#jurassic meteor

[what-is-love-babey-dont-hurt-me]

Terra here is my first kirby OC I ever made and yet is woefully rarely shown! These two are siblings, and Meteor raised his brother!

The bottom drawing in particular is reflects how alligators carry their young! Terra always felt so safe when his brother carried him like that and it’s something he misses dearly. I sure hope nothing bad happens to them!

[dykestriders]

camping filler arc means new outfits so says me

made for my dave & my girlfriends karkat because theyre going together and semi-matching (badly)

[whitewaterpaper]

Jo. Mer italiensk action. Mer retro sci-fi. Klassisk fantasy och med en herkulisk uppryckning: en släng Hollywood-action.

3 Avengers, the / Gli invincibili tre (1964) [📺]

Avenging the Throne / Adormidera (2020) [👎] Historiskt äventyr från Malta. Bra produktionsvärden i stort, men svagt och spretigt manus.

Beastmaster, the (1982) [👍📺] Äntligen har jag fått chansen att se denna klassiker! Kommer försöka se uppföljarna framöver.

Falkenbergsrevyn: Upp & Ner (2023) [👍🆓] Skynda fynda på SVT Play innan den försvinner. Falkenbergsrevyn blickar tillbaka med humoristisk penna på 2022.

Fenomen / Fenómenas (2023) [__] Spansk paranormal dramarysare. Bättre än det låter.

Jurassic World (2015) [👍🔁] Överraskade 2015 med att vara en sevärd mjuk reboot av Jurassic Park-franchisen. Överraskade denna vecka med att även vara värd att se om.

Jurassic World: Fallen Kingdom (2018) [🔁] En uppföljare som missar målet. Mindes inte ett skvatt av den när jag såg om den -- och lär inte minnas mer om jag får för mig att se den igen...

Maciste in the Land of the Cyclops / Maciste nella terra dei ciclopi (1961) [📺]

Meteor (1979) [👍📺] RetroSF med Sean Connery. Riktigt bra film.

Neptun-katastrofen / Neptune Factor, the (1973) [👍📺]

Pirates of the Coast / I Pirati Della Costa (1960) [📺]

Sensationernas Män / Fast and the Furious (1954) [📺] Intressant film. Skall nämnas att den bara har titeln gemensam med den större filmserien på den här sidan millennieskiftet.

Valley of the Dragons (1961) [📺]

Xperiment Q / Quatermass Xperiment, the (1955) [📺]

Skall man bara ge en av månadens titlar en chans kan man skutta över till SVT Play och skratta en stund ihop med falkenbergsteatern.

[monty-glasses-roxy]

Love that just seeing my most recent drawings makes me wanna draw Chica again. Guys you may end up with a daily Chica for a little while at this right lmao

[jbaileyfansite]

Interview with Backstage (2024)

Jonathan Bailey is still marinating in his thoughts, andthey taste pretty sweet. Top notes of red wine, he says. 

These are busy times for the witty British heartthrob. He’s speaking over Zoom from Malta, where he’s filming the next “Jurassic World” installment. And two days prior, he received his first Emmy nomination for his supporting turn on Showtime’s “Fellow Travelers.” 

What’s lingering in Bailey’s mind after reaching such a huge milestone? “The nature of the story, and how that story’s come to be told,” he says of Ron Nyswaner’s limited series, a decades-spanning gay drama that’s chock-full of steamy sex scenes. For him, the Emmy nod is “an acknowledgment of [the show] meaning something much bigger.” 

The 36-year-old actor radiates humility and surges with pride for his collaborators; “Fellow Travelers” also picked up nominations for lead actor Matt Bomer and for Nyswaner’s writing. Bailey believes the fact that executive producer Robbie Rogers was able to get the project on television at all is a “brilliant signifier” of changing times. He feels lucky to have been the right person for the job. And after a couple of decades in the industry, the actor’s star is about to go supernova. 

Childhood stage work and gigs on 2000s teen TV shows led to roles on acclaimed series like ITV’s “Broadchurch” and Channel 4’s “Crashing.” He nabbed an Olivier in 2019 for his performance in Marianne Elliott’s West End revival of “Company.” Households on the other side of the Atlantic learned his name in 2020 when he courted lockdown audiences as Anthony, the strident head of the titular family on Netflix’s period-romance smash “Bridgerton.” 

Then came the game-changing “Fellow Travelers.” Bailey plays the idealistic Tim Laughlin, a closeted congressional staffer who pursues a clandestine relationship with another man amid the witch hunts of McCarthy-era Washington. The actor is keeping up that momentum in the coming months with part one of Jon M. Chu’s highly anticipated film adaptation of the Broadway musical “Wicked” (out Nov. 22), followed by the fourth “Jurassic World” in 2025. 

“Fellow Travelers” is a fitting inflection point for Bailey, considering it reflects aspects of his own gay identity. Tim’s story also illuminates a thread connecting the actor’s work, both in and out of character: always embracing the truth, shame be damned. 

Born in Wallingford, England, Bailey made a beeline for the arts as a kid when he began studying music and ballet. After getting a taste of performing at a young age, he secured an agent when he was a teenager. Even now, he feels the sense of joy and wonder he discovered in those early days. 

He chose not to attend drama school, instead throwing himself into professional theater, where he encountered the performance process in its most essential form. “You start with your own instincts, and then you share with others in the room in real time,” Bailey says. “You academically approach text, then you emotionally explore it. Then, you physically put it on its feet.”

Theater taught him to be observant. In rehearsals, he witnessed actors being brilliant and bold, but also making crucial mistakes. Weeks of rehearsing helped him learn how to spend time with a character as he watched his castmates play against type and expand themselves through performance. Those lessons both tested and encouraged him, and they’ve carried him throughout his career. 

Since then, Bailey has gotten the chance to see plenty of giants at work. He reverently discusses performing Stephen Sondheim’s music alongside Patti LuPone in “Company” and reciting Shakespeare opposite Ian McKellen in the Chichester Festival Theatre’s 2017 production of “King Lear.” 

His contemporaries also made for great teachers. He worked with Phoebe Waller-Bridge on “Crashing” and Michaela Coel on “Chewing Gum”—two certified television geniuses whose creative successes Bailey likens to the magnesium flame of a meteor. It’s an apt comparison—Waller-Bridge called him “a meteorite of fun” in a 2022 interview with GQ. (“I think I’ve always been quite naughty,” he says playfully.)

“There’s so much you take on via natural osmosis,” Bailey explains. “It’s what you watch and how you interpret things.”

For example, he thinks that every actor should see Sandy Dennis’ Oscar-winning turn as Honey in Mike Nichols’ 1966 film “Who’s Afraid of Virginia Woolf?” Her performance whet his curiosity about the craft: “She is so fluid. I mean, that might be the most exposing answer I’ve given about what my inner world is like.”

Bailey’s technique is rooted in music. He plays piano and clarinet, and he approaches acting like an instrument, too. When reading a script for the first time, he experiences his character’s arc as the phrases in a song. “The way my brain works is that I see the images of what they’re doing,” he says. “When I say ‘phrasing,’ it’s like, how you get from that image to this image.”

When he was playing the bottled-up Anthony on “Bridgerton,” Bailey found inspiration in songs by Echo and the Bunnymen and Nirvana. While filming “Fellow Travelers” in Toronto, he went on long walks while listening to expansive pop music to help him explore Tim, a character whose energy radiates outward.

Considering Bailey’s process plays like a song, connoisseurs of his work might notice a motif. Sam from “Crashing,” a party boy Bailey calls “a wild, untamed animal in a tiny little cage,” aggressively maintains a facade of heterosexuality while pining for his male housemate Fred (Amit Shah). On Season 2 of “Bridgerton,” Anthony locked himself into a prison of duty and a loveless engagement to avoid acknowledging his desire for the fiery Kate Sharma (Simone Ashley).

Tim of “Fellow Travelers” is the latest in a series of sharply drawn characters confronting the tension between their assigned roles and their personal truths. Viewers first meet a straitlaced rule-follower whose Catholic piety is only matched by his loyalty to the infamous Senator Joseph McCarthy. All that changes when he crosses paths with Hawkins “Hawk” Fuller (Bomer), a crystal-eyed, debonair State Department official. Their respective closets combust on contact, and they enter into a forbidden love affair just as McCarthy’s Lavender Scare has begun purging queer people from the halls of government.

Bailey’s interior work tends to be more emotional than cerebral, but he’s a generous conversation partner who’s always game to riff on the deep stuff. Whether it’s yearning, going against expectations, or facing high stakes, the phrasing is what draws him in. 

He finds a lot of gorgeous notes to play across the eight episodes of “Fellow Travelers” as the action moves from the 1950s to the ’80s, making pit stops along the way. While Hawk settles for a life of straight domesticity, Tim hurtles through a sexual and political awakening: The Beltway boy becomes an activist priest who refuses to diminish himself, especially when the AIDS crisis begins to rip his community apart.

Bailey loved being inside Tim’s head; in fact, the actor thinks of him as a hero. After experiencing the isolation of his secret relationship with Hawk, he opens himself up to the world: He comes out, moves to San Francisco, cobbles together a found family, and builds a life as his true self. 

“Ron Nyswaner has spoiled Matt and me for the operatic detail that existed between [our characters],” Bailey says, “and also with Tim’s political fervor: the truth and the honesty that he demands of himself and the world around him, and the grappling with anything that is an obstacle to his own and other’s happiness.”

You can’t talk about “Fellow Travelers” without discussing its rapturous sex scenes—and not only for titillation’s sake, though the kinky encounters between Tim and Hawk certainly call for smelling salts. These sequences gave Bailey the opportunity to commit authentic queer intimacy to the screen, which members of the LGBTQ+ community rarely come across as they search for ways to understand their identities. 

The trust between Bailey and Bomer informed everything they did onscreen. Before filming those scenes, the two actors talked through their approach at a café (Goldstruck Coffee on Cumberland Street in Toronto—a ribald little detail that still makes Bailey laugh). The filming itself was incredibly technical, and the actors worked with an intimacy coordinator on set. “We sort of hit the ground running, knowing exactly what was going to be required but also how to communicate throughout it,” Bailey says. “It felt immediately quite safe.”

He sensed an exciting opportunity to tell a story about transformative love amid the “wild, oppressive moment” of the Lavender Scare, dismissing any reservations about the explicit nature of the material. “Honestly, this is exactly why this show is going to be brilliant,” he remembers thinking.

The series’ milestone dramatic moments, with buttons still done up and no skin showing, carried that same sense of significance. No matter how much Tim grew over the course of his arc, Bailey says that his bond with Hawk remained an “extraordinary, material thing.”

This summer, the actor made a very Tim move when he founded the Shameless Fund, a charity that supports LGBTQ+ causes under the tagline: “Raising cash. Erasing shame.” The initiative grew directly out of his acting work—first inspired by the platform afforded to him by “Bridgerton” and further influenced by his experience on “Fellow Travelers.” 

Playing Tim—or, as Bailey puts it, spending “five months doing a dissertation on queer oppression and liberation”—catalyzed his thoughts about the people who created a world where such a show could even exist. “I think in ‘Fellow Travelers,’ it’s so clear what Tim wants,” he says. “But as the world around him develops, you realize there’s so much that he can’t have, but that he can help change.”

Bailey sees that progress playing out in the next generation. He has a small role on the upcoming third season of Netflix’s queer YA hit “Heartstopper” as a dreamy academic who’s the celebrity crush of the series’ protagonist, Charlie (Joe Locke). Based on creator Alice Oseman’s graphic novel series, the show has found a passionate following of young LGBTQ+ fans. 

When he watched “Heartstopper” for the first time, Bailey remembers wondering what it would have been like to see such representation on television when he was growing up. “I was so celebratory of it,” he says. “But it was obviously kind of a melancholic watch for people above a certain age, because it allowed them to grieve what they didn’t have.”

Having conquered the Regency and Cold War periods on the small screen, Bailey’s blockbuster era is imminent. He’s playing dashing love interest Fiyero in the “Wicked” films (based on Gregory Maguire’s 1995 novel), singing and dancing alongside Cynthia Erivo and Ariana Grande. It’s a perfect fit for the actor’s particular lens: “Musically and theatrically, I understand it massively.”

Since “Wicked” came with its own well-known songs to study, Bailey spent a lot of time with composer-lyricist Stephen Schwartz’s music in his ears rather than Kurt Cobain’s. He explored Fiyero’s interiority through the musical theater form itself: What does the act of singing express for him?

And for a character whose signature number is called “Dancing Through Life,” what metaphorical direction are his steps leading him in? 

Bailey sees Fiyero as part of the same club as Tim, Anthony, and Sam, as the heightened world of Oz sends him on a journey of radical transformation. “I think about where he starts and where he ends up; he’s literally a changed person,” the actor says. “I savored the arc over two films.” 

Next year, Bailey will become an action star in Gareth Edwards’ next installment of “Jurassic World” opposite Scarlett Johansson. Though details have yet to be announced, including the movie’s title, production is well underway; Bailey just finished filming in Thailand before shooting moved to Malta. A few days before we spoke, he was interacting with a fake blue-screen dinosaur (which is only a spoiler if you thought Hollywood has actually been cloning big reptiles this whole time).

But Bailey is still keeping his theater muscles toned. Next year, he’s starring as the titular monarch in Nicholas Hytner’s production of Shakespeare’s “Richard II” at London’s Bridge Theatre. “I have to go and sharpen up,” he says of returning to the stage. “You feel so sharp and dexterous at the end of a theater run—but also, you know, without a soul. Carcass levels of absolute exhaustion.”

Bailey lights up at the prospect of getting back onstage and experiencing the kinetic energy between the actors, crew, and director. He believes that the emotional and intellectual rigor of theater leads to a tight, specific piece of work. It’s an art form that requires continuous creation night after night.

This stamina comes in handy in front of a camera, too. “When you’re exhausted, you have to rely on technique,” he explains. “Technique does get you over the finish line, and you can deliver a performance that is honest and tell the story effectively and truthfully.” 

Until then—and until he’s back on set with those fake dinosaurs—he’s going to soak up that Emmy-nomination afterglow for a little while longer. 

“I’m actually going to go and have another glass of wine to celebrate,” he says.

Source

[weirdmageddon]

some thoughts on dave lalonde

so note this isn’t a kidswap au, just a strilonde guardian swap au; a plausible au wherein dave’s meteor(s) are set to land in upstate new york and rose’s in houston tx where they are discovered by mom lalonde and bro strider respectively. so it’s not even really an “alternative universe” so much as “alternative circumstance” because that’s literally all that changes

their interests aren’t swapped; their interests are a natural result of a mix of what they were always predisposed towards (we can look at their post-scratch versions for constants) combined with their living environment. rose strider is still gothy and writes, knits, and has an interest in the zoologically dubious. perhaps rose might handcraft some delirious puppets for her brother-slash-ectofather’s enterprise as a “gift” in one-upmanship. probably has good rapport with the crows that fly into her ironic knockoff disney-princess themed bedroom (see the post i linked above) and get them to fuck with bro passively in exchange for peanuts. she also keeps all the things the crows gift her, pickpocketed shiny things and whatnot

dave lalonde is still the knight of time, still makes sbahj, likes photography, still loves cooking up unbelievably ill jams, still into post-ironic expression, however he’s not irony-poisoned by bro so he’s more comfortable being genuine. his interest in dead things and paleontology comes more to a forefront because of mom’s predilection towards science and genuine encouragement from her. after all she’s made many a mutant kitten herself

i feel like since dave fell to earth with maplehoof, crushing the pony instantly on impact, instead of using its hide to make a bib like a fucking weirdo, mom would paradox clone maplehoof. so dave has a pet pony with a ribbon and little pink heart on it. a knight needs a loyal steed. and hes been attached to maplehoof since his literal first few minutes of existing. so maplehoof wouldnt be bought anywhere, it would originate from itself

i mean he’s seen with the pony at his side in the post-scratch universe so…..

would make sense if the pony mom gifted to rose in canon was more of an involved thing with dave in this circumstance

the only issue is maplehoof cant become his sprite, otherwise that would break the timeloop (they need to come unaltered to earth with dave on the meteor in the first place during the reckoning). also [S] Ride with dave and the scarf would absolutely be a thing at some point

i was thinking maybe instead of a crow, since they aren’t as “everywhere” in upstate new york as they are in that high rise in texas, dave has something more prehistoric put into a sprite. like a parave theropod. can you imagine parave davesprite. maybe an archaeopteryx or something

i guess mom would indulge in a living museum/zoo for “domesticated” ancient organisms all jurassic parked like a weird ongoing experiment but the ectobiology wouldnt be perfect especially because the dna wouldnt be able to be fully read from fossils and specimens. i feel like jurassic park should be dave lalonde’s sort of in-universe media reference the way con air was with john and putting the bunny back in the box. like his friends would just rip on him for living out jurassic park in an imperfect domestic way

and he accidentally kills it through some fetch modus shenanigans. dave still has the bladekind strife specibus but not because he does rooftop battles but because swords are unironically cool, and flings it out the window by accident and it strikes one of the parave theropods in the enclosed zoo below outside his window and dave feels kinda bad

when jade sees it as his server player shes like “oh nooooo :(“ and dave is like “oh god no dont put that in the seizure kernel while i take a piss in one of the many fancy bathrooms this household has”

[giantchasm]

It seems Peony's finally resorted to what all desperate businesspeople eventually resort to: blackmail and lies.

She's growing up so fast! 💖

This is a silly little comic I’ve wanted to do like… ever since Peony was set up to face off against Sir Meteor, in the @kirbyoctournament and I’m glad I was able to get it done before the poll ended! My art drive has been a little low this past week or so.

At the moment Peony is about 10% behind in her poll, so give her a vote if you’d like!

Or don’t? Maybe we shouldn’t be encouraging this behavior from her. But also… who DOESN’T want a repeat of Jurassic Park, zombie dinosaurs and all?

Either way, thanks to everyone who’s supported Peony this far! And while I’d like to see her go further, ultimately I’m happy with making the top 20 OCs. The love has been overwhelming and I have yet another silly comic planned for if I do end up having to send her off.

For now, though, enjoy her little pyramid scheme!

(Sir Meteor belongs to @what-is-love-babey-dont-hurt-me and Night Terror belongs to @justalilstar — I knew I had to include her in this in some way, too. Honestly, I’m a little bummed the poll’s been so stacked against her in favor of Peony and Meteor, because she’s a super cool OC too. Badass design. Honestly this whole bracket is full of absolutely awesome characters. So hard to choose 🥲)

BONUS:

It seems, if nothing else, with her morally dubious behavior, Peony is joining the family business.

…Yayyyyyy?

[wootusart]

Jurassic June day 16

Meteor Shower. No, Not That One. Not Yet.

[pro-birth]

So according to various evolutionary models I have seen, they pinpoint the first childbearing/birthing animal to a female shrew-like mammal in the middle Jurassic period. And Idk what the science behind that would look exactly, but it got me wondering about how the uterus evolved with that ability.

I know a lot of feminists and women’s activists argue that the uterus is not primarily a childbearing organ. But maybe we should respect the fact that it kinda is? Maybe it isn’t a sexist thing to say if it’s literally ingrained in our normal biology?

Regardless of whether you have children, a healthy and functioning uterus has health benefits of all sorts for the woman who has one. I’m not saying that if the uterus is primarily for pregnancy then you have an obligation to become pregnant. BUT, the uterus was formed before, during, and after our mammalian ancestors gained the ability to birth live offspring. That is a fact, and you know what else?

This switch from egg laying to gestation is likely what enabled our ancestors to survive the meteor strike 65 millions years ago. Little pregnant Juramaia were able to flee into caves and other safe crevices while the world burned and froze over and struggled to equalize. Countless lives of our own ancestors in turn were able to share space more effectively by not having to leave behind eggs to guard in what little room they had.

It was the childbearing purpose of the uterus that has allowed humanity to thrive and survive. This primal tradition can even be seen in historical and present day women figures fighting for changes and their own destinies while pregnant!

I’m not saying that pregnancy is all sunshine and roses, or that it should be mandatory. I’m just saying that this ancient gift should be respected, at the least, for literally and figuratively birthing us. That we should respect the power our uterus holds for our own lives, just that fact that we COULD birth and raise little humans who can change the future.

The uterus is a childbearing organ that gave us life. I am okay with that; maybe if society was too, we can make it into a new age of true equity.

[adreamthatsworthkeeping]

Right, so we know that the Jurassic, Cretaceous, etc periods were millions of years apart. If the meteor hadn't ruined their good party fun times, do we think this was going to be a dinosaur planet only? If they hadn't been wiped out to make way for Mammal Time, would it just be dinosaurs of various degrees dominating forever?

[paleoforest]

My List of super Old Browser Games with Dinosaur Thematic/Lore/Gameplay

There are Flash and Unity

These games I first played more than 10 years ago, and by re-opening them, I had a nostalgic experience. Here only remarkable and memorable games what deserve their ray of glory, yep.

Non-playable games are crossed out by red diagonal: "Jetpack Brontosaurus" (3D) was very poorly archived on FlashPoint, and the second one "Век Рептилий: бои дино!" (it used to called " Dino Crisis: Затерянный мир!") is a 2D multiplayer from Russian social media VKontakte, and its servers have been closed long time ago. So yeah, all most of them still playable! I have info/files each of 'em !!! For example, Lego ones needs .exe for launch. There are many ways to play them!

Rest titles for search: 2D: Eggstinction, Dino Run: Marathon of Doom!, Lego: Dino Outbreak, Dino Panic (2x), T-Rex Rampage: Prehistoric Pizza (Hot Wheels), Dino Paint, Gone Fishing (baryonyx), Robot Dinosaurs That Shoot Beams When They Roar, Dinosaurs and Meteors, Prehistoric Shark, Battle of Giants: Dinosaurs, Donald the Dino, Ice Age: Dawn of the Dinosaurs, DINOK, L.A. Rex, One Man and His Dinosaur (shepherd-theropod), Lego: Dino Archeological Dig, Obama Jurassic Park, Dino Soars!, Dino Duet, Me and My Dinosaur, Caveman Climb, BM REX, Dinosaur Killer 3D and of course Google Chrome Dinosaur. 3D: Dino Storm (Wild Western), Off-Road Velociraptor Safari (developers of Jetpack Brontosaurus)

Someday I will make fanarts and video about paleo games with my voice!!!!!! not in english, cause I'm very poor in english(( P.S. I tried to upload post in r/Dinosaurs, but my suggestion been ignored for 3 months

[iamblue15]

Moditrix AU: Alien Nicknames

Dipper

*Grey Matter: Little Grey

*Humongusaur: Gigantosaur

*Wildvine: Xenoplant

*Blitzwolfer: Weirdwolf

*Ampfibian: Ghost Jelly

*Shocksquatch: Shocksquatch

*XLR8: Acceleraptor

*Brainstorm: Crabstein

*Ball Weevil: Goop Beetle

*NRG: Meltdown

Mabel

*Wildmutt: Hyperhound

*Chromastone: Rainbowblast

*Ditto: Multi Buddy

*Grey Matter: Little Grey

*Humongusaur: Gigantosaur

*Bloxx: Build a Thing

*Cannonbolt: Maball (Mabel + Ball)

*Buzzshock: Zip Zap

*Fasttrack: Kitty Fast

*Upchuck: Stuff Up

Raz

*Heatblast: Hot Shot

*Jetray: Rayser

*Spider Monkey: Spider Monkey

*Clockwork: Time Lord

*Cannonbolt: Rollout

*Feedback: Feedback

*Echo Echo: Dupli-Sound

*Gravattack: Mars Head

*Ball Weevil: Gunk Mite

*Way Big: Goggalor

Lili

*Wildvine: Green Queen

*Chamalien: Camo Gecko

*Chromastone: Meteor Quartz

*Four Arms: Red Bruiser

*NRG: Rad Tank

*Grey Matter: Tinker Frog

*Snare-Oh: Celopatrap (Cleopatra + Trap)

*Astrodactyl: Jetrassic (Jet+ Jurassic)

*Buzzshock: Battery

*Whampire: Batula (Bat + Dracula)

Coraline

*Diamondhead: Hardstone

*Swampfire: Wildfire

*Big Chill: Frostbite

*XRL8: Rush

*Rath: Raging Stripes

*Water Hazard: Flash Flood

*Crashhopper: Kicket (Kick + Cricket)

*Ampfibian: Astrosquid

*Grey Matter: Liliphibian (Liliputian + Amphibian)

*Echo Echo: Surround Sound

Wybie

*Brainstorm: Shell-Minded

*Upgrade: Symbiote

*Feedback: Cable Guy

*Stinkfly: Mutant Fly

*Lodestar: Magnetizer

*Artiguana: Frizard (Frigid + Lizard)

*Ripjaw: Depthmaw

*Nanomech: Microdroid

*Ball Weevil: Crud Bug

*Spider Monkey: Arachney (Arachnid + Monkey)

Norman

*Goop: Slimer

*Echo Echo: Screamer

*Frankenstrike: Lightningstein

*Big Chill: Ghostmoth

*Ripjaw: Angler Man

*Snare-Oh: Bind Tut

*Wildvine: Trap Plant

*Eye Guy: Multeye (Muliple + Eye)

*XLR8: AMX (Alien Motorcross)

*Terraspin: Draftshell

Neil

*Four Arms: Double Muscle

*Cannonbolt: Wrecking Ball

*Upchuck: Spit n' Boom

*Wildmutt: Mad Dog

*Armadrillo: Diggin' King

*Kickin' Hawk: Rooster Fighter

*Fasttrack: Felay (Feline + Relay)

*Articguana: Sub-Zero Dragon

*Brainstorm: Intellishrimp

*Bloxx: Stackem'

[mediasaurs]

TRM Round 1: Fantasia (Rite of Spring T. rex) vs. Prehysteria! (Elvis)

Fantasia (Rite of Spring T. rex) – From the classic film comes an early animated depiction of T. rex. Here, we see Tyrannosaurus fighting with, and ultimately defeating, an anachronistic Stegosaurus. Though, sadly, like many of the entries in this competition, no success in hunting can save this T. rex from the extinction of the dinosaurs. Here, though, extinction comes not from a meteor but climate change.

Prehysteria! (Elvis) – Debuting the same year as Jurassic Park, Prehysteria! asks the important question: what if dinosaurs were tiny and cute and could live in your house? For the real answer, you can look at pet birds, but either way, wacky shenanigans will ensue. Elvis is a miniature T. rex, part of a group of eggs accidentally obtained by an ordinary family. Each hatches into a different dinosaur (or pterosaur) and is named after a famous musician. The T. rex, naturally, is named Elvis because he was the king. These are fun, silly movies and the stop-motion animation is a welcome sight in the world of endless CGI.

[monty-glasses-roxy]

I am SO SORRY, but every time you talk about animalisms or dogisms my brain goes right to Roxy having to be on a leash any time they go out so she doesn’t poop in a neighbor’s grass.

SHE'S NOT THAT BAD LMAO

[nintendocompositions]

finally finished remixing my first fighting game mix, EVERYONE EVERYTHING IS REMIXED!! I had a blast making this and I can't wait for MVC FIGHTING COLLECTION AAAAAAAAAAA thanks for listening!!

Street Fighter Alpha 3 EX (Hideki Okugawa) - Theme of Q Tekken 3 (Nobuyoshi Sano, Keiichi Okabe) - Eddy Gordo Darkstalkers 3 (Takayuki Iwai) - Deserted Chateau (Arranged Ver.) Super Street Fighter IV (Hideyuki Fukasawa) - Theme of Dan Super Street Fighter IV (Hideyuki Fukasawa) - Theme of Dudley Marvel Vs. Capcom (Masato Kouda) - Theme of Morrigan Ultra Street Fighter IV (Hideyuki Fukasawa) - Theme of Poison Tekken Tag Tournament 2 (Namco Sound Team*) - Eternal Paradise (Fiji) Super Street Fighter IV (Hideyuki Fukasawa) - Solar Eclipse (Africa) Street Fighter V (Keiki Kobayashi) - Kanzuki Beach (Malaysia) Tekken 5: Dark Resurrection (Akitaka Tohyama) - Estrada da Estrela (Meteor Shower) Street Fighter 6 (Shigeyuki Kameda) - zilra zilra (Blanka’s Theme) Street Fighter X Tekken (Hideyuki Fukasawa) - Jurassic Era Research Area Tekken 8 (mifumei) - Streak of Blue (Seaside Resort) Tekken Tag Tournament 2 - IT’S NOT A TUNA! (Bountiful Sea) Tekken 8 (mifumei) - Ortiz Farm (Golden Meadow) Street Fighter X Tekken - Cosmic Elevator Tekken Tag Tournament 2 (Namco Sound Team*) - Abyss of Time (Wayang Kulit) Tekken Tag Tournament 2 (Namco Sound Team*) - Siga (Tropical Rainforest) Tekken Tag Tournament 2 (Namco Sound Team*) - What You Will See (Heavenly Garden) (Benton Remix)

SAMPLES: *Akitaka Tohyama, Nobuyoshi Sano, Keiichi Okabe, Rio Hamamoto, Taku Inoue, and Go Shiina 1 9 0 5, Former City Records - Recorddeals 3BallMTY - Inténtalo Amor Satyr & Siu Mata - Nah Anitta - Lose Ya Breath Anitta - Funk Rave Azealia Banks - Anna Wintour BADSISTA ft. JUJULIETE - BAGUNÇA MINHA B***** Bianca Oblivion ft. Thai Chi Rosé & Dyer MC - Bad Gyal Capcom Vs. SNK 2 (Satoshi Ice) - True Love We’re Makin’ (London) Charli xcx - Everything is Romantic Da Brat ft Notorious BIG & JD - Da B Side Kali Uchis - Dame Beso//Muévete KiNK, Kei - Nagore (Original Mix) Lone - Approaching Rainbow Lone - Blue Moon Tree Major Lazer ft Nina Sky & Ricky Blaze - Keep It Goin’ Louder MC Juninho do Complexo - Olhou Sorriu Otira - Take Me Street Fighter III 3rd Strike (Capcom Sound Team) - Beats in My Head (Elena Stage) Tekken 2 (Yoshie Arakawa, Yoshie Takayanagi) - Almost Frozen (Antarctica) Tekken 4 (Yu Miyake) - Kitsch (Beach) Tkay Maids - 24k Zsela - Earlier Days (Sunship Remix)

Also on SoundCloud! Thanks for listening!

[kylesvariouslistsandstuff]

Estimated $100m second weekend for INSIDE OUT 2... Really out here breaking some records, eh? Rare for a movie, and the first time for an animated movie, should the estimates be on the low end. Very possible the actual is like $98-99m, which is still very impressive, and only an approx. 35% drop.

If it gets over $100m over the three-day, it'll sit with all-timers THE FORCE AWAKENS, ENDGAME, INFINITY WAR, BLACK PANTHER, JURASSIC WORLD, and THE AVENGERS...

Really shows that the original INSIDE OUT is beloved after its blockbuster run in 2015, and it shows that audiences quite like this movie and are back for more. Might even make a play for INCREDIBLES 2's $608m domestic total, unadjusted of course. (The actual total in today's ticket prices is around $720m, per The-Numbers.) That would make it the highest-earning animated movie domestically, but right now, Pixar's Supers hold that title. Adjusted, it will always belong to SNOW WHITE AND THE SEVEN DWARFS.

But if anybody was gonna beat Pixar, it was gonna be Pixar. I don't see another studio getting a shot at this, maybe except cousin studio Disney Animation and their MOANA 2... Or DreamWorks if SHREK 5 really lands like a meteor in a few years from now.

Worldwide, INSIDE OUT 2 sits at $724m. Again, within two weeks of release. Already circling the original's $857m take. (Before anyone says it, the film saw a small re-release in July 2020 that pushed the take to... $858m. Know that I refer to original release grosses, lol.)

And with this movie doing so well, I see all the Chicken Little-ing... Over the wrong problem.

"We're NEVER getting an original movie from this studio again"

Okay... Let me try to debunk this.

I don't think an animation studio of this size can feasibly ONLY make sequels, because eventually... Wells run dry. Also, the people who yell this often online... Are they aware that ELIO exists and will be released next summer? Are they aware that Domee Shi, director of TURNING RED, has a new movie in the works at Pixar? (It's not ELIO, she is likely just doing story/script on that one.) Are they aware that Pixar has a movie slotted for release in late winter 2026 between ELIO and TOY STORY 5?

I'll tell you something funny... There was a fellow who insisted to me in December 2015 that Pixar was going to be done with original movies after THE GOOD DINOSAUR became the studio's first money-loser. That they'd put COCO on hold, and that would be it... LOL. This person also claimed to be a shareholder... That speaks volumes.

But no, really... You need to keep making untested or original movies in order to have things to make sequels to in the first place. And one of Pixar's recent losses was... A spin-off of TOY STORY featuring a version of one of their most recognizable, practically synonymous-with-their-name characters. Yeah, that epic movie about Lenny the binoculars!

So, please... Never making originals again? That's just a bad business plan and completely not feasible.

When originals/non-sequels don't meet the corporations' expectations (because I refuse to call SOUL, LUCA, TURNING RED and ELEMENTAL "flops" in any way, shape, or form... *Especially* the first three), the studios don't stop making them... They stop making them in a specific way.

Hence, Pete Docter - likely with Bob Iger pointing a gun at his head - saying Pixar won't make "autobiographical" movies anymore. Basically no more TURNING REDs, and more... Well, whatever the early 2026 movie is going to be. (Which is not this "Ducks" thing people keep insisting it is, as far as I know.)

The other studios do that, too. Off the top of my head... DreamWorks had a bunch of these fantasy movie in the works circa 2011. Stuff like THE GRIMM LEGACY, RUMBLEWICK, ALMA, fantastical stories with something of a darker bent to them. They were also considering adapting GIL'S ALL FRIGHT DINER... They had all these really cool movies in the works that would've redefined what a DreamWorks movie could be, post-SHREK. And then after a movie called RISE OF THE GUARDIANS lost money (even though it had good legs and became a cult hit thereafter), all of it never happened. ME AND MY SHADOW, which was in some form of production and was HOTLY anticipated by the animation community, got canceled. They proceeded to finish TURBO and MR. PEABODY & SHERMAN.

Both of which also "flopped"... I remember Jeffrey Katzenberg, when he was still running that place, saying something to the tune of: "Well those failed because we tried to aim at preteens and teenagers." Really? TURBO and PEABODY, which were overpriced to begin with, were aiming for that age group? The plan going forward was "We're going to make movies for kids and their parents." Whatever the hell that meant. Eventually, Comcast bought DreamWorks, a little over a year later. And the flightplan constantly changed after that.

Studios don't give up on movies that aren't sequels, they just re-route them. They find "reasons" for previous movie failures, and usually it's the fault of the filmmakers and the stories they chose to tell. It's never any outside circumstances, which are actually often the case with money-losing movies. The very movies that go on to be big on home video and streaming, and attain cult followings. With today's line of thinking, Walt Disney wouldn't have even gotten past PINOCCHIO's disastrous original release results.

So instead of yelling "we'll never get original movies again", I direct my energy elsewhere... And I say "Well, hopefully the future movies - both original and sequel - don't fall flat because of needless executive interference that attempts to *correct* a perceived problem." That to me is the issue, not the fantasy of Pixar completely stopping making original movies altogether.