because the story is trying to remind the audience of Magic in general that Jace exists and matters, while not actually leaning into his existence. And one simple change could put him (and Vraska please) front and center. Just take away the macguffin of Tamiyo's memory scroll, and make Loot the only macguffin that matters. Functionally they serve the same narrative purpose, so not much of the rest of the story actually needs to change.

You can even keep most of the characters the same! Jace can go looking for help retrieving his fuzzy son, and find that Tamiyo is dead, but meet Nashi in the process. Nashi volunteers to come with him, maybe planning to take revenge on Jace for the whole phyrexian thing, maybe just because he feels like he's lost without his mom around and remembers that old conversation with Ajani and wants to do something to help. This pulls in the wandering emperor, and also Kaito, her second best puppy dog who goes woof woof whenever she needs anything.

The whole thing would recontextualize the participation of Niv, and it would also open up a fucking hilarious conversation with Ral who has been stalking Jace this whole time and Jace just walks in and goes "yo, I need help with some doors, I know there's some bad blood but my fuzzy son is at risk, and soon everyone else will be too if we don't get moving". But that also means that bringing in Zimone and Tyvar and Niko can be more about finding people willing to trust Jace - or at least not care about his past - which adds another layer to them.

Pros to this solution : a main character. Having a protagonist isn't bad. Having a protagonist and pretending you don't is stupid, and that's what they're doing with Jace anyway. This fixes that. Also, Nashi doesn't get a bunch of people who love and support him killed before we even learn their names. Also Nashi doesn't appear to cold-bloodedly not give a shit about people who care about him so much they'd dive into a haunted house. Instead, Nashi gets agency, and can still have his own arc with the emperor where he learns to move past his mom's death and grow as a person on his own. Also, this sets up to more people that Loot is actually kinda important, and it lets them have Valgavoth be a big bad in a way that's different from all the other big bads in a fun way.

Cons. Some people don't like Jace. That's fine, these people can be given an outlet through Ral punching Jace. I think everyone kinda wants that a little bit.

[trainsinanime]

The Movie - The Bad Parts

Based on discussions with @emsylcatac earlier today, let's talk about Miraculous Ladybug & Chat Noir - The Movie (also known as Miraculous Awakening), and specifically what sucks about it. I want to clarify that this post is meant to be unfair on purpose. It's all about complaining because complaining is fun! Overall I think the movie was perfectly fine, I had fun and I recommend watching it on a big screen because it is really pretty. This post is full of spoilers, and I'll put it in the queue for the 29th so people who watch on Netflix can see it then.

Let's get to it. There are a number of different directions from which you can criticise the movie. Too many fart jokes. Too many Volkswagen cars. Not enough metro trains. Uninspired songs. I'd like to pull it back a step, though, and ask fundamentally: What was the movie trying to do, you know, as a story? Because I don't think it knows.

About something

The movie has set itself a fairly difficult task, trying to fit a monster-of-the-week show into a single cohesive narrative. This isn't impossible, other superhero movies from Marvel and sometimes Sony and even the odd DC one do that all the time. They do that by finding a core story to tell about the people involved. Tony Stark goes from war profiteer to taking responsibility. Shang-Chi fled his father and must now face him. Jessica Jones faces her trauma. Kamala Khan must figure out who she wants to become and what it means to be a hero. Hawkeye must shoot an arrow out of a bow. Stuff like that.

As a show, Miraculous Ladybug doesn't really have that. Marinette isn't standing on the wrong side of a central dramatic argument and must learn to find and believe the correct answer. Her only real problem is that she isn't kissing Adrien right now. Similar things go for Adrien, who has plot attached to him, but not really any arc beyond going from not kissing Marinette to kissing Marinette. And that's perfectly fine for a show like that, there are plenty of arcs for each individual episode. And sometimes you don't even need that and can just save yourself with twenty minutes of being fun.

The movie is exactly like the show in this regard, and in my opinion, that's a mistake. Marinette is clumsy and afraid of being awesome, but that is just basic hero's journey stuff, that isn't a real character arc. Adrien doesn't have an arc at all. So really, there is nothing here, no theme, no arc. Stuff just happens. The stuff that happens is very adorable in my opinion, but most of it doesn't mean anything.

And really, that seems to be the main point of the movie: Have adorable stuff happen. There are a lot of great trailer moments, but then if you see how they fit together in the movie, well, they mostly don't. There are some cute Adrinette scenes, but they are just here to be cute, they don't actually matter. There's some excellent Ladynoir banter, but it doesn't actually change anything or tell us anything about the characters, it's just here.

The movie certainly pretends that there's an arc here. Marinette gets an "I want" song that tells us she's unhappy about being clumsy, and she'd like to design clothes. We have a bit of a hero's journey. We have a tiny bit of a conflict when Chat Noir is in love with Ladybug, but she can't be in love with him because she's in love with Adrien, and he reacts poorly to that (oh god, are we going to get Adrien discourse again? Please, anything but that!). We defeat the villain, and Marinette learns the "Miraculous Ladybug" healing power. It feels like an arc, but the things don't connect to each other in any thematic way.

And sure, the movie pretends there is a theme here, which is "we're stronger together". Except being together is not really that relevant for the conclusion, and besides, nobody ever said they weren't stronger together.

Weirdly enough, there is one character who gets an arc, which is Gabriel, who realises his mistakes when he sees that Chat Noir is his son. That's nice but comes a bit out of nowhere. And the way Adrien forgives him that easily also feels unearned to me. If you go strictly by which character learned the most and changed the most, you could technically argue that this is Gabriel's story more than anyone, which is just silly.

So it all feels a bit lifeless. Many subplots start and stop at random, and many scenes in between the trailer moments feel too short and lifeless.

The Changes

The other thing that feels weird is all the ways that the lore was changed. I'm totally okay with changing the lore to fit into the movie, but so many of the choices just feel less interesting.

Most crucially, when Marinette falls in love with Adrien in the show, it's the culmination of a mini-arc in which she was wrong about him, and he was bad at social interaction, which they resolve with a ritual umbrella exchange. That is really meaningful. In the movie, Marinette falls in love with Adrien because he's handsome and he asks her if she's alright after she drops some books. That's less interesting.

A smaller detail, but in my opinion even more important, are the Akuma villains. There's no doubt that the gargoyle looks great… but it's a random person who we don't know. We certainly didn't know Ivan that well at the end of season 1 either, but we had at least some connection to him. Most importantly, Marinette had a connection to him, and so her fear for this guy she knows felt real and important. That's gone here. Same for the other villains. They're all just some guys Hawkmoth found somewhere. They don't matter to us or to the heroes, they're just around. In their fight for great visuals, they made the story less interesting.

There are plenty of other examples where the show weirdly forgoes personal moments. The Adrinette montage, for example, is sweet, but it passes by way too quickly. And it's not like the movie didn't have the time, I mean, have you seen these fart jokes?

When it comes to the superhero fights, I am mostly stumped. The movie invented completely new rules, but these rules are for the most part not better or worse, just different. It feels like they feared they'd infringe someone's copyright, but doesn't Zag own the copyright? I think the lack of insane plans prompted by a lucky charm was a bit sad, but I wouldn't call it a dealbreaker.

The Music

I think the songs were alright, I'm just mentioning them here because I know others hated them. My main issue with them is that they felt so unmotivated. It felt like someone had said, "this is where a Disney movie would have a song, so we'll put one here as well".

The Ending

Cutting there? Come on. Not gonna lie, that part got a big groan at my cinema.

The Nachos

Mine didn't taste that great.

In Conclusion

I really should have written this Sunday or Saturday when my memory was still fresh. But I think you get the gist of it. It was a fun experience, but I think it squandered most of its opportunities. There were fun moments, but the connection between them wasn't really there. Most importantly, the movie just didn't really have any story to tell other than "that Ladybug one". But while that is a fine story to have as the premise of a show, it doesn't really work well for a single movie.

[anths-girl]

I'm not one to try and write long-winded posts or like, get very passionately into a certain topic, or whatever. Mostly for the fact that, for one, my anxiety just makes me believe that nobody gives a shit about what little ol' me has to say about anything. And secondly, the few times in the past I DID kind of…speak up about things, I got such horrible responses that it just put me off ever actually saying anything at all, anymore.

But, BUT…sometimes I just CANNOT shut up. And this is one of those times.

I've lately started noticing this thing where, apparently, if you're asexual - and I AM very much asexual - you're not "included" in the "community," if you're a "straight" asexual. Like, go to my blog, see me posting pictures of like, Kirk Hammett with heart eyes emojis…BOOM, nope, you're not a "real" asexual. You're not valid. You're not included. Because I find men aesthetically pleasing, I'm…a fake? A fraud? Or, not actually asexual at all? Doesn't matter that, when I was 13, a guy I actually thought I liked, wanted to kiss me, and I fucking RAN AWAY. Or when another guy I also thought I liked, touched me, or hugged me or did anything physical, I would get nauseous and so uncomfortable that I pushed him off and made some vague excuses to just get the fuck AWAY. Or that, at the age of fucking 40, I am a virgin, I've never been kissed, AND I ABSOLUTELY DON'T WANT TO DO ANYTHING SEXUAL WITH ANYONE, EVER?

BUT, again, because I find MEN attractive (to LOOK at), and because I'm sex positive, I've watched porn (and YES, enjoyed it), like sexy movies, LOVE to read (and occasionally write) smut…I am not actually asexual? So…what? I'm just this broken, wrong…thing? That doesn't belong anywhere, because I'm not "attracted" to someone of my own gender? Even though asexual literally means I am not physically attracted to ANYONE? Because I am, according to "normal society," for all intents and purposes, labelled as "straight," I am not worthy of the "community."

The same "community" who is ALWAYS preaching inclusivity, and understanding and compassion? Well, shit, lately it's everything BUT compassionate. I've become wary, or even scared, of saying I'm asexual, because I'm afraid of ridicule. Again, I have pretty damn bad anxiety, and I get afraid when I just post a simple comment on things online, because I just don't have the mental energy to get into arguments or disputes. Though…it SHOULDN'T BE THAT WAY?! WHY does everything always have to end up being about people shunning others, who are different? Everyone talks about NOT hating or excluding people who are different…but then they turn right around and do EXACTLY that. The LGBTQA+ "community" is supposed to be a SAFE PLACE for ALL of us…and yet, now, apparently, the "us" is not…included? I can't be part of that "us," because, what, there's some specific set of requirements I'm meant to fullfil? I'm not asexual enough, because I'm not completely repulsed by sex as a whole, or because I'm a woman, who finds men attractive?

So now, what…it's right back to that mentality of hiding your true identity, because there's nowhere you fit in? Being ostracized because you're not ENOUGH to be part of something that SHOULD be welcoming to you?

Seriously, the world is regressing. Instead of being embraced and accepted for who you are…we get scrutiny, and told we're not good enough to be part of something that is supposed to include us.

So yes, what I'm trying to ACTUALLY say…it's sad and scary and LONELY, to be asexual. It's isolating. Because where we SHOULD be finding support and understanding, we just get hate and scorn. And one would truly think, that in this day and age, that wouldn't happen anymore. But like with everything, people just always have to ruin things for each other.

Because hatred towards people who are different? Will NEVER change. Humanity is still just too fucked up, for that.

[rubykgrant]

A funny "Flowers didn't Die" concept-

(and seriously, I think he just kept faking his death and then peacing-out to go do whatever, but for the purposes of this, he just stayed in Blood Gulch the whole time)

-Still keeps being way too cheerful with no concept of personal space and is also incredibly intimidating. Church thinks the guy is like, in weird serial-killer-love with him, and expects Flowers will invite him for dinner someday, and if he went, he'd wake up in a room from a Saw movie

-Tucker also finds him mildly creepy, but enjoys getting compliments all the time, and Flowers is at least pretty organized, so him as a leader is fine (also, Flowers targets most of his weirder attention on the unknowing Alpha, so Tucker's like "Hey dude, Flowers isn't so bad", to which Church responds "He watches me SLEEP, man! And he keeps asking if I feel human today, whatever the hell THAT means!")

-Tucker does pitch a fit when Caboose arrives, because now they are BOTH "rookie blue". Flowers decides to compromise and trades Tucker his fancy aqua armor, and Flowers gets a new set for himself (still blue, but now it has different highlights, etc). Tucker feels like he's the favorite because he gets the cool armor, and Church thinks he's the favorite but in a BAD way

-Caboose is actually more welcomed by Church this time. He needs SOMEBODY to be a Flowers-buffer, and boy oh boy, does Caboose rise to the occasion!

-Church doesn't have to act like the leader anymore, but Flowers encourages him to "show initiative", and this usually means being the one to go yell at the Reds. Church is good at yelling (also, Flowers knows how to sort of "trick" Church into accidentally coming up with good plans. like, he works backwards by presenting a stupid idea, letting Church pick it apart, and then Church comes up with an oddly good strategy. y'know, like somebody who could create highly advanced scenarios and predicting outcomes)

-Sarge gets fixated on Flowers, because the guy never gets directly involved with any of the fighting, so this turns into a Captain Ahab and the White Whale situation (but the whale is actually Blue). Sarge also hates him because it is impossible to have an argument with Flowers; he turns every insult into a compliment. It's actually kind of a perfect rivalry

-Simmons wants to personally murder Flowers, because he heard Simmons say something to Sarge about having a father-son relationship, and offered to let Simmons call him "daddy". Simmons isn't sure if that was just a miscommunication, spiteful mockery, or a freaky flirtation, but HE DID NOT LIKE IT. Grif doesn't even say anything about it specifically, but every time they see Flowers, he just loudly chuckles in mean-spirited glee

-Grif didn't really care about Flowers at all one way or the other... until the guy made references about knowing Grif's family and stuff that isn't even in his files. So yeah, he agrees with Church, Flowers is CREEPY

-Donut totally didn't get that this guy was the actual Blue Team leader at first, and he kept going back to the "store" to buy "supplies". Flowers just... gives him things. When they finally realize what's been going on, the Reds are confused about why Flowers didn't just kill Donut, and the Blues are ticked that Flowers gave the Reds their cereal. Eventually, Flowers and Donut have more conversations together, and nobody likes how it SOUNDS

-When Tex arrives, she genuinely doesn't recognize him. Agent Florida didn't speak to her much, and his armor looked different. She's kind of annoyed with him though. Stop flirting with her boyfriend! Or ex-boyfriend! Or whatever Church is!

-Church "dies", and Flowers is a little freaked-out by the fact that the Alpha AI didn't instantly present itself as a holographic avatar. Did it just... stop existing? How bad did her screw this up??? Oh, never mind, Church is a "ghost". He keeps offering to "share his body" with Church (knowing perfectly well how it works to have an AI hang out in your head), WHO DOES NOT CARE FOR THAT WORDING, NOPE

-Omega gets loose, and this sucks for Flowers. When the AI is with Caboose, there is a combination of two sources of anger in there, and now Flowers has to listen to VERY specific and ominous threats for a change. He's getting bullied

-Flowers finally gets known as a Freelancer when Wyoming shows up, and he's kind of mad about it. He had a WHOLE THING GOING, he was COMMITTED TO THE ROLE, and now it is RUINED. Also, Tex is embarrassed she didn't figure it out

-After the whole "getting exploded to the future" thing happens and they return to Blood Gulch, everybody decides to ignore Flowers. Like, they literally play the "Did you hear that? Must have been the wind" game when he talks. He hates this! He needs ATTENTION! Simmons runs away to be a Blue, and Flowers wanders off to sulk (so, the stuff with the cave, and him getting Omega for a bit still happens. now, instead of him randomly getting shot and killed, he winds up knocked-out, and later fakes like he has temporary memory loss for everything that has happened recently. he's still officially "reported" as being KIA)

-Kai shows up, and she won't stop arguing with him. Flowers doesn't get snippy very often, but Kai contradicts everything he says, and he gets harmlessly frustrated

-After the big finale of Blood Gulch, Flowers INSISTS on being the who relocates Church. When Wash shows up looking for them, Flowers expects Wash won't recognize him just like Tex, but Wash DOES, and the bit is once again ruined

[scarefox]

Can we finally stop demonizing NC / sex scenes or pitting them against each other to find out which one is more valuable and worthy of existence due to better cinematography and conveyed deep emotions?

Most NC / sex scenes do have a purpose besides fitting in a genre and age rating where they can be shown (talking about the BL/GL/QL realm here... not like american hete action movies with random banging out of the blue). Majority of NC have some storytelling, some character information or development in it. Even if they are not romantic or not artistically shot. A lot of people just don't see it or refuse to see it because some still see it as "sex = a dirty emotionless procedure for the depraved"

But here are some examples of information you can gather from NC scenes that often get overlooked because usually people just look for love and desire:

trust level in the partner

fun / happiness with eo

desperation & longing & hornyness (<- also nothing bad btw everything depends on context and consent)

character looks for distractions with the sex

carelessness for themselves

are they egoistic in bed or do they care for the others pleasure too

do they like to spoil the other? do they like to get spoiled?

are all involved parties actually really into each other?

level of experience (side not: first timer of course will be reserved and more shy... SAME FOR FIRST KISSES)

self-image (shy? confident? self-hate / guilt??)

some like it wild and hard some soft and slow, none of that is superior to the other it's literally personal taste

are there some fetishes and kinks at play (possible hint for a characters psychology, doesn't have to, can be)

even hidden feelings can be shown, like FWB who turn into more or a couple who's falling out of love and just doing it out of rutine

btw masturbation also counts as NC, it doesn't matter if the character is solo sexually active or with others.

And you can just enjoy watching NC scenes without trying to find justification for it. It is literally legal and natural (heck even some social animals like watching other animals banging). You are also not intruding their privacy... it's literally just actors who just play pretend who all gave their consent to show these scenes of them to the public...

And no NCs are literally not the same as porn. ESPECIALLY when we talk about BL NC scenes because bruh, majority of it is so not explicit. All we see is foreplay and a bit of make out or aftermath, but there is rarely actual display of sex beyond that. Except for like Bed Friend and KinnPorsche, Love In The Air kind of spice level. And even they are 'just' on normal western level of sex scenes. The only kind-of-"""BL""" that is actually softcore is "The shortest Distance is Round" the main is even an actual porn actor and I bet some of the others too, the are just not listed on MDL. [all the trigger warnings for that movie series btw]

Does that mean there HAVE to be NC scenes in everything? No. It's basically an artistic choice and depending on what the creator wants to show and for what target audience they want to create. Same as when creators say they don't want to show much. 🤷‍♂️ But the less you show the more you have to tell via other ways. Which is sometimes frustrating for me when they cut the sex part (which again, is totally fine) but then the characters behave like nothing happened, nothing changed. OR THEY DO behave differently but nobody shows or says why! And if you are vague the audience has to fill the gap with their own imagination which can vary a lot from tame to horrible. It feels like I am missing out on their path.

But I do side eye everyone who calls a BL bromance just because it had one soft kiss in it. Or people who call a BL boring when they don't have sexual tension within the first 3 episodes.

Ending this with a nice quote I recently heard in a video about a similar topic:

"Just because something makes YOU uncomfortable, doesn't mean it is automatically something bad. It first of all just means it is not for you and that is ok." (unless it is indeed something bad and not legal then that's a different topic)

[billyloomiswhore4]

Your version of Stu and Billy is so different from the original, Stu always seems to be calmer, and Billy is the one who is unhinged, in your universe did you purposely make them different to fit your idea of them and how you see them?

And if so cam you give us headcanons of how your version of Billy and Stu is different than the original?

I'm sorry if it sounds bad. I don't mean it. I'm just really intrigued by your universe and want to know more for future requests

it definitely wasn’t intentional to make them so different than the original, it just kinda happened that way. I wrote Billy the way i wrote him because i feel like when it comes to obsessing over someone he would become unhinged. Stu is different because you ground him, make him feel sane.

Though they are both severely fucked individuals they are both affected differently by “love”. or what they view as love. This is a fic thats about fucked up obsession from two psychos who are desperate for the approval of the object of their obsession.

I feel as though Billy is fueled by fear of abandonment, and that he’s desperate to not lose you.

Stu is a different story, he’s inherently psychotic and normally doesn’t feel what he thinks love is. but when you come alone, it changes everything for him. he wants you because hes never felt that way before and he doesn’t want it to go away.

i dont think they’re that different from the movie but i could be wrong. it could just be how i personally view them. Its the same in the sense that Stu is mildly afraid of Billy and what he could do with the right amount of anger.

The dynamic is different than The movie because, Stu is the one making Billy stick to the plan. I decided upon this because I wanted Billy to be the type of person who is willing to throw everything out of the window just to have what he wants. now stuwants you but he still wants the plan, he wants to kill. Not to say that Billy doesn't want to kill but he’s just more focused on getting that he wants.

i hope this makes sense😭😭

[sevenstevearmy]

The results are in: Kung Fu Panda still has it. I cannot believe that out of 4 movies all of them are good. Usually sequels suck. Not the case here. The synopsis is a little misleading and originally made me nervous bc I thought he was going to be doing a re-fighting of old foes, but that wasn't the case. I have to say it is probably the least good of all the movies

Spoilery-ish bits below the cut. Watch the movie first!

The only thing that I'm still ruminating on to decide how I feel about is how little time he spends with the villain. She's not really the focus but I think that was on purpose maybe. Bc the central conflict isn't that this villain exists, the central conflict is Po finding a successor.

I do very much enjoy Po's dads being guys who are dudes and very homoplatonic about it. However, they were very B-plot, which I don't know if you need in a movie, especially when the payoff was to something I would have done differently, more on that later.

I'm realizing now that the beginning of the end feels very similar to the last movie with bringing in a bunch of side characters back to help in the final battle. They are less instrumental in this case, though, and didn't have to be there logistically, but it was part of character stuff, though there was another way to do that character stuff.

So what is this other way change I would have made? Zhen's 'family' could have come up afterwards to say how she really did change and they were forgiving her and instead of that fight with everyone on the wall we could have spent more time with Zhen alone and seeing her sneak past and maybe do something really creative to distract or take out guards and really show off what makes her special since we know she's going to be the next dragon warrior. It could have been cut between fighting in the Chameleon's main room, you can do a lot of fun stuff like that.

And you can still have the crime family call back to the 'more violence later' now that the Chameleon's out of the way.

I also wish we got to see more of the Chameleon's shape shifting ability in action. I personally wasn't a fan of the chimera thing she did, I thought maybe she should be smarter than that, but I also already notes that the villain wasn't the central conflict so maybe it doesn't matter.

Even though I'm talking about things I would change, I did really enjoy this film and would watch it again on purpose. I still really like what we got! So let's talk about some of the things I enjoyed.

I love how genuine Po is. He's been hurt and lied to before, but he still chooses to believe the best in others and is willing to trust until you give him reason not to. He's definitely grown as a person, but growth doesn't mean you have to become grumpy and disillusioned. Po hasn't lost his amazement with the world. You could consider him naive, but I think that would be disingenuous. He knows there are bad people out there, he knows there is hurt, but he doesn't let that stop him from living and loving freely. I genuinely appreciate how his heart is shown time and again to be his greatest strength.

Zhen is a delight and very different from other characters we've seen. I hope if we see her again in the future that she's still sly and cunning and maybe they can use her sleight of hand in interesting ways. I am very glad that at the end she nab's Po's staff again bc that shows it's something they currently don't have plans to write out of her. (Not that I know if they plan on ever writing her again.) Just like with Po, they haven't shoved her into a mold until she fits, haven't rounded off any edges. I hope they never do.

The villain was such an interesting concept, even if I don't think she was used to her full potential.

I can see some people being confused as to why all of these 'villains' just go back to the spirit world peacefully, but I think most of them would be content with being at rest (most of them are long dead), and a few of them know personally how easy it would be for Po to just send them back there forcefully. I also like how we get closure with Tai Lung here. His whole thing was that he was upset bc he believed he should have been the dragon warrior, and I think even after his initial defeat he might have fought again, but he's now seen what Po has become and I think he approves and is at peace with what has happened. He understands now why Po was chosen.

Also Jack Black's cover of Toxic? Hello? It honestly took me too long to realize it was him singing but I really liked that too!

This is by no means comprehensive, but this is what I have for you. I hope you enjoyed the movie as much as I did!

[whalleyrulz]

inclusivity v diversity

i really dislike the term "inclusive" when used to discuss art and try my hardest to avoid it. diversity, i love. everyone should be diverse on purpose in their stories. but fuck a inclusivity checklist

(diverse on purpose meaning, think about your diversity in everything, and make your characters as diverse as fits the story. don't just assume your real life normal, or what a list of unrepresented archetypes, is what the story needs)

the thing is, like, you can write a book, make a movie, tell a story with nothing but white cis men in it all you want. you can write a great one! but it'll only be great (to me, i know i know, everyone has different tastes) if you're deliberately making it only have white cis men

and you can write an absolutely dogshit book that has all KINDS of inclusive checks marked off. i won't be shady here, i'm not thinking of that one. or that one. i AM thinking of that one though. yes we agree.

there's this apocryphal story about the van damme movie "sudden death"

it came out came out a little bit after die hard, that was trying to be the "next" die hard. dogshit movie, the "gimmick" was that it was set at a hockey stadium it bombed, because it sucked! but one of the execs who signed off on it is quoted as yelling, in fury, about it bombing, "How could it fail? We had so many hostages."

apocryphal? sure, probably

but there really is this whole slew of people who see art and humanity as nothing but checkboxes--and quality just doesn't exist to them

it's like when you're a kid, and you don't have a concept of things being bad, so EVERYTHING you engage with is the best it can possibly be, and everything came out perfect and deserves total love

there's people who never learned to understand quality, so they just. quantify everything.

"inclusivity" checkboxes and trying to promote shit by talking about how inclusive it is feels immature in that specific way to me. like the entirety of human experience and conditions can be summed up by copying the cast of a burger king kid's meal

[neverwritewhatyouknow]

Hi! I'm sorry if this sounds rude, but I'm trying to give you an opinion from another side of the story. I'm Jewish, and I 100 percent agree about there being Jewish erasure in media. I agree with you on that. But that doesn't mean that you can just say that an actor has to be Jewish to play a Jewish character. In my opinion, it's kind of like the only queer actors can play queer roles. Rachel is an actor; sure, she isn't Jewish but it's her job to pretend to be something different than what she is in a film. I don't think it's Jewish erasure if there's an actual character in the movie that's Jewish.

P.S when you say Rachel's a great actor, but she's shit because she's not Jewish sounds a wee weird.

P.S.S I'm double apologizing. I hope you have a lovely day!

Hey! Welcome to the blog! (Don’t know if you wanted this posted or not because your name is on it, if not, let me know and I’ll take it down). Also this will be very rambly because I’m so tired and I can’t focus, so bear with me.

Just to clarify I’ve definitely never said Rachel is shit! I don’t know if I’ve ever used the word shit exactly, but if I did it was 100% at the situation and never supposed to be at her. I really, honest to god, think she is an amazingly talented actress. But the Jew erasure in the movie is what’s shitty.

The issue is, when they made sure to cast every other character with 100% accuracy, it’s very clear that they purposely didn’t cast someone Jewish, you know? Maybe I’m hallucinating, but I’m pretty sure I read somewhere that they even explicitly looked for a Mexican/Mexican-American actor for Alex because they knew people would freak out if he was anything else. They were incredibly mindful to all other minorities, which is great, but they forgot one.

If they hadn’t done that, and didn’t look for people to fit all the different minorities and instead just went for a type of blind-casting (roughly meaning: not looking at the person or the role and just casting based on talent), this would be a totally different conversation. Like it would still be bad, but you could say “Oh, they weren’t trying to be authentic.” It’s the fact that for RWRB, they did exclude one single ethnicity from the movie while they made sure to uphold all the others. They didn’t take any away, you know? Besides the only Jewish character. That’s erasure. Purposely done. As for the character herself, it is highly unlikely she’ll be Jewish in the movie. Since Nora (the character) wasn’t stereotypically “media” Jewish, like praying all the time or talking in Yiddish or from New York (you know, all that stuff that screams JEW), it seems easy enough for the film to ignore that literal ethnicity. Obviously we’ll have to wait for the movie to come out to see just how true that is, but due to the actress not being Jewish the character won’t be as well. She may perform Jewish religious rituals (weird for Nora’s character) or do stereotypically Jewish things (idk… eat a bagel? Talk about money? All that stuff people think Jews are). But none of that makes her Jewish. Does that make sense? Told you, rambling.

And I mostly disagree that it’s the same as queer actors playing queer roles, for the sole reason that one is an ethnicity and one is a sexuality. One is more inherently private, like someone’s sexuality is something that is so personal. Not that an ethnicity isn’t personal, but it’s not the same as a sexuality. Like… ugh how do I explain this without it all sounding super convoluted. Ethnicities aren’t something people tend to hide (unless faced with very horrific circumstances, you know what I mean), while sexualities are something many people keep private until they so chose. You physically cannot play an ethnicity due to it being a literal biological thing, like someone literally cannot play Jewish. They can just play stereotypes and the religion aspects, but they can’t play Jewish when they’re not. The same way that I couldn’t play a Pacific Islander when I’m not. I guess maybe in a way it is like queer actors playing queer roles, since sometimes it could ver more stereotypical when they want to “show the gay,” but I have wayyyyy more thoughts about that and it’s all more confusing and long that I have time for right now and none of it will come out the way I’d want it to right now lol.

I have an older post that might have gotten buried or deleted, but it talked about how Jewish viewers don’t even realize that the Jew-erasure is something bad, because it’s something we’re so used to seeing. We’ve come to expect it (subconsciously or not) so it’s not even a thought when it happens. We’ve been told that it’s okay due to centuries of it happening. And obviously not 100% of any one group of people will agree on anything, that would be impossible and a miracle. Especially a group of Jews agreeing on things (*Jew humor*). But I was to ask you a question, I really don’t mean this to sound confrontational but it will because there’s no way for it not to: Would you be saying that it doesn’t matter ethnicity-wise if Alex was being played by a totally non-Mexican or Hispanic or Latinx actor? Would you still say that counts as representation since the character is Mexican-American even if the actor isn’t? (Again! Don’t mean that to sound as confrontational as it does. Really just a question!)

I totally understand where you’re coming from, the same way I’m sure you do. We can both agree that there’s a lack of Jews in media and Jew-erasure. But I hope I’m able to show you more of why, at least for RWRB, this is 100% Jew-erasure and how actors can’t play an ethnicity that they aren’t a part of. I know (believe me I know) that actors are hired to play someone they’re not, but not when it comes to ethnicities. When it comes to ethnicities, Jews are the only one still not being played accurately, (people aren’t tanning up to play Latino or having their eyes tapped backwards to play Asian anymore— Yes… these used to be real practices for actors back in the day), and it’s because people think it’s okay. It’s not. Not for any ethnicity or race. Especially when Jewish actors are constantly rejected for being too Jewish, and Jewish-Americans account for soooooo many hate crimes every year.

Did I cover everything? Message me or comment if I missed something or you want something clarified. I’ve been up for nearly 20 hours now and I think I’m melt into the couch. But I’m serious, message me so we can talk if you have any questions. Okay I’ll stop rambling now!

[shadowmaat]

Thoughts on Barbie

Finally got to see the Barbie movie and I have some thoughts. Spoilers behind the cut.

It was a good movie. I thoroughly enjoyed it. The casting was superb, the dialogue was great and I loved the dance routine with the Kens.

I appreciate that at the end of the "war" the Kens all joined together because their similarities are more important than their differences.

I am... ambivalent to disappointed in the ending. Barbie choosing to become a "real girl" was... not what I was hoping for. I understand the message of wanting to be the dreamer and not the dream, but it skewed weird for me. I think I'd have been happier if she'd continued to stay in Barbie Land and tried to work out for herself who she was and what she wanted if she's not Stereotypical Barbie. With all the stuff about "And Ken," I think it'd be interesting to have an "And Barbie." Not in a demeaning way, but more as, like, that idea for "Ordinary Barbie" where she doesn't have to be a specific thing in order to be happy.

Having her leave for the Real World makes it seem like Barbie Land isn't good enough, but that world serves its own important purpose. And given all of the recent upheaval I think she could have proven important to bridging the gap between What Was and What's Becoming.

Ken's story was understandable. His reaction was likewise understandable, even if it was the wrong way to go about things. I do, however, wish that there could have been more of a middle ground. Alan would have been perfect for that (and what an unexpected delight he was).

Alan, as the one who's just sort of "there" and has never really "fit in," would have been great as the voice of reason. Why does it have to be all men in charge or all women in charge? Why can't there be equality and balance?

And that, I think, is another problem I had with the story. Everything pretty much goes back to the way it was before: with the women in charge of everything, but now some Kens are begrudgingly allowed some low-level positions. The Patriarchy is bad, yes, but this version of the Matriarchy isn't much different except for the set dressings.

Yes, I do understand that Ken's role is as an accessory, but I also don't think it could hurt to show the Kens having their own careers and own houses. We never did get an answer about where the Kens live. Do they even have houses of their own or do they just sleep wherever their "job" is?

There has been a lot said about toxic masculinity and traditionally that means boys aren't allowed to play with dolls (only "action figures"). But what if the Kens were allowed to have an array of jobs that aren't considered "manly" by modern standards? Hairdresser Ken. Nurse Ken. Preschool Teacher Ken. Physical Therapist. Secretary. Librarian. Let them find ways to lead fulfilling lives beyond waiting for a Barbie to notice them.

Not very "girl power" of me, I know, and I can already imagine the arguments about it. I'm just putting in my two plastic coins about it.

[vinxwatches]

star trek: Lower Decks

i've never watched star trek in my life. cultural osmosis is the only things i know of it. lets hope this is a good place to start. it's animated which speaks to me more then live action stuff generally, lets see how this goes.

first episode, bit oh so whacky which i hope doesn't stick around too strong.

love the person with the attitude of "moving up in rank? you mean more stress? no thanks, i'm good."

i think the first episode did a pretty good job introducing people and the general structure/spoof of it all. also love the main not green lady, because obviously.

ah, i liked her wearing her uniform a bit open, really fit the character.

obvious trick is obvious.

no buffer time... yea so that's how every project runs past it's due date and why stuff breaks.

creative estimating. or more accurately: leadership doesn't know that a task is not just the physical task but also the headspace around it.

"i am helping, i'm commanding" oh hey it's managements OC do not steal.

not the biggest fan of this ship (possibly because it's straight and i got an obvious preference (if i wanted to see straight i can literally go anywhere) but hey if it's done well)

oh, a cringe episode... so i'll be skipping trough this one.

ok, it's not just that it's straight that i didn't care about the ship. it's also that it was just a bad ship. for instance compared to a a way more fun ship in ep6

see? i told you dogs were evil. ok, so different cringe episode. i hope they're actually going somewhere with this, especially since it feels very out of character for her to suddenly suck at everything. sure puck protocol, but not fuck being capable. ah, they went to live on the farm. yet i didn't see it coming. ok, it was for a purpose and executed well.

it's the 80s, we don't have psychiatric problem! how to make a it look like a movie? lens flares everywhere! ah, the slow motion picture. quickly getting rid of fabric as i'm sure they're a bitch to animate, especially when the person is in a fight scene (: yea, she might need therapy. oh, that was a secret... not anymore (:

oh shit, suddenly takes set up in seconds. really neat finally, tying a lot of neat things together while also setting up future stuff. i really hope they can truly build on it in season 2. also a lot of stuff that's even cooler if you've watched any startrek before.

[zorilleerrant]

so I think a lot of the problem with people not relating to women (and poc, disabled people, queer people, etc.) in fiction is a function of reading texts cooperatively. which is a natural impulse when we tell and hear stories, and often necessary to enjoying the story, depending on the story, person, and way they're enjoying it. and generally not something people do on purpose.

so the thing is, as we all know, there are certain groups and types of people who are considered default in society, which changes over time, but not as much as (or in the ways that) we want it to. and in general people have a hard time getting over that in their personal lives, especially - and I do mean especially, because statistics keep giving this answer - people who are impacted by that bigotry. not like other girls, not that type of gay, a more respectable poc, etc. but at least marginalized people are thinking about it.

what we have in mainstream fiction - almost every popular movie or TV show in the English language, and more than half of books - is white men in creative control. and they don't think about it. if they can be made to, they often with great attention to detail change how they tell stories, but who's going to make them think about it? usually no one. maybe if you're lucky one person on the team had a friend who talked to them about this, but no one else did. so they put white men, and typically neurotypical able-bodied middle class non-immigrant straight white men, front and center.

now the story is asking the audience to sympathize with a white man. that's the main character. usually, everyone does, because otherwise why would you bother engaging with that story? but it's most of the supporting characters, side characters, even background characters who are white men, too. and moreover - even when the people who don't fall into that category are interesting! even when they're engaging and fully developed and cute and fun! - the story focuses on them more. it says, let's take this character and use them as flavor for someone else's dish. those characters are a cog in another character's story, or a comment on it, or a counterpoint. the story doesn't center them, because that's not whose story it is (which isn't by itself bad, just in the aggregate).

then people take what they're used to doing to real people in real life (without knowing it, because implicit bias certainly isn't intentional or malicious) and match it to what the show is doing, and it fits, it doesn't upset the schema, so it doesn't cause any cognitive dissonance. (incidentally, this is why stories about marginalized people tend to only have marginalized characters in the main cast, or the exception is comic relief. because it will cause cognitive dissonance for there to be men around but the story is about women, or white people around but the show is about black people, or straight people around but the show is about the gay people's relationships with each other.)

now if people are used to reading works in a hostile (or at least non-cooperative) way, it becomes easier and easier to do over time. people don't tend to do hostile readings, tho. they often toss out parts they don't like and just ignore them, or try to come up with an explanation that's coherent to the story they were told in order to patch up plot holes and inconsistencies, or find alternate pathways that would fix the things they think are wrong. which is all well and good, because those are wellsprings of creativity as well, but they're still fundamentally agreeing with the text.

people have to practice saying things like: this character is not the way they present or see themselves. they are a fundamentally different person than the author thinks they are, and here is all the evidence in the text that they simply would not do the things they did, or that other people would not react that way to those things, or that they would do it and people would react that way but it's bad that's true and the hero is a fundamentally bad person. or it's good, actually, and the villain is a fundamentally good person, who did all the right things, and was punished for it. or it's morally gray in a way the text wholesale ignored. or it's actually pretty cut and dry and the text treating it like a matter of opinion is just an indication that all these characters are terrifying people.

things like: this plot was not inevitable, it was actually caused by events established in the narrative that the author thinks have nothing to do with the outcomes, even tho they can be easily read as causal. these twists are not surprising, the heroes are just incompetent, or unprepared, or think too highly of themselves and didn't do their due diligence. these obvious cause-and-effect scenarios aren't that obvious at all, and with different circumstances they might easily have panned out differently, or the fact that the heroes expected them says something terrible about their mental health, or the fact that they won/lost should have active implications in the story that are just ignored. or this plot has happened in real life, and here's when, and here's why you're wrong. or this didn't happen in real life, because here was the response to the opening circumstances instead, and how that would've gone.

things like: this world is larger and more complex than the story thinks it is. all the pieces inside it are so much more faceted; characters are so much more complex than that, physics is so much less understood than that, social structures are so much less logical than that. the narrator is wrong in ways they don't even know they're wrong. they're not unreliable reporters, they're telling you everything they know, but what they know is bullshit. all the world of the story being built on the truth of it, everyone acting on the knowledge of it - they're all wrong. they got some piece of it right, and missed everything else, and here is some - not all, never all, but some - of what they missed. maybe something so, so obvious to someone on the outside of it. maybe something that seemed impossible to learn with all the pressure to adhere to the canon.

and all this with marginalized people, too. this woman is this man's friend? no. he is her friend. this black person had to judge these white people's debate? no. this black person is watching some idiots they know argue, and trying to intervene. these abled people did something to accommodate their disabled friend? no. the disabled person was dealing with something horrible, and someone finally understood. sometimes a character can be a participant in someone else's story, and sometimes they can be the main character, even when that doesn't change the narrative, because, you know, it still changes the story even when it doesn't.

it's about disagreeing with the creators. it's about saying: I saw what you were trying to create, and I'm going to create it better. I saw what you were trying to create, and you created something wholly different, and I'm going to pull those differences out piecemeal and create a brand new text from them. I saw what you were trying to create, and I'm horrified by what you are trying to create, and I'm going to preserve those horrors in amber for all the world to see. I saw what you were trying to create, and you are wrong, and here are all the reasons why.

you have to know. then you can no.

[the-firebird69]

We're going to approve our son's idea and it kind of looks like this. Brad has released the first version of our son's life cycle design 10 years ago and still is producing it the sun wants to sell the new version unlimited basis and Brad wants to copy it but without having access to one and being nearby so I can kind of get it done I'm kind of sit on it and we usually don't do it but we're talking about the dealership and it would allow us to open a dealership and any plans to open a factory in Australia to prove is useful and my son had a bja leave a model of the life cycle on the battlefield as it was trying this is one of the reasons you're on the radio and said I want them all and I heard our son say you don't have enough to make a visible flash in the pan of your own little monsters clones and his head you said you need to open a plant patches I need the version he said I hope you get it and you can't order it. So we know how to do and really it's a matter of handiness and being in the territory and they have a place in Miami and the clothes will try and get to it but the object is to get bad to build them on Australia and duplicate hours for real on purpose beating him and us to have him do it to have him actually make life cycles for his people and BGA on purpose with the sole purpose of having them take them like they did the last time and Tommy F wants to do it and we want to do it. And she thought it was a great idea and and he says it's only my second prototype that I didn't have to make it you can't have a make it from scratch because he probably won't be able to do it cuz I think he tried and couldn't and she found out it's true. So here's how it goes we'll explain the life cycle again for everybody and you'll think it's wonderful he wants to put electric version and they trickle charge and we're going to

And that usually can't replicate them

*and it is a full size life cycle I like the movie and they are the same size we have several versions we're going to start with the motor graduate to the electric and finally the PHD with the twin turbo and he modifies it and puts the twin turbo and it's it works but ours is different and we may not have to do that if he doesn't and he has a trickle charge version that works pretty good too he gets a thousand miles out of it and it doesn't go haywire either it works pretty good he just has to have the EMP stuff and it's on the bike so we may just hand it over with the motor well sort of hand it over but he will have the original bikes and early reps and Trump's I mean the clones may go for them early but they might not because they have to have a certain number even to replicate them like he would so they'll probably go for both and we do understand how that is and Brad is definitely willing to take the risk and he needs something down there as an anchor to hold his people there and they will be considered to be very useful and he also knows how to build walls and they do need that too and that might be what that wall issue was in some of the accused of it and it wasn't him who put people in we're going ahead with this and it's going to work and it's kind of a powerful idea. And we are thinking of a shop no it's just going to be a bar but you can order them there and he does respect that cuz it's really a pain in the ass and the rest of it will be kind of covert and he'd have to kind of smuggle them to Australia and it's kind of a trick and he'll be producing them and selling them there and it would attract us and we know what we're doing it would be a spy operation so he's hoping Frank Castle hardcastle and Duke Nukem Blockbuster would be there. And everybody will see how it works but it worked last time it was like 4 or 5 revs too this second row is a real light cycle meaning that when it's fixed and fitted and outfitted from the factory it is ready to go in very high speeds and needs to be maintained once a year or after a certain miles it's 100,000 miles or one year whichever comes first

:: the life cycle is a standard length that you see in the movie it's a full length full size life cycle and there's nothing about it that's diminutive or smaller and it does look like Brad's version a little but it's different you can see it as things covering the handlebars for safety and it is going to be motorized and the speeds are slower when motorized and if you go above a certain speed the light cycle needs to be maintained earlier and there is a chart and you can check the computer on board and I'll tell you when you can actually estimate it pretty good

:: the look and the feel is just like the movie

:: the speed is intense and usually it's not believed people wear heart attack and special helmets that are shaped so that their head won't pull off if they look up

:: this particular light cycle configuration is the same one that Brad has except it is a more powerful drive and wears a lot less and you can go a lot faster

:: it is a top speed of 1390 mph on the road with the gasoline motor that we sell it with and it can go in excess of 1800 mph and safely and it does lock you in like it does in the movie and this gasoline motor you can go 0 to 60 in about 1.3 seconds and the quarter mile in about 4.9 seconds and you'll get about 80 miles to the gallon because of the aerodynamics if you're going the speed limit and cruising speed is around 4 or 500 miles per hour it does it with ease my son would be comfortable about 200 or 250

:: we're selling them but on a limited basis to only certain customers we are 100% aware that Brad is going to try and copy it and he does and it's Australia and we're doing it there on purpose other persons are not entitled to copy it we do not want other people to replicate this motorcycle at all in any way and if we sell them to you and find you replicating them we will retrieve the motorcycles and no longer sell them to you and steal your factory and all the intel on it and data especially you Tommy f. So we see that he is interested and it'll buy into it and then he wants it to happen so we're going to proceed and we're going to put our light cycle bar in Miami. This is the only deal of the kind where other bikes that we sell if you try and replicate them we will be at your doorstep and it will work here because they'll try and take them it is the light cycle drive and it is the one in the movie and they do make a little arena and light cycle bar and we're making a loop but comes from our imaginations partially from his and hers and he says he's not accustomed to it full bore wfo since watch the language and she says no it says yeah I think we should she says okay I'll try. But yeah a little weirdo came up with it too Aunt Louis it looks terrible most of the time and it's a horror show and he's starting to see how stupid it is doesn't like that at all isn't me doesn't think it's cool and thinks you're a fat middle-aged slob who's yelling and screaming when he was a kid is how could you ever figure all that out so it's kind of funny because that's what it is so that was her the last phrase but really we're going to go ahead with this he says it's about time it's true too but we have a lot of things happening. And we needed to happen and we need to happen now and it will help nuwada Ariana and we'd like them to try and start and he says it's probably crazy but it probably starts Tron a little bit and more so the matrix. And Brad also has an electric version that works very well and top speed with the electric of his and we tested it goes about $2,100 mph and top speed of his with the twin turbo turbines those 3600 miles per hour on this light cycle you can go 3200 miles an hour safely we do not recommend exceeding that speed

Thor Freya