#mad max motorbike

[motocrunch]

[fuseandmerge]

The descending journey of the teddy

[onlywifetothorin555]

Got some behind the scenes screen caps:

I will have to get better ones in due time, had to screen shot on a website and couldn't get rid of some of the lettering 😆😆 but I was happy to see this nonetheless!

[its-all-good-my-luv]

The legend Jim Goose!! 🫶😊

[whitewingsart]

Where is your home, Vagabond?

[kindaskimpy]

I Turn Into The Motorbike Messiah, Dementus [x] Behind the scenes of Furiosa: A Mad Max Saga

[foccaccia]

no pokemon game will ever come close to beating pokemon colosseum

set in the deserts of pokemon-arizona

playable character, Wes, is a criminal who opens the game by stealing valuable tech, and then riding off into the sunset on his mad max motorbike while the bombs he left in an occupied building destroy it to rubble

you don't catch wild pokemon. instead, with the help of a kidnapped psychic, you steal pokemon from other people. you just throw pokeballs at other peoples pokemon during battle and then leave with their pokemon. how are they going to stop you? with what pokemon? your city now, bitch

the villains in this game have been torturing pokemon to insanity. you have to therapy these pokemon back to health by... forcing them to fight for you.

the music. look up pyrite town theme right fucking now.

miror b........

there's an entire underground bladerunner-esque city hidden from almost everyone. it contains a gang of independent child criminal hackers who do far more to help you than the cops.

i just love the wild west/high tech mashup vibe. its sUCH a choice aesthetic.

DOUBLE BATTLES ONLY

wes the hardened badass edgy criminal and his two main pokemon, espeon and umbreon, a pair of cute dogs who love him so so so so much

the battle system in this game is choice.

because there aren't wild pokemon or random battles, and you can only steal certain pokemon, you actually have really limited options for battles. you'd think this would be annoying, but i really enjoyed it - its a very good foil to the other pokemon games where you have infinite possibilities. it forces a casual player to strategize a lot harder.

especially if you're trying to heal all the shadow pokemon - you have to use pokemon in battle you never normally would have.

this is such an old game, iirc one of the first 3D pokemon games ever? and the graphics are understandably clunky, but even then there is so much heart and care put into it that it doesnt feel outdated, just heavily stylized.

EVERY POKEMON has unique animations that are just so much fun and really shine in the battles. especially their K.O. animations. its just so much fun. modern pokemon, take notes

[j4m3s-b4k3r]

The Darkest Of Angels

The latest instalment in the MAD MAX series, FURIOSA, is not as inventive as its predecessor, FURY ROAD. There are few moments to match the kooky joy of seeing the DOOF WARRIOR thrashing his guitar made out of a bedpan, atop a truck full of Taiko drummers in this movie. But FURIOSA delivered, and not in the ways expected. It is dark. A post-nuclear Dickensian western. A harrowing tale of an orphan taken to the Wasteland workhouse. With no inheritance to save her day, she wants revenge. There's plenty of George Miller’s signature kinetic storytelling. This isn't mere mayhem, but a thoughtful meditation on war, revenge, grief, and hope, told in 5 chapters.

1: The Pole of Inaccessibility

“Do Not Look Away, You Mustn’t Look Away.”

The tale begins in the “Green Place”, an EDEN hidden in the Wasteland. Instead of an apple, a peach is plucked by a little girl - a much younger FURIOSA. For the first hour, the titular character is played by Alyla Browne, who gives an absolutely riveting performance. Many of the traumatic moments that will shape the character are dealt with by this incredible young actor. 

Furiosa is soon kidnapped by the motorbike crazies that populate the MAD MAX films. Unfortunately for the goons, Furiosa’s mum MARY JABASSA is a veritable fury, and relentlessly hunts them down. Played by Charlee Fraser, the character isn’t in the story for long but she absolutely fizzes with intensity while she’s on screen. Leaving a white hot afterglow that lasts for the rest of the film. Unfortunately, she is soon dealt with by the villain of the tale. 

When we first meet DEMENTUS, he is clothed in white robes, like a desert messiah in his tent. Hemsworth’s performance is one of the highlights of the film. Dementus has a rural Australian accent, and a speaking style reminiscent of earlier generations. This may be lost on anyone without a small town Australian grandfather, but for me it had a chilling effect. At once folksy, familiar and terrifying. Most of the quotable lines from this film are from Dementus. He’s a bad egg, but eminently watchable. A Long John Silver of the desert.

2: Lessons from the Wasteland

"Who's got the goods? The bollocks, the testes to ride with Dementus?! "

Anya Taylor-Joy was arresting, and did wonders with a largely non verbal role. She was a strange choice for the role though. Alyla Browne believably played a child version of Charlize Theron, but Anya Taylor-Joy’s distinctive features and slight frame aren’t going to look like Theron in 10-15 years time. 

When Charlize Theron’s FURIOSA spoke with a north American accent in FURY ROAD, I accepted it as possible in Miller’s Wasteland. After all, we’d already learned years ago that way out in the middle of the outback, you might meet... TINA TURNER. So yeah, that accent made sense in 2015. However, we now know that Furiosa’s parents and childhood accent were both Australian. Then, she somehow acquires a North American accent growing up in the Citadel. Surrounded by Aussie War Boys?

George Miller deservedly gets praise for his imaginative visual world building and storytelling, but sometimes his world doesn’t make ‘sense’. I know that these films are best taken as kinetic & operatic comic books, taking place in a mythic world. However, inconsistencies sometimes break the spell, popping me out of the movie watching experience, to ask real world questions. 

However, Tom Burke’s Aussie accent was flawless, and his turn as PRAETORIAN JACK was wonderful. A stoic character, with as many wounds and losses as any other wretch in this misbegotten landscape, but who hasn’t lost the ability to be humane.

3: The Stowaway

“Didja see that? How they fought for each other, this little army of two? Where were they going, so full of hope?”

Each MAD MAX film thus far took us to a completely new part of the Wasteland. FURIOSA too shows us a new location, the Green Place. Experienced for mere moments, before being hauled to locations we’d previously seen in FURY ROAD. 

Though shown 15-20 years earlier, they looked exactly the same. Instead of seeing The Citadel only partially built, ruled by a younger Immortan Joe (perhaps not yet needing his mask, but already showing the signs of physical frailties?) characters & locations look as they did in a movie set 15-20 years later.The only character who shows the passage of time is Furiosa herself. 

George Miller takes big swings with these MAD MAX films, but in completely different ways with each one. FURIOSA is back to a revenge story, which is where the series began, but with a completely different structure this time. Ending on a dialogue in the desert, instead of blow-the-hinges off action sequence. After the excitement of what came before, a verbal showdown in the desert was anticlimactic for some. ONCE UPON A TIME IN THE WEST, climaxing with jibber jabber instead of Leone’s gunfight. For me though, this ending (and Hemsworth’s speech) was one of the high points of the film.

The film has many images that stay with me - A time-lapse shot of a young tree growing from a discarded wig. A lizard eats flies buzzing around a skull in the desert, only to be crushed under a racing motorbike tire. Parasailing marauders attack a giant truck from the sky. The sadistically twisted villain wears a child’s teddy bear. Owned by a victim? Or his own children from long ago? What a grimly beautiful world this is.

4: Homeward

“There will always be war. But to get home, Furiosa fought the world.”

Some critics said FURIOSA was “an epic slice of myth-making”, while others called it “a joyless, pointless, pretentious and inartistic slog”. Generally though, critical response was effusive. 90% on Rotten Tomatoes with an 89% audience score. Interestingly, these action films are consistently rated higher by critics than by audiences:

FURIOSA: 90%/89% FURY ROAD: 97%/86%  BEYOND THUNDERDOME: 79%/49%  ROAD WARRIOR: 94%/86%  MAD MAX: 90%/70% 

Also interesting, is that FURIOSA’s audience score is the highest of all the 5 films. Stranger still is that this favourable response didn’t result in box office success.. There are many theories as to why this is so. Although some say that this is the best prequel ever, any prequel is by definition unnecessary. Perhaps those that focus on a sidekick character will have a harder time connecting with audiences. Especially if the franchise’s main character is a no show. (Likewise, SHORT ROUND: AN INDIANA JONES SAGA might tank at the box office too, if Indy only has a cameo of mere seconds.)

This gets to why an audience decides to go see a movie. Personally, I just needed to know that George Miller - a director I��ve followed since my teens - was making another movie. That’s it. I was already in line before I knew what it was about. But most people, even MAD MAX fans, lost interest when they heard the famous character wasn’t in it. Joe & Jane Public bond with actors and characters. Directors not so much.

5. Beyond Vengeance

“D’ya have it in ya to make it epic?”

Movies used to be cheap entertainment, that audiences could afford to take a chance on, but they are expensive nowadays. Especially with all the bells & whistles of IMAX and reserved seating. People have been burned so many times by gushing press luring them to lame movies, that positive reviews and ‘buzz’ are now simply assumed to be studio psyops. Flatly ignored. Instead, if it’s a film they are unsure of, many prefer to wait a few weeks and try movies at home, affordably. On the big screen TVs & sound systems bought during the pandemic.

Given FURIOSA’s poor box office, we may never get the 6th instalment in the MAD MAX saga; WASTELAND. Which makes me regret that George Miller hadn’t made that film before this one. FURIOSA isn’t my fave of the MAD MAX films, but ranks high in my personal list. A fantastic addition to this series, that deserved more success than it got, sadly. Seeing George Miller stretch himself, in this mythic world he has constructed over decades, is a true cinematic joy.

“To feel alive, we seek sensation — any sensation to wash away the cranky black sorrow!”

[brokehorrorfan]

Furiosa: A Mad Max Saga will be released on Steelbook 4K UHD, 4K Ultra HD, Blu-ray, and DVD on August 13 via Warner Bros. The 2024 fifth installment in the post-apocalyptic action franchise will first be available on PVOD on June 25.

Mad Max creator George Miller directs from a script he co-wrote with Nico Lathouris (Mad Max: Fury Road). Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, and Lachy Hulme star.

Furiosa is presented in 4K with Dolby Vision/HDR and Dolby Atmos audio. Special features are listed below, where you can also see the full Steelbook layout.

Special features:

Highway to Valhalla: In Pursuit of Furiosa

Stowaway to Nowhere

Metal Beasts & Holy Motors

Darkest Angel: Anya Taylor-Joy as Furiosa

Motorbike Messiah: Chris Hemsworth as Dementus

As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.

Pre-order Furiosa: A Mad Max Saga.

[roopnavarro]

Octoboss, is that you?

Images of the mural from the tomb of Dementus in the Mad Max game

Avalanche Studios had access to canon material that would be used in Furiosa. From what I've been hearing, the game and the movie share a lot of lore regarding Dementus in particular. However, it seems the game devs couldn't exactly use/didn't have access to certain designs. For instance, there's a vehicle in the game that's supposed to be Dementus' chariot, but it's not anything like the motorbike chariot we see him using above. I wonder if the devs also heard about a biker in a horned helmet, but didn't have access to/permission to use the actual character design. And thus... Cute little knockoff Octoboss cave painting.

[le-trash-prince]

i know i've mentioned this before but I need a Pit Babe Mad Max Fury Road AU.... cars and human breeding plots... they're two sides of the same coin

also when will Pit Babe have old ladies riding motorbikes

[mariacallous]

The title card that opens 1979’s original Mad Max places the action in a very near future, looming just “a few years from now.” George Miller’s cult action-thriller captured the edginess of a world teetering on the brink. The film depicts a not-quite-postapocalyptic Australia, where gangs of high-octane galoots rove the roadways on motorbikes and souped-up muscle cars, attempting to outrun the last of the lead-footed policemen: Mel Gibson’s Max Rockatanksy. Revisiting the film is exceptionally rewarding—and not just because of the grit, oddball humor, and verve of Miller’s directing. It reflects something of the ambient tensions of a world of potentially perilous fuel shortages, which threatened the whole petrol-and-plastic framework of our modern world.

Miller recalls this era with no particular fondness. He remembers, in the mid-’70s, all of the gas stations in Melbourne shutting down. Save for one. The mood was sour. The tension was thick. “It only took 10 days,” Miller says, “in this very peaceful, benign city for the first gunshot to be fired. Someone got ahead of a long queue, that went on city blocks, to get fuel. If that could happen in just 10 days, what would happen in 100 days?”

Across five films, including the new Furiosa: A Mad Max Saga, Miller’s franchise tracks this decline. In the original picture, the world is still fairly intact. There are diners and hospitals and happy families. People even dress more or less normally. It can feel a bit like our world: one which is collapsing but hasn’t yet totally buckled. By the time of 1982’s Mad Max 2 (released in the US as The Road Warrior), any vestiges of civilization have been blown away by an accelerated period of resource warring, nuclear conflict, and ecocide. Humanity survives in clans and roving bands, dressed in feathers and dusty leathers.

By 1985’s Mad Max: Beyond Thunderdome, civilization relies on bartering for commerce, harvesting pig shit for methane, and conflict resolution by way of gladiatorial combat. In the smash hit 2015 long-gap sequel, Mad Max: Fury Road (which recast Rockatanksy, putting Tom Hardy in the lead), things were almost cartoonishly bad: Fertile women were ferried across vast wastelands in tanker trucks, access to fresh water was hoarded by tyrannical dictators in skeleton half-masks, and all of humanity seemed to exist in a state of berserk, whooping madness. If that first film was warning—against the fetish for speed and power, against excessively extracting precious riches from a planet that could scarcely afford to give them up—the newer pictures feel not so much prescient as present: sado-comic visions of our own maddening, resource-starved world.

The Mad Max films are driven by a guiding incoherence. They offer a critique of car culture, resource scarcity, and the very things that may well have our world motoring toward its own demise, no matter how many EVs we buy. Denizens of the desolate wastelands exalt automobiles, motorbikes, engines, and especially gasoline as fetish objects. But at the same time, the films’ pleasures are guilty of this same exaltation. The thrills derive from high-octane racing, dangerous automobile maneuvers, body-mangling crashes, and the whole vroom-vroom of it all. They’re like war movies that ask us to thrill at the violence and daring of combat, while all the while muttering, “This is actually really awful, you know.” There is no effort to reconceive a world doomed by its pathological obsession with machines chugging on crude oil. Rather, the apocalyptic backdrop only furnishes fantasies of further decline.

Perhaps it’s a mistake to take films with characters called “Pig Killer,” “Rictus Erectus,” and “Pissboy” too seriously. But the Mad Max pictures underscore a deeper absurdity that undergirds the genre of postapocalyptic, ostensibly environmentalist (or at least environmentally sympathetic) entertainments that are often referred to as eco-fictions, or cli-fi, for “climate fiction.” “The climate crisis and grotesque climate inequalities are things that we are really struggling to process,” says Hunter Vaughan, an environmental media scholar at Cambridge University. “These films are touching on our collective inability to adapt to this crisis.”

Vaughan is the author of Hollywood’s Dirtiest Secret: The Hidden Environmental Cost of the Movies. His text analyzes the environmental impact of the film industry, from early Hollywood to the present. Understanding the industry as inherently (and devastatingly) resource-reliant, he has come to view the very idea of “environmentalist movies” as a bit of an absurdity. “Films like Mad Max and Avatar,” he explains, “are just doing what Hollywood has always done, which is rely on choreographed violence and the enticement of spectacle. But they get to offset that to some degree by coming across as having some sort of environmentalist message.”

The whole notion of “cli-fi” as a genre suggests something a bit ominous: that the well-meaning parables of early climate fiction have now become subservient to the demands of the genre. Take Denis Villeneuve’s Dune pictures. While perfectly competent as pricey pieces of blockbuster cinema, they barely engage with the novel’s ecological concerns. Author Frank Herbert was originally inspired by the historical ability of certain indigenous civilizations to live in harmony in even the harshest environments—a noble idea that, in the Hollywood version, takes a backseat to woolly ideas around interstellar jihad and the sheer pageantry of the proceedings. Likewise, Mad Max's original warning siren has waned a bit, as the films developed their own generic language. The collapsing world is now just a canvas across which (wildly entertaining) action scenes unfold.

However absurd it may seem to scholars, Miller seems to come by his environmentalist sympathies honestly. Even outside of the Mad Max movies, many of his pictures touch resonant themes about global warming (Happy Feet), vegetarianism (Babe and its sequel), and the essential destructiveness of the modern world (Three Thousand Years of Longing). These realities have directly impacted his films. Fury Road’s production was long delayed, in part, because the Australian desert where Miller planned to film was suddenly swamped—a direct result of unpredictable climate patterns. “I see it myself,” the director says of climate change. “It’s all around us. I’ve seen both the hard statistics, and just in my own experience. So it can’t help but seep into the story.”

Furiosa is unique among the Mad Max films in that it offers an alternative to the arid, violent, boiling wastelands that dominate the franchise’s topography. The origin story of Charlize Theron’s fierce road warrior from Fury Road, the film opens in “the Green Place”: an Edenic garden governed by a tribe of warrior-women, which stands out as a lush oasis in the desert. For Miller, Furiosa offered an opportunity to one-up himself. Fury Road proved he could make a hit Mad Max movie without Mel Gibson. Now, he hopes to show he can make another without Max (though he does appear, very briefly). “If you just do the same thing again and again, there’s hardly any point,” he says. “There’s an inherent cynicism to it.”

Snatched from safety, Furiosa (played by Ayla Browne as a child and Anya Taylor-Joy as an adult) is raised among a motorcycle death cult, led by the madman-prophet Dementus (Chris Hemsworth, sporting an impressive prosthetic schnoz). In time, she’s traded away to Immortan Joe, Fury Road’s big bad, and learns to survive and thrive among his clan of face-painted, aerosol-huffing cultists. Building out the world of Fury Road, Furiosa traces the fragile trade dynamics between three strongman leaders, each hoarding a key resource: fresh water, fuel, and bullets. As Furiosa navigates these violent trade routes, she hatches her own plan to avenge herself on Dementus and burn rubber back to the Green Place.

In actually bothering to imagine what some alternative to the wasteland might look like, Furiosa moves past the typically narrow horizons of most cli-fi. Nicole Seymour, who teaches environmental literature at California State University, Fullerton, notes that most environmentalist narratives stop short of actually conceiving of what a new, better world might look like. “I think that would require you to do more implicating, and more work,” she says, “which no one wants to do.” She notes that most utopian environmentalist literature tends to buck the mainstream, foregrounding more diverse characters. “Do they want to make a movie about a Puerto Rican transgender person who time-travels?” she asks. “I would watch that!”

There’s a shopworn quote attributed to the late critic and theorist Mark Fisher, about how “it's easier to imagine the end of the world than the end of capitalism.” Certainly, in the Mad Max movies, the basic systems that led to our destruction—resource hoarding, the primacy of tribal violence, the fetish for power and speed—remain intact. The sinister logic imparted to the audience is that, well, ecocide is inevitable, and so there’s little left to do than revel, laughing mad, in the explosive spectacle of our own destruction. To which an admirer of these films (like this writer) may sensibly, or cynically, respond: OK, sure … but what a spectacle.

For his part, Miller maintains that there’s a deep humanism at the core of these films, buried beneath the scrap heaps of twisted metal. “I’ve been to places where there is a lot of trauma and poverty,” he says. “I’m always impressed by the ability for survival. This is about our survival.”

[demon-slayer-kaiden]

Calling it good enough!

Anyway here are the starting thoughts for Kaiden’s Mad Max Au

Naomi and Kaiden escaped from their old home after it had come under attack by a warlord, they stumbled upon the Green Place and were taken in by the Vuvalini. Kaiden grew up learning their ways and enjoying the peace and safety that was offered.

At some point she becomes pregnant and has Yuu, right as the place her and her mother called home began to die and become toxic. Leaving with the others to wander once it was no longer habitable.

Yuu’s upbringing has thrown a wrench into Kaiden and Naomi’s relationship. They want different things for her: Kaiden wanting her daughter to have as much of a childhood as possible and Naomi wanting her granddaughter to start learning how to survive in the harsh world they live in.

The three live a semi-nomadic life style, getting around the wasteland on modded motorbikes. They don’t want to stay in spot for too long and Kaiden does the majority of the scavenging and scouting.

[foxes-that-run]

Can you please write about everything that went down with Harry, Taylor, and Kendall? Please 😊 🫶

There are quite a few decent Hendall timelines on tumblr, these are the mentions of Kendall in my timeline.

Hendall timeline

2013

20 November - Harry has dinner with Kendall Taylor tweets ""I've listened to "Hold On" by @ColbieCaillat 45 times today. So on repeat. So important." on the 21st when dinner reported.

23 November, both Harry, Taylor and Kendall at AMAs, gold dress. Kendall PDA reported by media but there is no record of it. That's a fair sign that it was PR.

25 November - Midnight Memories released

6 December - Harry leaves Kendalls hotel and they have breakfast. Lunch the next day NY. Harry is carrying notebooks and dressed that same as in the Spotify visual for Where Do Broken Hearts Go. Tabloids say not dating Kendall and he is texting Daisy Lowe.

15 December - One Direction performs Midnight Memories on Xfactor UK Final and Harry arrives at Kendalls London hotel at 2am. This is a really odd sighting because he was seen with Ed and Taylor 2 days later.

17 December - Harry, Ed and Taylor spotted together in Suffolk.

2014

2 - 4 January - Harry and Kendall go Skiing with his manager Jeff and his GF

6 January Lover Journal January 6, 2014, LA: Taylor decides to move to NY “dating is awful”. Reports KUWK producers wanted to film Harry and Kendall and Harry said no.

16 January - Harry seen at pool, then eagles concert in LA on 17th Harry puts his arm around Kendall at Eagles Concert. Kathy Griffiths said he was wasted, said that Tom hanks joked about wanting to drive Harry rehab and that he didn’t stay with Kendall inside.

25 January - Rumour Harry seen with Kendall.

2 February - Harry’s 20th birthday, he told stern in 2022 that when he was 20 he felt like every decision in his adult life had been made as a democracy till that point and felt he should make decisions. Daily Mail he spent birthday with Kendall Jenner, his cousin said he is always the dumpee.

9 February - Taylor wrote Clean written

11 February - Taylor gets haircut, Harry seen backstage. He writes Stockholm Syndrome. At this stage it seems Haylor is at least flirting and hanging out. Next think you know....

18 February - Kendall at London Fashion Week, Harry goes to Cara's show not hers, in the BUA the next week "Harry purposely didn’t go to the Topshop show or have his planned party so people wouldn’t speculate about him and Kendall,”

19 February - Harry left Brit’s after party early to return to LA

20 February - Harry arrives in LA in afternoon.

22 February - Lover Journal February 22, 2014, LA, Been in the studio with Max, Shake it off, has been in Conway Studios all week. Ariana Grande also recording album. Said that Harry "was just visiting the studio and (producers) Savan (Kotecha) and Johan (Carlsson) were like 'Hey do you wanna write a song for Ariana?' and he was like 'Oh sure!'" "He went into the other room and they were writing for a while and I remember when I heard it I was like 'Wow that's a really strong verse, that's really beautiful’ She records JALBOYH in Conway Studios, Max Martin working on both records. Harry MIA in day, then at same Miley concert, Kendall goes separately. Harry and Kendall BUA, work commitments

12, 13 March - Harry had dinner alone in LA, Kendall on date with someone else down the street. Harry’s motorbike broke down, he looked sad, guy who came to help mad. 15 March LA

[for the rest of the year Harry toured and was in the same city as Taylor a lot, 1989 came out in October.]

1 December - Harry, Kendall and Cara at British Fashion Awards in London, the day of that photo of him at top of stairs.

2015

The start 2015 is the end Haylor of sorts, Calvin appeared in March.

11 January - Harry tweets he had a "I Had a Good Morning :D Hard Work.... 'Yikes' !!". Kendall and Khloe post "Forget You "I see you driving 'round town/With the boy I love and I'm like/Forget you." Like clockwork that Haylor ends and Kendall is back.

14 January - Last time Harry and Taylor are seen at the same place till 2021 is Lily Aldridge's birthday.

17 January - Taylor shares photo of her kitchen with framed Temper Trap lyrics on her stove. Again they broke up before his birthday. :( Harry tweets that "This bucket hat might be the best purchase we've made in years." Cara and Kendall retweet that and the Cake? Rumour they bought a hat. H played golf the next day.

22 January - Harry went for yogurt, Nadine Leopold in his car

1 February - Harry’s 21st birthday party, everyone is fabulous with Gigi, Kendall, Cara there Harry Styles turns 21 with the A-list No mention of Taylor or Lily Aldridge, although Harry had been at Lily’s birthday 2 weeks earlier.

27 June - Taylor London show w/Kendall, Gigi, Serena, KK, Martha, Cara. 1D in Helsinki.

13 October - Kendall and Cara seen dancing at a One Direction concert.

28 November - Rumour Harry with Kendall at golf club.

31 December - actual last 1D performance Dick Clark's Rockin New Years TV Special, their performance was pretaped. The Out of the Woods music video premiered on the same show. Harry seen in Yacht with Kendall.

2016

1 January Yachtgate, but they seemingly broke up immediately after if they were dating. Before this they had started the year with Yachtgate, then there was gossip that the Harry didn’t want to be in KUWTK. So Hendall ended sometime between 6 - 21 January 2016.

21 January - Harry had a birthday party in London on the 21st where a stylist slept over at his house and I think that was the end of hendall if it was not already over. Kendall flew from LA to Paris the same day, so could have been there but didn't.

23 January - They were both at Jeff’s birthday on 23 January, but arrived and left separately, the Bonne Nuit is probably also a reference to her returning from Paris (and not going to his birthday in London) Kendall is wearing a Big o' Fur (Pop tart??) and leaves alone.

24 January - Harry had a birthday party in LA and Kendall not mentioned. Then she disappears for months.

8 April - Harry seen shopping with Kid Harpoon and Kendall, “watch KUWK May 1

13 July - taylorswiftisoverparty hashtag trending

17 July - Kim K posts that she has a recording of Snake convo.

21 July - Kendall posts "tea time" with photo Taylor later copies in LAWYMMD video. Also likes anti-swift posts.

2 September - Kendall and Harry at Nobu in LA, Dunkirk wraps. Harry not seen for another 15 days after.

5 September - Harry has dinner with Kendall then disappears. Could have been when he first went to Jamaica.

3 November - Harry seen back in LA at Kendall birthday and concert next day. Photo of Harry in red Jacket looking at his phone while Kendall makes out with someone else and then she isn't seen till she attends a few concerts over the next few years.

2017

She is not at his birthday, they date other people, he releases HS1

4 July - Karlie Kloss posts a photo with Kendall in Paris, the internet realises KK is not in Taylor Swifts squad.

14 July - Kendall came to Harry's show

27 August - LAWYMMD video, Kendall tea time reenactment

2018

No Hendall content

2019

7 May - Harry hosts his only met gala attendance, Taylor’s doesn’t go anymore. Adore you and Lights up written in May. Harry and Kendall have after party and both leave at 6am and both stayed at the Bowery hotel. Jeff and Xander also there.

11 December - Kendall and Harry on Spill your guts

2020

18 February - Harry at Brit awards, went to same after party as Kendall

2 April - Harry seen riding a motorcycle beside Kendall Jenner and Fai Khadra.

2021

no Hendall content

2022

15 April - Kendall watches Harry at Coachella

14 November - Kendall at Love on Tour, no setlist change.

2023

no Hendall content

2024

20 October - Joe Alwyn pictured with Kendall Jenner at awards dinner, Patrick S also there. Internet clowns.

[stormclawponyrises]

I watched Mad Max 2: The Road Warrior tonight, continuing my rewatch and commentary on the Mad Max franchise. What follows will primarily be a stream of consciousness with some edits as more was revealed. I already know a bit about the franchise and the production but it's been at least a decade since I last watched this film so I'm gonna be going in effectively almost blind.

This is a sort of long and rambling post

The opening monologue reminds me of the apparently commonly understood lore that the 3 sequel Mad Max films are not perfect canon- instead being retellings of an oral history of the outback, of this man called Max. It's a good way of approaching them all, if you assume them to be imperfect stories of his exploits, passed down throughout history, and it also explains the massive differences that occur between the films (especially in the case of Fury Road). The feral kid being revealed as the narrator means the details of The Road Warrior are likely fairly accurate, other than what may have been altered by a child's perception or the changing of memory. Presenting a story as a retelling of events or an oral history leaves extra room for suspension of disbelief.

The first "proper" scene already shows quite a big difference from the first film, while still starting with a carchase just like last time. The region is more desolate and brown, the clothing and vehicles more rundown and cruddily put together, Max has a dog, and some greying hair. It feels much further from civilization from the previous film and you can really feel that something has happened in the time since the first.

The detail of Max having a leg brace due to his injury in the previous film is a nice touch (and later when someone oils it up for him in the corner of the frame). The guys on the motorbike just sorta watching him while he grabs some gas is very unusual though. The practical effects when it comes to corpses at close range can be pretty laughable, the detail is good but the eyes always look pretty fake. I guess they just had to work with what they got, especially for low budget films like the first few.

Trying to grab a live snake is dumb as hell but the very fucked circumstances mean any kind of risk to get what you need is fair. Using the dog to form a kill-switch is hilarious. Imagine having your life directly in the paws of a dog's attention span.

Just 20 minutes in and this film already has so much more detail than the first. The layouts of each scene, the way the characters dress and act, the vehicles, the fact that Max casually eats dog food cos it's all he's got. There's also a bit more dialogue than I remember while still being predominantly show-not-tell (other than the exposition given by the pilot character and the opening monologue).

There's long quiet moments where we see and hear what the characters do, building mystery and suspense, and making the moments feel natural.

This film also feels more comedic than the first, especially with the scenes with Wez and the feral child.

All these people in BDSM gear...and police gear. The latter is honestly more suspicious to me haha

Max seems to be portrayed as a man who does things almost purely for self-preservation, which fits the apocalyptic setting and the setup of him becoming cold and heartless in the first film. Dog protects him, he uses the pilot and his copter for personal gain, it's possible he was nice to the feral kid because of a genuine need to ingratiate himself because that kid would probably be very happy with punting a boomerang straight into his brainbox at the smallest off step, but it's also possible it was part of his fatherly instinct. He did have a son once, after all. It's honestly a bit surprising that he actually goes through with stealing the tanker for the community, but given he needed fuel for himself and he knew where to find it, there's a pretty high chance he was just going to try and steal it regardless. There's clearly some compassion still within him, but it's tiny and well guarded. Perhaps he even tries to repress it, so he doesn't feel the same pain he felt after his family died.

I love the message passing scene between the engineer and the town leader. It's no game of telephone but the delivery feels a bit intentionally silly.

How the fuck did he survive the V8 crash. He a fucking supersoldier or something. Max is simply BUILT DIFFERENT I guess. But even in real life the body's capacity to survive and push further is often under appreciated. He's incredibly lucky the pilot was willing to rescue him, and did so in time. In my mind there's not much he did to deserve that, other than I guess being a useful resource for the community (the pilot did mention that he has insane reflexes, which supports this). For an apocalyptic setting that makes enough sense to me.

This film has far more dialogue than I remember it having, which is nice.

The car-chase climax of this film is far more exciting and involved than the first film. There's a lot going on and a lot more arcs that need to be addressed. It's not just Max anymore, its Wez and Humungus and the feral kid and all the community people and the pilot. It can feel a bit drawn out, but I am someone who's never been that interested in car chases or racing so it's probably an issue of taste for me- it's a major focus for the film franchise after all. It's still enjoyable though.

Fun(?) facts that may or may not be true because my memory is terrible:

Wez's butt would turn purple in the cold and most of the footage was filmed during the colder months, so they had to do workouts and extra takes to make sure his butt was pink whenever he was on screen.

Apparently the original intent was for Humungus to be Goose I believe (his fucked up head and covered face meant to imply a man who was badly burnt), and the high amount of police gear and police vehicles in his crew was because many of the raiders were meant to originally have been policemen who became cold and heartless just as Max had feared for himself.

Some years ago I went with my mother and brother on an outback road trip during the summer so my brother could get some hours up for his driver's license. We drove up to Silverton, a small village near one of Mad Max 2's filming locations and had a look around. There's a Mad Max 2 museum there which was fun to check out. They even had their own Blue Heeler, just like Dog. The flatland outside of town where the filming was done is so massive and so flat in places you can see the curvature of the Earth if you stand at a distance, it was breathtaking. The Silverton Hotel was also one of the filming locations of Priscilla, Queen of the Desert, which my mum had named her 4WD after. While in an isolated area, if you're ever traveling through New South Wales I recommend stopping by and taking a look around.

[things-of-strange]

Billy Hargrove Headcanons I Will Not Expand On

Irish [His paternal grandmother]

Neil will withhold Billy's medications as punishment

Taught Max to skate, surf, and drive

A good cook

More suicidal than homicidal

Autistic

Uses music to block out everything

Had a boyfriend in California

Had a motorbike in California

First language is English

Second language is Irish

Third language is Spanish

Prefers to speak Irish but Neil will get mad if he speaks it in public

Would die/kill for Max and Eleven

Purposely gets in trouble when in a depressive episode so Neil will hit him - just to feel something, anything