A couple of months ago, I bought a used OneStep SE in really good condition. It was my first foray into Polaroid, after shooting Instax Wide years ago. However, being that it takes SX-70 film and lacks an on-camera flash, I found that the camera was quite limited in terms of what lighting it would appropriately work in. With that, I considered getting a second Polaroid, one that takes either 600 or i type.
I was going to purchase a used 600 type Polaroid until I saw the new i types on sale recently. I figured I could also benefit from the slightly cheaper film.
But the film and the camera just wind up having so many other issues that I’m wondering if I’d be better off with my original plan of the 600 type cameras and film. Here are the issues I’ve found:

• Film having white streaks and marks from rollers, despite cleaning them regularly. I had an issue with the OneStep and the first cartridge, but cleaned the rollers once, and it’s been fine ever since
  
• Yellow Speckled Dots on film here and there (I believe this is an issue with the film itself)
  
• Camera battery lasted 7 cartridges, not the 10-15 advertised
  
• Brown patches, failed colour rendition with half the frame being a weird dark blue-green tint, etc
  

I don’t have any of these problems with my OneStep SE and SX-70 film, despite being limited in terms of when it can be used. Did I get a dud or is this a common problem with i type?

What this is for:
Minecraft is running an event for reaching 15 years since the 1.0 release, and with it come various items, such as cosmetic character creator items for bedrock edition players, and a few unique, limited-edition capes for both, java edition and bedrock edition players.
Why I want this cape:
I would really like the Minecraft TikTok cape. I like the colors and the way it looks, and how it reminds me of 3d films where you have to wear the red and blue glasses, or else the film looks weird. It is also just a very nice color scheme in general, at least in my opinion.
Why I am unable to get it for myself:
The only problem? You can only get it if you have the TikTok app downloaded onto your phone, and it is unobtainable on desktop. I do not have a way of downloading TikTok onto my phone, since it has been banned where I live. Plus I would rather not download it onto my phone considering all the allegations against TikTok.
How to get the cape code:
It is easy enough to get, you just have to watch a TikTok Minecraft live streamer in your region with drops enabled for 3 minutes, or comment "Minecraft", depending on what the task to receive the code is. then you should be able to click claim to receive the code.
So if you have a TikTok account and have the TikTok app downloaded to your phone, and either don't play Minecraft, or aren't interested in getting the cape for yourself, would you be willing to get the cape code for me?
If you are unable to get the code, or if you already redeemed it for yourself, thank you for at least taking some time out of your day to read this post.

Let me preface this by saying that I’ve never watched a Kathryn Bigelow movie before this. That said, I’ve seen enough of the discourse about this movie online to know that it’s considered a black mark in her career. I can say with assurance, as a Bigelow newcomer, that this movie rips. At some point before making super nationalist movies, it looks like Bigelow was creating feminist, Marxist films, I guess?
Blue Steel is hiding a lot of commentary on working class and gender struggles underneath all its late ‘80s/early ‘90s New York grit and grime. I’d go so far as to argue that the movie is a little too on the nose at times in its imagery and storytelling. Nonetheless, it’s a surprisingly biting piece of film.
The idea of a gun as a phallic symbol in cinema is nothing new. The earliest example I can think of is 1950’s Gun Crazy, in which a pair of ill-fated lovers consummate their on-screen love through brute firepower. As a phallic symbol, guns draw upon ideas of violence, power, and patriarchy in their imagery. In making Jamie Lee Curtis’ Megan Turner a powerful woman with a gun, she becomes a “phallic woman”, possessing male power in a patriarchal society. This is made even clearer when, early in the film, she becomes a detective; quite literally a “female dick”. This fetishization of firearms is furthered with the opening close-up shots of Megan’s pistol. The way the camera tracks along the hard edges and grooves of the gun as if it were a close-up of a woman’s body in any other film is telling. Paired with Megan donning her policeman’s uniform, it becomes a sort of male drag. There’s a sense of anxiety that comes with the “phallic woman” trope. This is usually mitigated by the camera: showing these women as either villains—attacking and rejecting them—or making them sex symbols. To get around from this mitigation, the film shows a scene early on in which Megan reveals she’s a cop to a potential suitor. As he finds out that she is a woman in power and, more importantly, is carrying a gun, he quickly becomes disinterested—disgusted even.
Alternatively, in Ron Silver’s character, Eugene, the gun becomes symbolic of lost power; lost masculinity. From a Marxist perspective, Eugene has lost his essence by working within wealth and finance. He is corrupt in comparison to the “common working man”. When he first acquires a gun, he sees it as a form of liberation for himself. Eugene is aware of his financial power; as much is shown during his first interactions with Megan. Through the lens of the phallic gun, though, the film shows his yearning for physical power, something otherwise unreachable for him. This comes to a head during one scene where he’s shown scrambling, looking desperately for his misplaced weapon—true panic on his otherwise composed face.
On another level, the film works by taking the narrative structures of both the slasher and rape-revenge horror subgenres and placing them within a crime-thriller context. Eugene becomes a sort of boogeyman, not unlike Michael Myers; killing victims one by one. Also like Myers, Eugene just keeps coming back, a near-unstoppable force. In this way, the casting of Jamie Lee Curtis is brilliant. Some subversion and further gender commentary also takes place here, by having Megan present as a much more androgynous “final girl” type of character. There’s a brief example of that androgyny in a scene where Megan walks home from her police academy graduation and is nearly mistaken as a male officer by two women.
Moving on from the thematics and the characters, the cinematography of Blue Steel borders on pornographic—a comment I’ve also made towards Infinity Pool, a body horror piece. The photography is slick and well-lit (save for one arguably underlit scene in the police precinct), bordering on Michael Mann lighting at times. There’s a lot of very up-close shots as well, but even when it isn’t getting up close and personal, the way most of the movie is framed is very intimate.
Where the movie loses me somewhat is on the strength of its writing—or lack thereof. While I think it’s very well-acted from everyone involved, I think they could only do the best they could with the material given. It’s not overly cliched, but it just comes off as weak and not punchy enough.
The Vestron Video blu-ray transfer is gorgeous. As with their Earth Girls Are Easy transfer, the colors absolutely pop off the screen. There’s also some very healthy, very welcome film grain present throughout, adding to the griminess of the experience.
For genre film fans, this is a very easy recommendation. Anyone looking for highbrow, though, can look elsewhere.
review on letterboxd

https://www.vudu.com/content/movies/mixandmatch/49567
Wow, this sale has a lot of great classic comedy films. I just got the Blues Brothers and Midnight Run. But, the list has so many hilarious movies. Will definitely be getting more!

Previous
So, if you’re just joining us, I work at a haunted zoo now. Since I’ve gotten some rest, it feels like I’ve got my head on straight, at least, so I’d like to continue where I left off.
I sat on the floor in the office after meeting the ghost until I’d settled my rattled mind (and realized I’d forgotten to ask her name, how rude is that?). I took a deep breath and got up off the floor. Walking over and falling into the rolling chair in front of the large screen of camera views, when I brought up the camera that covered the area in which I’d spotted her, she was still there, and it seemed she hadn’t moved an inch.
Sitting there, at a loss, I continued to watch her. The ghost hung around for another five minutes or so, appearing to look at a few things off-screen, though I’m not sure what. Then she walked off into the forest and left the view of the cameras. I wasn’t sure if she vanished into the ether or if she’d gone looking into the trees to look for something.
But that wasn’t the end of the job interview, so let me jump back there. It continued into what kind of animals the zoo had, with Andrew asking me how much experience I had with dangerous animals.
I took a moment to consider the question. “So, ah…I’ve been going hunting and fishing with a neighbor since I was sixteen,” I told him. “We always have to keep an eye out for gators, bears, and hogs. Then there’s snakes, of course…snapping turtles… Since I’ve lived here my whole life and been aiming for a job with wildlife for a long time, I know a lot about the animals in Arkansas in general. But good advice for all of the above is avoid them, so I’ve had encounters, but I don’t know if you’d say I have experience with them.”
“That’s fine,” Andrew said, nodding. “That’s an answer I’m satisfied with. Now, the ghost was the appetizer, Ripley; here’s the main course. To start with, the pay isn’t twenty-five an hour. It’s fifty.”
Staring in shock for a moment, I asked, “Are you serious?”
“Yeah. But that’d be weird to post online considering what applicants think we need, so I halved it.”
“That’s… Okay, why?”
“The animals are already here. You just can’t see them.”
I stared at him for a long moment, some disbelief worming its way into my expression, before saying, “Sorry, what?”
“There’s a chance you’d naturally never see them, or at least some of them,” he continued casually. “It depends on both your genetics and how long you stay on the job. I can naturally see six of them, but that’s it. Suzanne can see all of them, and more. Some are what people would label demons or ghosts. Or magic. Mostly you’d call them cryptids. The ghost was just a warm-up; I mentioned her first because it never takes more than a week to see her if you work the night shift. If you manage to handle her okay, soon you’ll be able to see the animals too. The more time you spend on the grounds, for weird reasons,” he said, wiggling his fingers in the direction of the back door, “the more you’ll be able to see.”
“So, this…this is a zoo for cryptids,” I echoed slowly. He nodded once, waiting to find out what kind of reaction I would have. I gestured vaguely around the room. “If this is a hidden camera show, will you cut me a check for showing up and participating?”
Andrew coughed out a chuckle and shook his head. “No joke. There are a ton of stories out there that have been written to death, pulverized until they’re not the Grimm stories of old and instead they’re Disney films. A lot of those stories come from what some humans have seen. There are dozens of other worlds pressed up against ours, and occasionally things come through by accident. If they’re smart, they’ll lay low and then make their way back when they can. If not, they become local folklore until someone helps them back. I’m just from London, but Suzanne is from somewhere else. She hires people like us for this zoo. Humans.”
Sighing, I shook my head. “That makes no sense. Why would she hire a muggle for a magic zoo?”
Andrew burst out laughing at that, and then waited to gather himself before he continued. “Fair point, but this is less about magic and more about animals, and you’re missing some information that will explain it. First of all, if I misjudge an employee, and they think they can make bank by outing the endangered and valuable animals we have, it’s easy to relocate the zoo.”
“Because magic?” I asked.
“Exactly,” he replied, ignoring the thread of skepticism in my tone. “That means it isn’t the end of the world if that happened, though it is a pain in the arse. But second…let me ask you a question. Speaking of reality shows, say the Discovery Channel put out a call to replace Steve Irwin when he passed. Imagine they had a line out the door,” he said with a gesture, “of people who thought they had the skill and natural talent to replace him, to take on everything he’d been doing his whole life. How many do you reckon would lose an arm, a leg, or their life, by the end of the day?”
My lips parted in surprise and I narrowed my eyes at him. “You’re saying people from…wherever…they’re just as dumb as humans, but they’re worse, because they actually think they can handle these things.”
Andrew pointed the pen at me. “Things. Exactly. You called them things. Suzanne and her friends grew up with them and would call them animals. These animals have dispositions and temperaments that we’ve studied for as long as there have been scientists. Where Suzanne’s from, they know the weaknesses of these animals, and also they’re in enclosures here, even if you and I can’t see the walls because they’re invisible things called ‘wards’. If I hire someone who’s got magic on top of all that, they’ll have almost no instinctive fear.
“Everything here is nocturnal, and every one of them is a hunter. Some of these things? Humans see them and they pass out. Not that I want you passing out, but I need someone who is scared of these things, who knows to stay out of the enclosures no matter what. Not someone who thinks they can train them to do tricks, who gets close enough for them to grab a mouthful of hair and drown them. Once, we had a night shift manager injured, and once killed, because they didn’t take these animals seriously enough.”
Thinking back to the Sea World orca incident I knew he’d been referencing, I remembered wondering how someone at that level of her profession could be so careless as I watched the video on YouTube. It made sense when he explained it like that. I hesitated before mentally throwing my hands up and going all in. “So, why put this place here, then? If they’re endangered and also dangerous, why have a zoo at all instead of just a small reserve?”
He pursed his lips, looking disappointed in me. “Ripley. You know that already. You already said as much.”
Thinking back through our conversation, I said, “The rich humans who pay top dollar to see supernatural animals.”
“Not humans,” he told me. “But people, yes, and they are rich, and they’re making donations and spending their money on a ticket here because everything we have is endangered.”
“So…”
I just let my voice trail off and my mind started to drift. Andrew remained silent, letting me do so. There’s that thing people say, ‘I believe that you believe it,’ which is just a kinder way of saying, ‘Bullshit.’ Parents say it about closet monsters. Psychologists say it to people who say they’ve been abducted and probed by aliens. I wanted to say it to Andrew.
But I also wanted a job. If it meant working overnight at an empty zoo, that was fine. When it came down to it, especially when I took the tone of our conversation into account, this was a zoo specifically focused on preserving endangered ‘animals’, and it was allegedly doing important work. Also, if this turned out to be the real deal and I started seeing the animals, I would deal with it, just like I would deal with an enclosure that had a lion or tiger or gorilla. If it came with a ghost and invisible creatures, I really didn’t see what the difference was, if I couldn’t go in the enclosures either way.
On that note, I’d like you to imagine a kid who looks at a roller coaster, watching everyone screaming and grinning as they go up and down and all around and they’re like, ‘Heck, I could do that! That looks like a blast!’
Then they get on, the first drop hits, and they realize they’ve made a terrible mistake.
“All right,” I sighed. “I can’t say I’m going to turn down a job just because it’s going to be scary. Especially not one with this paycheck.”
Andrew smiled. “Awesome. There’s an adjustment process for anyone working here, similar to a dog that gets adopted, actually. I know the general guidelines of, ‘three days, three weeks, three months’ in terms of milestones, until they finally feel they’re where they’re supposed to be,” he told me, “and you can think of your time here along those lines. I really think you’re a great fit, and once you reach the milestone of working here for three months, I’ll officially consider you our new night shift guard. And I hope you’ll stay with us for many years.”
I nodded and smiled at the flattery of an employer wanting me to work a great job for them for a long time. I’d never had a dog, but those milestones were well-known among anyone who knew animals, especially dogs. The first three days, the dog is getting to know its new digs, exploring, and decompressing. At three weeks, they’ve gotten used to their environment and are starting to get comfortable with their surroundings and the routines of the humans they live with. By three months, they know the rules and follow them, they trust you, and they feel they are where they’re meant to be. I could only hope to be so lucky.
I saw the ghost two days ago and she has yet to make another appearance (for those who are curious, I asked, and her name is Leila), and I still hadn’t seen any animals. I did hear one, though, I feel compelled to note. A growling roar sounded from the lake on occasion, echoing across the vast zoo, sending a shiver down my spine. Whatever that animal was, it sounded gigantic.
Andrew said there was apparently a group that wanted to visit for a birthday and they were offering a huge donation, so he let me know they were making an exception and that this group would be walking through the park that night. That meant I’d be watching people watching animals that, as far as I could tell, weren’t there.
It was anticlimactic. Even the three people who came for the tour just looked like people, not like aliens or something eldritch from another dimension, and I stayed in the security office the whole time. Andrew was the one giving the tour. I watched them spend about five minutes at each enclosure, the hour or so that they were there passing without incident. It was clear that they were able to see all the animals, though, since they motioned excitedly at each enclosure and spoke to Andrew, who presumably answered any questions they had.
If they could see the animals, that was that. There was still that niggle in the back of my head, from my twenty-three years of life never encountering anything like ghosts or cryptids, telling me that this was ridiculous. Waiting for someone to knock on the door, a camera mounted on their shoulder, to tell me that it was a big joke and they wanted to see how long I’d play along. But from all I saw, this was a real place with real, invisible animals.
I do carry a taser and pepper spray in my capacity as a security guard. Though it isn’t for the animals, since they’re in the enclosures; they’re actually for the rare instance of a break-in. Andrew mentioned that it had happened several times it the past, someone trying to steal an animal in the hopes of selling it on the black market. They’d been successful before, but apparently my predecessor Roger was good at his job, and mostly they left in handcuffs.
I’ll be honest, I’m not a huge fan of confrontation, but my job was to call Andrew and then confront the person, not kick their ass. That’s what the police were for, or rather, the people Andrew would call in lieu of police in certain situations.
Fifty bucks an hour. That’s the key here.
Andrew hadn’t set up direct deposit, since he was sticking with a strategy of waiting to see if I’d continue to work there once I found out myself dealing with the animals (I’ve decided I am going to just call them animals). Instead, I got an old-fashioned check after my shift every Friday. The number on the first check was delightful. I went out that evening and had a big dinner at the local diner, order my most expensive favorites on the menu and a big slice of pie for dessert.
When it came to the paychecks in general, though, I had this weird feeling of not wanting to tell my dad and brother about the fact that it was actually $50/hr. I previously mentioned that my dad, his name’s Nathan if you’re curious, works at a local grocery store. Our town has a couple food franchises, but I think its size is just short of whatever threshold Walmart uses to decide where to open. He earns $14/hr. and that’s after the tiny raises he’s gotten over the past thirteen years.
That’s not to say he’d feel bad about not making as much as me. On the contrary, he would be ecstatic for me and really proud. But, like me, he’d be suspicious. That hourly rate was the biggest hint that this was more than just a private zoo for cryptids. And as soon as that fat check cleared without problems, my dad wouldn’t be satisfied with reassurances; he’d want to come visit the zoo and look around.
I’d told him it’s a private preservation with scheduled (expensive) visits only and that it had only eleven animals, so he’d been appeased by me brushing off the idea of a visit. Also, I took a few photos of my workplace; one of the security room, one of me sitting in my chair, one photo of the many screens I watched, and a selfie where I was feigning sleep out of boredom, slouched in my chair with my mouth open in a faux snore. That let him feel like he knew where I was and what I was doing, and that I was safe.
But if I told him I was making double what he thought, my father would practically order me to quit. No job was worth my safety, he’d tell me. I was quite of the opposite opinion, however, considering how crucial any and all conservation efforts were these days. Especially with the steep extinction levels due to humans competing with other animals for space, not to mention climate change. Working in any job that helped preserve species and keep ecosystems in balance, or put them back in balance, was so important.
Then again, my father would also point out something I had realized right away: the fact was that I was working with endangered species that were not from Earth. I wasn’t helping my planet. To be honest, though…that didn’t matter to me. Especially after that talk with Andrew about why he hired a human for this job, I figured whichever dimension these animals came from had the equivalent of us, razing forests to the ground, clouding the planet with pollution, and leaving the animals with no avenue of recourse when yet more land was taken from them.
I really do hope to keep working here for a long time, though, and not just because of the money. I can’t help it; I want to know what these things were, and I want to work with them, to do the job of a zookeeper. The same way you go up to the chain-link fence to get close to a carnivore on the other side who thinks you’d make a nice afternoon snack. You just want to be closer to them, to experience that incredible, daunting feeling of being in their presence.
Unsurprisingly, it wasn’t long before I got what I wanted.
The day after we had the tour go through, I was doing my sweep when I saw the ghost again. She was sitting on a small boulder in the same area I’d seen her the first time, looking identical, blood covering the front of her slashed shirt, the wounds visible underneath. I stopped and stood there for a moment before I decided to raise my hand in a small wave.
The young woman cocked her head at me and raised a hand in the air in an imitation of my gesture, her expression showing a bit of curiosity.
She was low-key, seemingly not concerned with my presence, looking at me as a novel phenomenon in her world. I wondered what that world consisted of. Was she always here, sometimes visible and sometimes not? Or did she have another world next to ours, in the ether, where she left everything in this world behind and floated in her disembodied form? Did she still feel emotions? Was that really curiosity on her face, or was I projecting? Did she feel happiness? Fear? Did she have the option of moving on, or was she stuck here?
Many questions that I might never get the answers to. And that was assuming Andrew knew the answers, since I’d never met Suzanne Cooper and he hadn’t even mentioned that possibility. This place was clearly her baby, but I’m sure running it was a lot of work. Plus, if she was rich enough to own it, she was rich enough to have other businesses and charities to run.
When it comes to the enclosures, they’re all wrapped by a barrier of some kind, though never one that seems adequate. There was not a single place with the ugly metal weavings of a chain-link fence, and no stretches of circular razor wire. Instead, there are nice fences. Black iron, or wrought steel fencing in a similar style to the one circling the perimeter of the zoo, just shorter and with different patterns. Or a spaced picket fence, the wood stained in some tone of brown, or a split two-rail fence. As if to say, ‘This is the border of your enclosure, but we’re just letting you know out of courtesy.’
When I started to pass enclosure number seven last night, a young woman’s voice spoke, “Hello.”
I startled, unaware that I hadn’t been alone. “Oh. Hi,” I said, staring at her standing a few yards in.
She had been next to a large tree and I hadn’t seen her. This enclosure was behind a picket fence, and she walked through the large area of wild grasses and flowers that stretched across the other side of the fence. There were fewer tall grasses closer to the fence, which I guessed was because it had been tromped down by her regular pacing along it when there were visitors, or if she wanted to see the various enclosures of the zoo. Her sudden appearance was a bit weird, considering I had been expecting to see a cryptid and instead I was looking at, it seemed, an attractive Asian woman.
She wore a black kimono, the soft silk robe draped gently over her body, with beautiful patterns of cherry blossoms, more so over her left side, and red and blue birds with their wings spread. A sash wrapped around her abdomen, she wore socks and sandals on her feet, and her hair was up in those rolls that gave volume to the style.
I was no expert on any fashion, much less that of another country, so I just assumed it was all traditional Japanese clothing. Most likely, the visitors who came liked to see a certain time-honored style and that’s what she stuck with. Or maybe she played on stereotypes. That would be amusing.
“I’m Yui. It’s nice to meet you,” she spoke, arriving at the border of the fence and holding out a hand for me to shake.
I’d been standing about three yards away from her, and I’ll be honest, muscle memory tried to kick in. But I only made it two steps, my hand starting to rise, before I froze, the hand falling limply at my side. “Nice to meet you, too,” I answered, my voice quiet.
Damn. I wonder how many times that honey trap works back where she comes from.
The pleasant look on her face faded, and she lowered her hand. “You won’t shake hands with me? Isn’t that rude?”
“I mean, I kind of like my hand where it is. You know, attached to me.”
Her demure smile widened into something more amused. “I would never do something so revolting.”
Looking her up and down, as if more visual information would give me more knowledge of what she was, I asked her, “What would you do?”
“I would be less wasteful,” she said softly.
A finger of ice trailed down my spine, and I had the sudden image in my head of her grabbing my outstretched hand in an iron grip and yanking me over the fence, leaving me to sprawl on the ground. Then killing and consuming me efficiently, without a single careless step, the same way humans slaughtered pigs, using everything from the hog but the squeal. I was struck with a shiver at the idea of her consuming everything from me but my screams.
Slowly, I took one step further down the path, then another. Just as I got to a walking pace, though, I realized the woman had started walking too, in the same direction. I’d have eventually gotten to the end of her enclosure and keep going, leaving her behind, but she spoke up. “Are you leaving?”
I came to a stop, meeting her gaze again. “My job is to walk the zoo every hour. Then I’ll get back to the security room and stay there until my next walk.”
“Have you met the others yet?”
I hesitated before saying, “Just Leila.”
She blinked languidly. “That means nobody welcomed you here.”
“Andrew did.”
She didn’t reply to that. Instead, she slowly started to lean forward, and I flinched backward a few steps further as I saw insect legs start curling out from her back.
No. Not insect. Arachnid.
The eight legs ended in small ‘paws’ with tiny claws, a layer of hairs covering the leg from top to bottom, like any typical tarantula. I took two more slow steps back and my mouth went dry as the jointed legs just kept lengthening, until they were large enough to lever her off the ground.
My gaze had been on the spider legs, but my heart skipped a beat as I realized her human legs had melded together and turned into a bulging abdomen. Her skin was shifting to a carapace, eventually all the way up to her shoulders and down her arms, her fingers elongating and her nails stretching to claws. From there down, her body was that of a pale tarantula with pedipalps the size of my arms and piercing fangs in her jaws that looked like they could take my head off.
There was a moment, my vision blurring, where I was worried that I might piss myself. The part of my brain that still had its humor intact in that moment told me that I should keep an emergency set of clothes in my car, or at the very least, start wearing Depends to work.
“I show you my true form,” she said softly, her voice now raspy like an eighty-year-old after a lifelong smoking habit. “Welcome to Suzanne Cooper’s zoo. The night shift guard for many years was Roger, before he retired and the zoo moved, and I miss him dearly. What should I call you?”
I choked on my words. There was no way my throat was going to cooperate enough for me to clearly get a sentence out. Instead, I realized my legs had taken control of the situation themselves, unsatisfied with my conscious brain’s decision to stand and stare, taking steps backward. I backed up a yard, then five yards, then ten.
My mind focused on the fact that spiders don’t waste anything, and pictured my demise. I’d be wrapped in a cocoon, killed, and made nice and mushy before she had me for dinner.
The whole time, my brain was a frenzied mess, my pupils were probably the size of dimes, and I was staring at that tiny, pathetic fence between her and me. There was so much adrenaline pumping through my body that I felt like my bones were vibrating. The fence was, to my eyes, the only thing between us. The only thing keeping her from tackling and killing me. My only hope was that she’d do it quickly.
But she didn’t move. As I absorbed her innocent, polite words, the look on her face was calm, and I wondered if this was typically the way a conversation went before she devoured her prey. I wondered how many people she’d eaten. Not humans, not people from Earth, but the ones from where she came from. The fact that she doesn’t scare the shit out of those people means they’re staggeringly dumber than humans.
Finally, I rounded a corner, both relieved at having her out of my sight and worried that she would take that moment to come find me. When she’d been within eyeshot, I had at least known where she was and could run in the other direction. But I didn’t hear the sound of faint footsteps moving rapidly toward me. All was quiet, in that deep, smothering way that only an empty business in the middle of the night in small town America could be.
My hands trembling, I barely paid attention to anything but the confirmation that my surroundings were free of the colossal spider as I finally got back to the door. Grabbing the handle and letting my eyes dart around for about ten seconds and my ears prick for the slightest sound, I finally swiped my key card across the pad and went inside, shutting the door behind me and engaging the backup deadbolt.
Maybe that was why they had decided on keycards. If I was running from something and panicking, using an actual key or inserting the card like at a hotel would keep me from getting to safety considering my hands were shaking enough to mix a margarita.
Walking over to my chair, I fell into it, letting my body flush itself of terror as I looked up at the cameras. There she was, still in arachnid form, exactly where I’d left her behind that rinky-dink fence, casually looking around and slowly pacing back and forth. I stared at her as my racing heart gradually slowed, and a minute or so later she turned on her eight legs and walked back into the trees.
Whatever invisible fences the enclosures have apparently work, which is nice, because I wasn’t keen on getting killed by one of the creatures here. And that’s what brings me here, spilling out everything that’s happened so far. Because nearly passing out from terror isn’t something I wanted to deal with at work, obviously, but I keep going over what she did in my head again and again, and I feel like I reacted like a child who spotted a wolf spider on their bed. I started to worry for my overactive sense of self-preservation, at least in my capacity as an employee here.
The spider didn’t even try to hurt me, and so I was feeling a bit foolish. Even annoyed, actually, at the fact that I’d freaked out so hard and took off instead of trying to engage in at least basic conversation. I got the sense that she wasn’t at human-level intelligence, but I was never going to be able to hold any level of conversation with an alligator.
Sure, she did mention that she wouldn’t be so crass as to yank off my hand because she’d rather just have my entire corpse, but wouldn’t a wolf do the same if it was hungry? Wouldn’t any carnivore? Actually, they probably would’ve been satisfied with one of my hands. The fear here was from the fact that she turned into a giant spider. If she’d turned into Clifford, I would’ve reacted the same way, if not better than, meeting Leila.
With that, I decided I’m staying on the job. Considering how frustrated I can get with foolish people, it’s a bit hypocritical, and I’m being a bit of an idiot. But…there are definitely wards keeping them in their enclosures. Also, I signed up for creatures for another dimension, whether or not I believed in them at the time, and I will not let encountering my first one in an objectively boring way be the reason I quit.
The money is a factor, I’ll grant you. Of course it is. And I can’t spend it if I’m dead, but all signs point to surviving as long as I don’t do anything dumb. Also, yes, I’ll admit there’s a not-so-little voice in the back of my head that’s desperate to know what else is here. I never thought I’d do something like this, but finding out these things are real, I honestly do want to learn more about them.
Still, though, I decided to call Andrew at the end of my shift to ask if the pepper spray and taser I carried worked on a certain spider, as well as the other animals I’d yet to meet.
Previous

Taken from: https://www.theringer.com/movies/2024/5/21/24161120/greatest-movie-car-chase-scenes-ranked-furiosa-mad-max-saga
In honor of the imminent ‘Furiosa: A Mad Max Saga,’ we’re shifting into high gear to determine the best chase scene in cinema history
By Miles Surrey May 21, 2024, 6:30am EDTGetty Images/Ringer illustration
After wowing audiences with Mad Max: Fury Road, director George Miller returns to the franchise’s post-apocalyptic wastelands for Furiosa, the epic origin story of the eponymous heroine (now played by Anya Taylor-Joy), premiering on Friday. As the follow-up to one of the greatest action films ever made, it’s hard to overstate the hype for Furiosa, and that was before word got out about a showstopping 15-minute sequence that required nearly 200 stuntpeople and took 78 days to shoot. While Furiosa will have its own distinct flavor, as is true of every Mad Max movie, there’s one thing that unites these projects: intense, jaw-dropping scenes of vehicular mayhem. And what better way to honor the franchise than by celebrating what it does best?
Ahead of Furiosa’s release, we’ve put together our definitive ranking of the best car chases in cinema. There weren’t any strict rules in place, other than capping the list at 20—mostly for my own sanity—and limiting every franchise to one entry. (Apologies to Fury Road’s kickass predecessor The Road Warrior.) We also won’t discriminate against scenes that feature motorbikes, so long as cars (and/or trucks) remain part of the equation. As for what, exactly, constitutes a good car chase? Like list making, it’s bound to be subjective, but I tend to gravitate toward two key elements: the skill of the stuntwork on display and the ways in which a filmmaker conveys the action in relation to the story. (Also, the less CGI, the better.) Buckle up, ’cause we’re not wasting any time shifting into high gear.

20. Quantum of Solace (2008)

There have been some memorable car chases in the James Bond franchise: the first sequence featuring the iconic Aston Martin DB5 in Goldfinger, the corkscrew jump in The Man With the Golden Gun, the Lotus Esprit submarine in The Spy Who Loved Me. But I’m going with a somewhat controversial pick here: Quantum of Solace. There are many issues with Quantum of Solace—namely, it was one of the most high-profile blockbusters affected by the 2007-08 writers strike—but its opening scene isn’t one of them. Picking up right where Casino Royale left off, we find Bond (Daniel Craig) evading henchmen through the narrow roads around Italy’s Lake Garda. The frenetic, furious chase mirrors Bond’s sense of anguish after losing Vesper Lynd (Eva Green), the woman he opened his heart to, and his relentless quest for answers. It’s a thrilling tone-setter for Quantum of Solace and one that doesn’t overstay its welcome, capped off by Bond sending his final pursuers flying off a cliff:
If we’re being honest, though, it feels like James Bond has yet to create a franchise-defining car chase. Perhaps that’s a mission the newest 007, whoever it ends up being, can undertake.

19. Mission: Impossible—Rogue Nation (2015)

The Mission: Impossible franchise is no stranger to electrifying chase scenes, the best of which find Tom Cruise’s Ethan Hunt working up his heart rate. When it comes to action behind the wheel, though, Fallout tends to dominate the discussion—even on this very website. But I think the vehicular chase in Rogue Nation is being slept on. What we have is effectively two sequences for the price of one: The first finds Hunt pursuing Ilsa Faust (Rebecca Ferguson) by car through the narrow streets of Casablanca alongside some nefarious henchmen; the second sees him continue the chase outside the city on motorbike. (Adding to the chaos: Hunt had only just been resuscitated, and he’s clearly not all there.) In terms of death-defying stunts for the audience’s entertainment, a helmetless Cruise taking corners like a MotoGP racer is child’s play compared to his other exploits, but the actor’s authentic reaction to scraping his knee on the road underlines that there’s no one else in Hollywood doing it like him:
We’ll be sure to update this ranking if and when Cruise does something even more dangerous down the road, pun unintended.

18. Vanishing Point (1971)

A movie that counts the likes of Steven Spielberg and Quentin Tarantino among its biggest fans, Vanishing Point is the first of a few entries on this ranking that’s essentially one extended car chase. The film stars Barry Newman as Kowalski, a man tasked with delivering a Dodge Challenger T 440 Magnum from Colorado to California while eluding police across four states. One of Kowalski’s most memorable run-ins comes when a guy driving a Jaguar E-Type convertible challenges him to an impromptu race. Incredibly, we’re expected to believe the man in the Jag comes out of this crash in one piece:
Vanishing Point might not boast the impressive production values of other movies on this list, but considering Tarantino would go on to feature a white Challenger in Death Proof, its influence in the car cinema canon is undeniable.

17. Fast Five (2011)

Let’s face it, Fast & Furious has seen better days. Some believe the franchise’s dip in quality coincided with the death of Paul Walker; others are dismayed by the pivot from street racing to absurd feats of superherodom—emphasis on the Dom. Perhaps it’s a bit of both, but the very best movie in the series, Fast Five, manages to strike the perfect balance: It’s a relatively grounded heist thriller that nevertheless takes the franchise to ridiculous new heights. After Dominic Toretto (Vin Diesel) and his crew steal $100 million from a Brazilian kingpin, they drag the entire bank vault holding the money through the streets of Rio de Janeiro, all while being pursued by authorities. It’s a delightfully destructive sequence that does untold damage to Rio’s infrastructure and features some of the most bone-crunching crashes committed to film:
If the Fast franchise is going to break out of its recent slump, it would do well to remember that there’s nothing better than letting its heroes live their lives a quarter mile at a time—no detours to outer space required.

16. The Blues Brothers (1980)

A good car chase isn’t reserved just for action flicks: Comedies can get in on the act, too. In The Blues Brothers, starring the recurring Saturday Night Live characters played by John Belushi and Dan Aykroyd, the beloved bandmates must prevent the foreclosure of the orphanage where they were raised by scrounging together $5,000. Naturally, that’s easier said than done: Along the way, the Blues Brothers draw the attention of neo-Nazis, a country-and-western band, and local police. While The Blues Brothers has amusing gags and musical numbers, its chase sequences with the Brothers behind the wheel of a 1974 Dodge Monaco are what really steal the show—and none are better than a climactic pursuit across Chicago. More than 60 old police cars were used in the film, some of which are wrecked in a comically over-the-top pileup:
The sheer scale of The Blues Brothers’ final set piece is commendable in and of itself—as is the movie’s commitment to treating real-life cars like a bunch of Hot Wheels.

15. Baby Driver (2017)

For good and for ill, Edgar Wright’s movies exude an abundance of style, and Baby Driver is no exception. Baby Driver is centered on a clever gimmick: The action works in tandem with its soundtrack because the film’s protagonist, Baby (Ansel Elgort), suffers from tinnitus and constantly plays music to drown out the ringing. When everything’s clicking into place, Baby Driver feels like a supersized series of music videos, and nothing hits quite like its opening sequence. Baby acts as the getaway driver for a bank robbery while listening to the Jon Spencer Blues Explosion’s “Bellbottoms.” The ensuing chase works around rhythms of the song, as if Baby’s Subaru WRX were the star of its own dance number. Take nothing away from the actual driving, either, which puts the rally car to good use:
Baby Driver’s gimmick stretches a little thin by the end, but it’s hard to deny the crowd-pleasing power of Wright’s film when it’s firing on all cylinders.

14. The Raid 2 (2014)

With a trio of kickass Indonesian martial arts films under his belt, Gareth Evans has established himself as one of the most exciting action directors on the planet—someone who seems most in his element staging positively brutal hand-to-hand combat. In The Raid 2, however, Evans also brought his signature brand of carnage to the road. While there’s some cleverly executed close-quarters fighting within the confines of an SUV, courtesy of Iko Uwais’s hard-hitting protagonist, what really cements this sequence’s greatness are the moments when Evans turns the cars into an extension of the characters’ fists:
This belongs in an entirely new category of combat: car fights. There are so many action scenes in The Raid 2 worth writing home about—the kitchen showdown is an all-timer—but the fact that Evans casually tossed in an unforgettable car chase shows why he’s one of one.

13. The Driver (1978)

I’ll say this for Walter Hill’s The Driver: It sure lives up to its title. In this stripped-down thriller—one where none of the characters have a name—we follow the Driver (Ryan O’Neal), a getaway driver who has become a thorn in the side of the LAPD. In the film’s best scene, we see its taciturn protagonist living up to his reputation. With the Driver behind the wheel of a 1974 Ford Galaxie, a cat-and-mouse game unfolds when a handful of police cars are hot on his tail. What I love about this sequence is the pared-down nature of it all: The Driver outwits the cops as much as he outraces them. (Though, ironically, that wasn’t entirely by design: As Hill later explained, an accident on the last night of shooting meant they had to cobble together what had already been filmed.) Frankly, you’d never know the difference from the finished article:
If the general vibes of The Driver seem familiar, that’s because it was a major inspiration for Nicolas Winding Refn’s Drive, which just so happened to feature an unnamed protagonist (Ryan Gosling) evading police through the streets of Los Angeles.

12. The Bourne Supremacy (2004)

The shaky-cam style of the Bourne franchise isn’t for everyone—just ask John Woo—but credit where it’s due: These movies know how to deliver a good chase scene. (A friendly reminder that The Bourne Legacy is an underrated gem with an awesome motorbike sequence to boot.) But there’s one Bourne chase that stands above the rest: the Moscow getaway in The Bourne Supremacy. After being wounded by the Russian assassin Kirill (Karl Urban), Jason Bourne (Matt Damon) hijacks a taxi, with both the police and Kirill in hot pursuit. This isn’t the kind of sequence that lingers on any one shot; instead, what makes it work is the frenetic nature of the editing, which allows the viewer to feel like they’re in Bourne’s fight-or-flight headspace:
If I’m being honest, I’m usually one of those people who doesn’t like the Bourne movies’ shaky-cam style, but when it’s executed with such craftsmanship, you can’t help but get caught up in its adrenaline-pumping power.

11. The Seven-Ups (1973)

Philip D’Antoni was the producer of two movies featuring Hall of Fame car chases, Bullitt and The French Connection, the latter of which won him an Oscar for Best Picture. And with his lone directorial feature, The Seven-Ups, D’Antoni sought to craft an iconic sequence of his own. The film stars Roy Scheider as NYPD detective Buddy Mannuci (elite Italian American name; I can practically smell the gabagool), who commands a unit handling major felony cases that lead to seven-plus-year prison sentences; that’s why they’re known as the Seven-Ups. Midway through the movie, when one of the team members is killed by two shooters who flee the scene, Buddy chases after them. The 10-minute sequence, which starts in the Upper West Side before moving out of the city, is thrillingly immersive, alternating between close-ups of the characters and wider shots of all the damage they’ve caused. But the chase’s defining moment comes right at the end, when Buddy narrowly avoids a grisly death:
The sequence isn’t quite at the level of Bullitt or The French Connection—very few are—but D’Antoni still manages to leave an unmistakable imprint on the car chase canon.

10. Death Proof (2007)

If you ask Quentin Tarantino, Death Proof, his knowingly trashy tribute to exploitation cinema, is the worst movie he’s ever made. But that doesn’t mean there isn’t a lot to admire about the film, which honors the unsung heroes of Hollywood: stunt performers. The first half of Death Proof follows three female friends who cross paths with Stuntman Mike (Kurt Russell), a misogynistic serial killer who takes them out in his “death-proof” Chevy Nova. Fourteen months later, a group that includes stuntwoman Zoë Bell, playing herself, also lands on Mike’s radar. As Bell and her friends test out a ’70s Challenger, she performs a “ship’s mast” stunt, clinging onto the hood of the car with fastening belts. Unfortunately, when Mike pursues the women, it puts Bell in a precarious situation. Most of the entries on this list celebrate some next-level driving skills, but Death Proof’s inclusion is all about Bell pulling off one of the wildest stunts you’ll ever see. She’s quite literally hanging on for dear life:
If the Academy handed out Oscars to stunt performers—and let’s hope it does happen one day—Bell would’ve won in a landslide.

9. To Live and Die in L.A. (1985)

William Friedkin was already responsible for an all-time great car chase in The French Connection (more on that later), but the filmmaker made a commendable bid to outdo himself with To Live and Die in L.A. In this neo-noir thriller, Secret Service agent Richard Chance (William L. Petersen) is hell-bent on arresting an expert counterfeiter, Rick Masters (Willem Dafoe), who kills Chance’s partner days before his retirement. To capture Masters, Chance and his new partner, John Vukovich (John Pankow), attempt to steal $50,000 from a jewelry buyer for an undercover operation. The sting goes bad when the buyer, who is later revealed to be an undercover FBI agent, is killed and a group of gunmen goes after Chance and Vukovich. It’s a clever inversion of the usual car chase formula—this time, it’s the lawmen running away from the criminals. The outside-the-box thinking extends to the film’s most astonishing stretch, in which Chance evades the gunmen by driving into oncoming traffic:
The fact that Friedkin shot the chase at the end of filming—in case anything disastrous happened to the actors—underscores just how risky the endeavor was. The pulse-pounding results speak for themselves.

8. The Matrix Reloaded (2003)

The Matrix sequels have never been held in high esteem, but I’m ready to live my truth: The Matrix Reloaded fucking rules. (If anyone’s got a problem with this take, file your complaints with the Architect.) What’s more, the film happens to boast the finest action set piece of the franchise: the highway chase. After Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) free the Keymaker (Randall Duk Kim), a program capable of creating shortcuts within the Matrix, they’re pursued by the Twins (Neil and Adrian Rayment). Morpheus once warned that going on the freeway was “suicide,” and it doesn’t take long to see why: The chase draws the attention of several Agents, who repeatedly take over the bodies of other drivers on the road. The scene is the best of both worlds: There’s some incredible stuntwork on display, including when Moss weaves around on a Ducati, and CGI augments some feats of superhuman strength. But the most jaw-dropping aspect of the sequence is how it came together, as the production spent $2.5 million to construct its own highway (!) on California’s Alameda Island. If that weren’t unique enough, I’m pretty sure Reloaded is also the only movie in existence in which a katana takes out an SUV:
The Matrix remains the Wachowskis’ masterpiece, but don’t get it twisted: The filmmakers were still cooking with gas in the sequel.

7. Gone in 60 Seconds (1974)

Size isn’t everything, but for H. B. Halicki, who produced, wrote, directed, and starred in Gone in 60 Seconds, it’s certainly part of the package. The indie action flick follows Maindrian Pace (Halicki), a Los Angeles insurance investigator who has a lucrative side hustle jacking high-end cars. The plot kicks into motion when a South American drug lord enlists Pace to nab 48 cars within five days in exchange for $400,000. Of course, Gone in 60 Seconds is best known for what happens after Pace is caught stealing a 1973 Ford Mustang Mach 1, when he leads police on a chase that lasts a whopping 40 minutes. (More than 90 cars were destroyed in the process.) Halicki, for his part, did all the driving himself, including a spectacular jump off a makeshift ramp of crashed cars:
While Halicki wound up making a few more indies after Gone in 60 Seconds, he died in an accident on the set of its sequel. His legacy as a do-it-all daredevil, however, lives on.

6. Terminator 2: Judgment Day (1991)

Long before James Cameron immersed himself in the world of Pandora, he was a pioneer of state-of-the-art visual effects. Case in point: Terminator 2: Judgment Day is credited for having the first CGI character in a blockbuster, the T-1000 (Robert Patrick), a killing machine composed of a futuristic liquid metal. But Cameron also understood that the CGI of that era shouldn’t be the main attraction: It worked best as a complement to the practical effects, as seen in Judgment Day’s epic viaduct chase. When the T-1000 tracks down a young John Connor (Edward Furlong) in a shopping mall, he’s saved at the last minute by the Terminator (Arnold Schwarzenegger), giving John a chance to escape on his dirt bike. As the T-1000 gives chase, the David and Goliath vibes between man and machine are further epitomized by the T-1000’s commandeering of a truck. The sequence already has a terrifying sense of urgency, but it hits another level when the T-1000 crashes through the viaduct like the Kool-Aid Man:
Big Jim is still revolutionizing what can be achieved with visual effects in the Avatar franchise, and while I cherish those movies, nothing beats his old-school showmanship.

5. Duel (1971)

The feature-length debut of Steven Spielberg—perhaps you’ve heard of him—the TV movie Duel is essentially one extended chase sequence between salesman David Mann (Dennis Weaver) and a sinister trucker determined to drive him off the road. I’ve attached a clip from the ending of the film, but that doesn’t do Duel justice. What cements this movie’s greatness is how it sustains an unbearable level of tension across its 90-minute running time—with a budget under $500,000, no less. Spielberg’s masterstroke is never once showing us the other driver, anthropomorphizing the truck itself as a monster. (You can see a lot of similarities with how he would build suspense in Jaws.) When Mann finally gets the upper hand, tricking his adversary into driving off a cliff, it feels like you can breathe again:
Spielberg would move on to bigger and better things after Duel, but considering how much the director accomplished with so little, you can’t help but wonder what else he could conjure up with limited resources.

4. Mad Max: Fury Road (2015)

Like Duel, Fury Road is basically one long car chase—the difference is Miller got to work with a blockbuster budget, and made every cent of it count. It’s hard to pick a single standout sequence in Fury Road, but if I had to choose, I’d go with the first attack on the War Rig after Furiosa (Charlize Theron) flees with the wives of Immortan Joe (Hugh Keays-Byrne). Here’s why: Think back to when you saw Fury Road for the first time, before you fully grasped the vehicular carnage that was in store. And then stuff like this kept happening:
To quote Steven Soderbergh’s thoughts on Fury Road: “I don’t understand how they’re not still shooting that film and I don’t understand how hundreds of people aren’t dead.” Whether or not Miller manages to one-up the action in Furiosa, the director is already in the pantheon.

3. The French Connection (1971)

We return to the Friedkin-verse for what may be his best film, The French Connection, the crime thriller based on Robin Moore’s 1969 nonfiction book of the same name. The story concerns two NYPD detectives, Jimmy “Popeye” Doyle (Gene Hackman) and Buddy “Cloudy” Russo (Roy Scheider), and their tireless pursuit of a French heroin smuggler. But while there’s plenty to admire about how The French Connection illustrates the thin line between police and criminals, its greatest claim to fame is its car chase. After Popeye narrowly survives a sniper attack, he goes after the shooter, who escapes on an elevated train. The ensuing sequence is true daredevil filmmaking that Friedkin shot without permits, leading to real crashes with New Yorkers that made the final cut. But Friedkin’s finest touch was mounting a camera to the front of the car, making the audience feel like they’re part of the action:
My Ringer colleague Justin Sayles believes The French Connection’s chase should’ve landed at no. 1, and I’m sure many folks will agree with him. Being the only film on this list to win Best Picture, however, is a solid consolation prize.

2. Bullitt (1968)

When it comes to modern car chases, all roads lead back to Bullitt. A Dad Cinema classic, the film stars Steve McQueen as Frank Bullitt, a San Francisco detective who pursues a group of mobsters after a key witness is killed in protective custody. In his search for answers, Bullitt realizes he’s being tailed by a couple of hitmen, and then turns the tables on them. From there, the chase is on. Aside from McQueen doing most of his own stunts behind the wheel of a Ford Mustang GT 390 Fastback, what’s so impressive about the sequence is how timeless it is. Even the little imperfections, like hubcaps repeatedly coming off the wheels, work to the film’s advantage, stressing just how much these drivers are living on a razor’s edge. It’s been more than 50 years since Bullitt revolutionized the car chase, and yet few movies since have felt like they’re pushing the envelope to such an exhilarating degree:
That the car driven by McQueen was recently sold at auction for $3.74 million, a then-record price for a Mustang, underlines Bullitt’s enduring legacy.

1. Ronin (1998)

“If I’m going to do a car chase,” filmmaker John Frankenheimer said in an interview with the American Society of Cinematographers, “I’m going to do a car chase that’s going to make somebody think about whether or not they want to do another one!” Boy, did he ever. In Frankenheimer’s late-career masterpiece, Ronin, the director actually incorporated several chases, but it’s the climactic sequence that stands alone as the greatest ever filmed. The movie concerns an international group of mercenaries who are hired to steal a mysterious briefcase; a series of double-crosses and double-bluffs ensue. But for the final chase, all you need to know is that Sam (Robert De Niro), a mercenary with ties to the CIA, is in pursuit of Deirdre (Natascha McElhone), an IRA operative in possession of the case. Winding through the streets and tunnels of Paris, what’s most striking is just how fluid it all feels. You’re completely engrossed in the chase’s forward momentum, captured from every conceivable angle; a symphony of controlled chaos. The driving styles even reflect the characters: Deirdre is reckless and impulsive, while Sam remains calm and controlled.
There are many worthy car chases in this ranking, but in my view, Ronin takes pole position. And while I can’t imagine a movie ever topping what Frankenheimer achieved, I’d love nothing more than to be proved wrong.

Hi everyone,
Here's the summary for the second half of Day 3 of Safe House. There were also quite a few talking-based activities today, and I directly transcribed a bit more this time, especially during the cooking competition, because a lot was happening so I wanted all the funny exchanges to be translated. Hope you guys enjoy!
Video Link: https://www.youtube.com/live/cjn8w8j06ik?feature=shared

• They're having a jam session when we join
• 3:45 Neo and Luke are improvising a song about all the guys. I'll just translate the lyrics that Luke sings in Thai because he also sings in English a bit too. When you hear Neo talking/singing, he's trying to translate what Luke is singing, but sometimes he's a little off.
  • Mix: "can be good but also bad. Likes to eat a lot with Pond"
  • Phuwin: (sings in English)
  • Pond: (sings in English) "Everyone knows that he always wants to eat rice with Thai omelette (extra salty)"
  • Neo: "He's probably the most annoying in the house, but he's also cute. He loves annoying everyone a lot, especially Earth. That's the kind of person he is. He plays guitar really well."
  • Khaotung: "I like how he likes similar things as me. I like how he plays darts with me. I like how he also wins games like me."
  • (pause while they laugh)
  • 6:30 Earth: "Everyone who's watching this livestream knows that he likes to wear this red sweatshirt." (pause because Neo needs to think of what to play) "Red shirt, red shirt, has nice stuff in his hair" (then sings in English) (pause because of Neo's mistranslation) "Actually, he should be the best in the house, but right now he has the lowest score. But that's alright, because there's lots of time for him to win more games."
  • Gun: "Yellow shirt, like the Sang Sang that he's the presenter of. He's really tiny, but his smile is huge. He's also very good-looking and the nicest in the house" (then Luke says something a bit funny but rude, which makes Gun get up and try to push a pillow in Luke's face)
• 9:50 Mix and Gun go to the kitchen. The others realise that they can watch the footage of the kitchen from the TV.
• 10:45 Neo and Khaotung consider improvising a song for Luke since he didn't get to sing about himself, but Luke declines.
• 12:15 PD asks everyone to assemble in the kitchen. She makes a notification sound before speaking so that the guys don't get startled, which they appreciate
• 13:20 Medal competition sponsored by Sea Me Now. Gun reads the rules. They will divide themselves into two teams. Each team will send two members to prepare "yum" (a type of Thai salad served at room temperature, often involving some kind of noodles like glass noodles) within 15 minutes, using the seafood from Sea Me Now. Meanwhile, the remaining 4 guys will wait in another room until the dishes are ready, and they will come and blindly taste the dishes and vote on which dish is better. Winning team gets one medal each.
  • 16:00 PD asks the teams which member each thinks is the best cook in the team. Phuwin is the best of the left team, and the right-hand team are undecided between Gun and Khaotung. At 17:30 PD asks which member from each group is the worst at cooking. The guys start to figure out that PD is going to pair the best cook with the worst cook, so the right-hand team try to blag that Khaotung and Gun don't know how to cook that well after all. At 18:30, Neo is the only one who hasn't caught on to PD's plan, so he raises his hand to indicate that he's the worst cook on that team because he thinks it means he won't have to cook. Final cooking teams are Phuwin/Neo and Gun/Pond. The rest go to wait in the play zone.
  • 21:00 Phuwin has only just realised that they are required to make "yum," which he doesn't know how to make. He mistakenly thought they could make whatever they wanted. Gun is also not confident.
  • 23:00 Cooking timer begins. Both teams decide to use the salmon. Phuwin/Neo decide they're going to leave their salmon raw. Pond asks Gun if they're going to leave theirs raw too, and Phuwin accuses him of copying them. Gun decides they're going to lightly blanch their salmon.
  • 28:00 Neo goes to look for a food processor. Gun asks if he can process enough chilis for both teams, and Neo initially jokingly declines, but then agrees.
  • 30:15 Phuwin asks Neo to make the glass noodles. Neo isn't sure how to prepare them, and Phuwin guesses that they're supposed to just put them briefly in boiling water (which is correct)
  • 31:30 We cut to the play zone where the tasting teams do a light brand plug for Sea Me Now. They teach Luke a new word that basically means "great." (I guess it's kind of like "sick" in English how the actual definition of the word is different, but it's slang when used in context). Mix is confident that Gun/Pond are going to make the better dish.
  • 37:00 PD announces one minute remaining, and that "the customers are complaining." Gun/Pond finish with some time to spare and present their dish to the camera, but Phuwin/Neo finish a little late (but it's fine; there will be no penalty. PD just keeps rushing them to finish)
  • 40:30 PD asks the teams to write the names of their respective dishes on the mini boards provided. Pond originally writes a name that indirectly reveals that he and Gun made that dish, and PD says that the names can't have any hints of who made which dish.
  • 43:30 PD asks the teams to pose with their respective dishes, and invites the audience to screenshot and caption them. Gun/Pond's dish translates to, "Definitely delicious; try it and see," and Phuwin/Neo's dish (roughly) translates to, "Just making a 'yum,' but don't know how to make it" (It's a rhyme/pun in Thai)
  • 44:30 Cooking teams leave the kitchen and go sit in the living room so they can watch the tasting on the TV. PD warns them not to cheat while the teams are changing rooms.
  • 47:15, the tasting team goes to the kitchen. They each get 3 ping pong balls with which they can vote. Phuwin/Neo's dish is the white side, and Gun/Pond's is the blue side. The votes can be cast by dropping the balls into the coloured containers corresponding to the dishes.
  • 48:00 It is immediately obvious to all of them immediately which team made which dish. Transcription starting from 48:20:
    • Earth: "Why don't we start by judging the presentation before we taste?"
    • Mix: "Looking at these two dishes, this one (blue) is definitely wins."
    • Earth (trying to help his team): "I think I'm going to go with this one (white). Listen, none of us know which dish was made by which team..."
    • Luke: "But we have theories."
    • Mix: "I just want to know in what way this (white) dish could possibly be more beautiful than that (blue) dish."
    • (pause while they think of some nonsense) Luke: "The vegetables. They just look so nice. And there are so many of them."
    • Earth: "I'm giving it to this team (white)."
    • Luke: "Me too."
    • (audio cuts out for a few seconds)
    • Mix is saying "The truth?!" to implore Earth and Luke to admit the truth, but they stick to their decisions
    • Luke: "It's my personal opinion. I'm not changing."
    • 49:55 Mix comes up to the camera and mouths, "There are cheaters here."
    • Earth and Luke say, "Who knows? This plate could have been made by anyone."
    • 50:15 Mix: "Okay, let's move on to the flavour." They taste Phuwin/Neo's first.
    • Earth: "I hear laughing outside. Who's laughing?"
    • 51:00 Luke: "Very good."
    • Earth looks at Luke. Luke: "It's actually good. It suits my palate."
    • Mix: "I mean, it's alright. It's not bad. The salmon and imitation crab are good. They taste really fresh. But the noodles are awkwardly super cold. Like, is this bamee yen (a cold noodle dish)? Also, there's just something not right. It's sour, and it's like trying to be spicy but not spicy, trying to be salty but not salty. It's not balanced. What do you think, Earth?"
    • Earth: "I'll give it to you honestly."
    • Mix: (puts his hand on Earth's shoulder and looks into his eyes) "Yes, give it to us honestly."
    • Earth: "Okay, honestly, I like the raw ingredients. I like that the imitation crab meat is in large chunks. But..."
    • Mix: "Look, he's talking about the raw ingredients. He's not even talking about the flavour of the dish."
    • Earth: "The flavour is like how Mix described. And honestly, it's sour. It's so sour. Uncomfortably sour. Like, too sour. Can I have some water?"
    • 52:40 Luke: "I really like how there are lots of vegetables here. That means that dish is really healthy for you. If you ask me if I can eat the other dish, I can eat it, but it won't be as healthy as this dish."
    • Earth: "Oh, okay, so he's talking about the health value of the dish."
    • Mix: "But we're talking about the flavour of the dish, here, no?"
    • Luke: "I'm a person who doesn't like eating things too spicy. (uses the vocab word he learned earlier) So I like that this one is a good balance. It's not too spicy for me.
    • 53:35 Earth looks at Luke and says, "Is it not too sour? I think you've already helped our team a lot here."
    • Luke: "No, I don't think so. I honestly think it's good. But we haven't tried the other dish."
    • Earth: "That's true. Different people have different flavour preferences. Some like super sour, for example. And if those people also don't like spicy food, this dish is for them."
    • 54:05 They ask for Khaotung's review. He pauses and then quietly says, "Um... Sour. It's sour."
    • Mix: "How about between the words 'delicious' and 'not delicious'?"
    • Khaotung: "Well, I can definitely eat it. But it's super sour. It's not well-rounded."
    • 54:35 They move on to taste Gun/Pond's dish. Mix comes to the camera and enthusiastically whispers, "It's SO good!"
    • 55:15 Earth: "I like the creativity of this team. The salmon was raw, but this team lightly blanched the fish so that the inside is still raw, which adds a lot of layers to the flavours and textures of the dish. I like it."
    • Mix: "Can I speak extendedly? It's SO good. It's amazing. It's well-rounded, yummy, the textures are amazing, and it's easy to see that the person who made it really knows how to cook. I'm pretty sure I know who made it." Khaotung agrees.
    • 56:40 Luke decides to still vote for the white dish because the second dish is a bit too spicy for him. Earth sees that there's no way that the white dish can win anymore, so he puts his last ball into the white container anyway.
  • 58:00 More brand plugging for Sea Me Now
  • 59:45 PD calls the cooking teams back to the kitchen to announce the results.
  • 1:00:35 Luke says to Phuwin/Neo: "I tried, guys." Neo says, "I love this guy. He said the truth straight from his heart." Earth says that he tried to say the truth too. Neo complains that he was working with so many ingredients he had no idea how to use. I was just putting everything in randomly. Mix asks who did the seasoning/flavouring, and Neo said, "Me, but we didn't have time to taste it because we ran out of time."
  • 1:02:00 The cooking teams try each other's dishes (and Phuwin/Neo try their own dish for the first time too). Neo tries Gun/Pond's dish. Earth immediately feeds him a huge bite of his own dish. Neo pauses and says, "It seems like it's missing something." Mix and Earth say, "Not something. Many things. Like deliciousness." Earth feeds some to Phuwin, and he also doesn't like it.
    • 1:02:45 Neo looks at Earth and says, "You did the right thing." (in reference to criticising this dish and voting for the other one). Earth says, "So you understand me now?!"
    • Neo makes fun of how Gun was previously dramatic about not knowing how to make "yum." Gun says that he truly wasn't sure, and Neo feeds Gun some of Phuwin/Neo's dish saying, "See? This is what it means to truly not know what you're doing." Gun's eyes water while eating it, and he says, "It's so sour," and goes to hug Neo and Phuwin.
  • 1:04:00 More brand plugging for Sea Me Now
  • 1:05:00 Neo says that he's glad that there's at least someone (Luke) who enjoys eating his food. He then realises that Luke has only been eating the seafood and the vegetables, none of which have been flavoured/seasoned. Luke then takes a bite of the noodles to appease him.
• 1:06:00 Seafood lunch. Menu includes (professionally-made) "yum" with salmon and imitation crab topped with salmon roe; oysters with a seafood sauce; scallops fried with garlic, salt, and pepper; and grilled salmon steaks
  • 1:17:45 Khaotung and Mix go to the kitchen to make some more food with the fresh seafood they have
  • 1:19:15 Luke asks Earth why he's sitting so far away from him, and Neo turns it into a pun about Earth wanting scissors ("sitting far away" sounds a bit similar to "looking for scissors")
  • 1:21:10 This is Pond's first time trying mashed potatoes. Luke and Phuwin explain what they are to him and explain that in some Western countries, they eat less rice than they do in Asia, so sometimes they eat potatoes as the starch (a lot of the dishes for this meal were prepared in a Western way)
  • 1:22:30 Neo teaches them Isan slang that a more polite phrase to basically say, "BS-ing." They also mention the Central equivalent of the phrase. They ask Luke what an equivalent in English would be, but Luke can only think of "BS-ing," so he says that he can't say it out loud. He eventually goes with "spinning stuff." Neo says that he feels like English doesn't have as many rude/swearing words as Thai does, and Earth makes a joke that he wouldn't be surprised if Neo's name was rude in English.
  • 1:23:55 They like how Luke seems especially giggly today, so they try to keep him laughing. Neo says a Thai phrase/idiom that basically means that he's not even being funny to his full capacity right now, then Earth and Phuwin give some sarcastic remarks that are like playful insults to Neo, which Luke continues laughing at.
  • 1:26:00 Phuwin and Gun join Mix and Khaotung in the kitchen to cook some more seafood. They're prepping some salmon, scallops, and oysters. Gun wants to make lightly floured and pan-fried tofu.
  • 1:27:30 The guys at the table are joking to Luke that it's Thai culture to be polite to people, but then the closer you get to them, the more you insult them. You start the insults behind their back, but then you can eventually insult them to their face (it's not technically false, especially for some friend groups, but the way they were explaining it is a bit too much, hahaha). Then they demonstrate that, actually, the best thing to do is to be polite to someone's face, and then behind their back, you compliment them again.
  • 1:29:00 They exchange the English and Thai versions of the phrase "fishing for compliments"
  • 1:32:20 Luke is trying to tell the story of why he came to Thailand, but he's still in his giggly mood. He wanted to be an actor in the US, but he was scouted from IG to come and be a model in Thailand, so he arranged to come for 3 months, but he liked it, so he stayed.
  • 1:34:10 They mention that they're glad they have Neo in the house because otherwise it would be so much quieter and less entertaining.
  • 1:40:15 Gun brings the tofu for the guys at the table to try. They struggle a bit because it's still very hot, but they approve.
  • 1:43:45 The guys at the table talk about ventriloquists. Luke explains how in the US, ventriloquism can either be creepy or funny depending on the act, but in Thailand it tends to mostly be creepy. They start discussing some related film/series plots.
  • 1:59:30 Pond, Neo, and Luke dance a bit for the cameras
• 2:01:00 Relaxing time. Mix presents the dish he made to the camera: spaghetti pad kee mao (drunken noodles) with scallops, crab, and salmon roe. He brings it to the living room for everyone else to try.
  • 2:08:40 Some language lessons. Phuwin and Luke ask Neo some questions for him to answer in English. They also ask Luke some questions in Thai. They try to ask Neo and Luke to speak English and Thai (respectively) for two minutes each, language exam-style.
• 2:13:50 PD asks the losing team from the last game to go wash dishes. They say that the sink area is small, so two people will wash at a time.
  • 2:36:05 Earth drops and breaks a dish. Earth tells a story about how when he was very young, he hated washing dishes, so sometimes he would secretly break some dirty dishes behind his house so he wouldn't have to clean as many. Eventually his mother started wondering where all the dishes were disappearing to, but she just kept buying more
• 2:41:15 PD asks for someone to wake Gun (who's napping on the sofa) and assemble in the area in front of the medal board for the next medal game. She asks Mix "the one with many medals" and Earth "the one with hardly any medals" to take the lead in reading the rules. Earth is offended, but PD says, "Earth, you have to accept the truth."
  • 2:42:40 Game sponsored by Super Coffee. They will divide into two teams. King of the Day chooses the pairs that will compete together. Each person in the pair will wear a sumo costume with a bag of Super Coffee attached to their back. Whoever is the first to successfully remove the bag of coffee from their opponent's back wins that round, and their team is awarded one point in the game. Once all the pairs have competed, the winners will compete to determine the final winner. Winning team gets one medal each. The rules say nothing about singing or having dancing breaks during each match, but the guys do so anyway.
• 3:21:20 PD asks everyone to change into swimming clothes and meet at the pool. Phuwin has to study, so he won't join for the next activity.
• 3:39:00 Neo reads the directions. They're going to play the Werewolf (ma paa) game. Between the 7 of them, they will randomly get assigned roles: 2 werewolves (who can kill people), 1 bodyguard (who can choose someone to protect from death each round), 1 seer (who can privately uncover the identity of one other player each round), 1 hunter (who, if they are killed, can choose one other person they suspect of being a werewolf to die with them), and 2 villagers. PD will be the narratoreferee. The game is basically between the werewolves and everyone else. Each round, in order, the narrator will instruct the werewolves to choose someone to kill, then the bodyguard to choose someone to protect, then the seer to privately uncover the identity of one other player. Then everyone must talk and decide on one person to kill out of suspicion of being a werewolf. If both werewolves are killed, the common people win. If there's at least one werewolf left at the end of the game, the werewolves win.
  • [PD is a very dramatic and colourful narrator, which is why everyone is reacting to most of her lines throughout the game. Werewolf in Thai is "ma paa" and villagetownsperson is "chao baan," to help you guys understand what's going on. All the other roles are called in English, although sometimes they call the bodyguard "moh" which means doctor]
  • 3:45:30 First game: Werewolves=Gun/Earth, Bodyguard=Neo, Seer=Khaotung, Hunter=Mix
    • First round: No one dies
    • Second round: Pond dies. They vote to kill Khaotung
    • 4:04:45 Third round: No one dies. Neo says that Mix is a common person because he saved this round. They vote to kill Earth
    • 4:13:30 Fourth round: Neo dies. They vote to kill Gun. Common people win.
  • 4:19:00 Second game. They're no longer allowed to say whether they saved someone or not. Werewolves=Khaotung/Mix, Bodyguard=Gun, Seer=Luke, Hunter=Pond
    • First round: Earth dies. They know someone is lying because too many people are claiming to be villagers. They think they should believe Neo because he was so honest last round. They vote to kill Khaotung.
    • 4:34:10 Second round: Pond dies and choses to kill Mix with him. Common people win.
  • 4:37:50 PD asks them to vote on the best and worst liar. They aren't sure yet, but Khaotung is voted the worst liar. Punishment is cleaning one of the bathrooms tomorrow.
• 4:41:15 Relaxing time. Neo gets thrown in the pool.
• 5:08:00 Fan talk
  • Group 1: It's supposed to be the 4 top scorers on the medal board, but Khaotung is still showering, so Earth goes in his place because he's lowest. Neo did a bit more exercise with Luke this morning. They recap the walking doll game from the morning and how random and unpredictable it was. Mix was bitter that he felt like being King today was more of a burden than Luke's experience the previous day. Luke says it's probably because Mix's Thai is better, so they felt like using him for more jobs/tasks. They recap the cooking competition; Gun/Mix say they were lucky that they were on the team that had several options of people who knew how to cook. They talked about how the judging was biased, but Earth said that at the end, he had to admit the fact that Phuwin/Neo's dish was so sour that he could feel it in his brain. Gun/Mix were glad that they didn't have to wash dishes today because there were so many dishes to wash, and they made fun of Earth breaking the dish. They all enjoyed the sumo game. They started to regret that they started the singing/dancing gag, but they committed to it for entertainment purposes. They agreed that Khaotung is indeed the dark horse because no one expected him to be that quick in the sumo game. Everyone also had fun playing Werewolf.
    • 5:18:45 Fan comments: They like how Gun seems like the eldest brother in the house, taking care of everyone. People made fun of Earth's childhood dish-breaking story. (The guys eventually start talking amongst themselves, mainly about how Earth doesn't think he has a chance to win anymore, and they say that there are many more opportunities for medals in the coming days, so anything can happen)
  • 5:26:15 Group 2: They talk about how much Pond likes rice with Thai omelette [note: pretty much everyone in Thailand loves it, but Pond feels like eating it all the time], and he likes to make Phuwin make it for him in this house. They're all impressed with how good Khaotung was at the sumo game. Phuwin/Neo explain what happened during the cooking competition: Phuwin usually never eats "yum," but last week, his family made some but he didn't have any, so he regrets not having it so he would have a better idea of how to make it. Neo said he was just randomly putting things in without knowing for sure if they were supposed to go in. They made fun of Neo's dishwashing "technique." They recapped Werewolf, and everyone was unsure whether to trust/believe the things Neo says because he talks rubbish a lot.
    • 5:32:45 Fan comments: They mention that this has turned into a pure comedy show. They like how everyone works together and the vibe isn't overly competitive.
  • 5:37:00 Late-night meal. Menu includes fried chicken wings, spaghetti carbonara, spaghetti with bacon, sticky rice with pork, sandwich, pizza, more spaghetti, and minced pork wrapped with noodles.
    • They feel like today was very full/busy, and they're all feeling tired, but they've had fun.
    • 5:47:00 Earth and Neo say that they may not have many medals, but at least they're funny. They get up and try to entertain the rest of the guys.
• 5:52:45 Everyone bids farewell to Gun because it's his last night. Gun says to the audience, "Thank you so much for watching all of us these past three days. I hope you've enjoyed seeing our dynamics in this more relaxed environment. I hope you'll continue watching the rest of the guys for the rest of the days and see what fun is in store."

https://facts.net/wp-content/uploads/2023/07/15-facts-about-fats-waller-1689249690.jpg
This is a subreddit primarily focused on modern pop music, but for his 120th birthday I want to take a moment to remember one of the most iconic pop acts in American history:

Thomas Wright "Fats" Waller

A jazz pianist, a singer, and a prolific songwriter famous for his ability to jump onstage and "lift up the band," Fats Waller was a regular fixture of the nightlife scene in New York (an important figure of the legendary Harlem Renaissance) and toured his act all around the country in addition to working as a recording artist in the budding record industry.
In a way, he was one of America's first pop stars- a musical prodigy who dropped out of high school, broke into the music industry when he was a teen, sold tons of records, and developed a huge onstage persona and lived a hard partying lifestyle. We've heard that story a million times, but Fats did it first.
An often repeated story about him recounts a shocking incident where gangster Al Capone kidnapped him off the street to force him to play at a birthday party, because everybody wanted to party with Fats Waller! A less repeated story is this one I found in an NPR article that describes him selling eight of his original songs in exchange for eight hamburgers, which he then consumed in a single sitting.
So certainly, a larger than life figure.

The Records

His legacy as a founding figure of America's pop scene extends to a place you might not expect: back in 1926, he signed a recording contract with the Victor Talking Machine Company, one of the earliest manufacturers and distributors of phonographs and records, which would be bought out by the Radio Corporation of America (RCA) in 1929. Then in 1968, the company would be renamed... RCA Records!
RCA is still a powerful record label today and it's partially thanks to Fats, who was a big moneymaker for them in the early days of the record industry when they were literally selling records.
Over the course of his twenty five year career, he copyrighted around five hundred recordings- supposedly, the label would send him into a recording booth with bunches of sheet music bought from Tin Pan Alley composers and he would rearrange them on the spot to give them that special Fats Waller touch!
But he's best remembered for his skills as a pianist and, most importantly, his songwriting skills. I want to take a moment to highlight that because I firmly believe he's one of the greatest songwriters in history- many of his hits have been accepted as standards and are still in rotation with jazz singers today.

The Music

You might have heard his song "Ain't Misbehavin'," which became something of his signature song after he performed it in the landmark film Stormy Weather (1943), and it's the perfect encapsulation of his style. A clever piano line, a catchy melody, a touch of humor, and a lot of heart. It's just timeless music.

I know for certain / The one I love
I'm through with flirtin' / It's just you I'm thinkin' of
Ain't misbehavin' / Saving my love for you (for you)
(And you) (And you)

There's a tongue-in-cheek sense of humor to the song that's signature Fats- in addition to the lyrics he wrote, he was known to improv and throw new jokes in on the fly during live performances.
We're lucky enough to have footage of him performing "Your Feets Too Big" (another one of his signature numbers where he chastises a woman for, you guessed it, her foot size) and you can just see the charisma oozing off of him as he banters with the band and makes eyes at the camera. All while playing the piano too!
And he was no innocent either, often lacing his songs with innuendo that will shatter any illusions you have about old music being overly conservative. Take, for example, Hattie Noel's recording of "Find Out What They Like," which begins with a disclaimer that the song is "strictly about home cooking" before she sings this:

Find out what he likes / And how he likes it
Go on and give it to him just that way
Give it to him when he wants it / And any time he wants it
And don't you have a single word to say!

He was often performing in nightclubs and bars, which meant he knew how to get the crowd going- "The Joint Is Jumpin'" is the quintessential 1920s party anthem, with the title referring to a secret code phrase that bootleggers would use during the prohibition era to let people know that a party had illegal alcohol. The jaunty music he wrote did a lot to get people on the dance floors as well!
But though he's associated with lively entertainment, there was some grit beneath all that as well. Despite his success, Waller was still a black man living in early 20th century America, and he channelled that into legendary "Black and Blue" (a hit for Louis Armstrong) which is considered by some to be one of the first jazz protest songs:

I'm white inside, but that don't help my case / 'Cause I can't hide what is in my face
How would it end? Ain't got a friend / My only sin is in my skin
What did I do to be so black and blue?

Whatever the occasion, Fats had a song for it.

The End

But like a lot of great artists, Fats had his troubles. He was known for his hard partying lifestyle and frequent money problems that pushed him to be constantly working, and he would tragically pass away in 1943 from pneumonia while on tour.
The man was only 39 years old at the time, but as of today his legacy officially stretches 120 years! So spin a record today for Fats Waller, and get the joint jumpin' in his memory.
If you'd like to hear more of his music, I'd strongly recommend setting aside ninety minutes to watch the Broadway musical Ain't Misbehavin' because it's an incredible piece of theatre that showcases his music spectacularly. Diana Ross & The Supremes did an adorable tribute to him on The Ed Sullivan Show that's worth a watch too.
Any other Fats Waller fans in the sub? What are some of your favorite recordings of his songs?

Hello Gossipers
Reddit Awards are back. We all get some Free Awards, so give them away carefully. I have no idea who gets how many free awards, Reddit sent a email about it to everyone, so whoever is interested, read it.
There's a New Post type - AMA. If you are posting OG Gossip, using Exaggerated Claims , please try to use this Post type. We are not enforcing this rule, but it'll be good for members to cross-question OP and others to sort the comments as per Answered comments
We have to remove around 30 - 50 posts a day because they don't belong to this Sub. All Cinematic posts belong to Bollywood. No Fan Edits, Meme , Music allowed here. Read rules.
There are too many low quality picture posts. I'm sure only Bhai fans are interested in looking at 20 pics of old and handsome Bhoi. Unseen pic posts are fine but a collection of one actor looking good from 90s.....head to Fanclub please. If you can't find Bhoi fanclub, post on Biggboss . Someone please let us know Bhoi FC Sub link.
There's a lovely Sub - ClassicDesiCelebs , they welcome all old pic posts. Subscribe and contribute to this Sub. They are allowed 2 cross posts a month on this Sub as well. We will lock comments here, interested people can comment on OG post.
This is a GOSSIP Sub - How many times do I need to explain that we are petty, we are hypocrite and we are toxic. Why are you looking for feel good posts on this Sub? There are too many posts crying about "Why hate".....like we were any better before !! All these posts are META. Its Rule 1 on sidebar.
We hate everyone. We troll everyone. We speculate plastic surgeries and we speculate love lives, affairs, pregnancies and other things. People enjoy pulling down others and when the target is your favourite, you begin objecting and turn Woke. Aise kaise ...
Every star gets their head pinned as target. All Faltu Fours have hate posts. DP fans should stop crying about why so many posts when she is pregnant. Are we DP's Fanclub? Why are you getting offended by trolling when you are one of the most vile troll on this Sub? Did DP fans forget what they say about Katrina, PC , Ash , Anu and Alia?
Mods tried to bring some rule of not trolling Pregnant stars, during Alia's Pregnancy trolling . DP fans raised strong objection to this as it was against freedom of speech and they argued that if not on Gossip Sub, where will they discuss this. We had to accept their demand and we are sticking to their demand even now.
You are reaping what you have sown, its not this Sub's fault. Its literally called KARMA on Reddit. Deal with it.
Lastly, the Reddit glitch of multiple posts getting posted, seems to be resolved for most members. If you are still getting this error, refresh your App
The "Number of members online" data is still faulty. Entire Reddit is affected by it. I don't know when it'll be resolved.
Lets brace for another Ambani Prewedding on Cruise.

Jai Jio

Apple TV+ is one of the strangest streamers out there, with almost no licensed TV or film content and a small number of originals. That makes the best movies on Apple TV+ easy to find. There simply aren’t that many! Apple is clearly taking a “quality over quantity” approach, with its money spread across genres and targeted at making its subscribers (many roped in with a deal that came with one of the company’s tech products) treat it like a real contender. It also helps that it’s only $4.99 a month, or free for a year if you’ve just purchased a new (and eligible) device.
With films from up-and-comers like Minhal Baig, arthouse favorites like Sofia Coppola and Werner Herzog, some A-list music docs, one of the best animated movies of the 2020s and Martin Scorsese’s latest, Apple TV+ is actually making the case that it belongs in the conversation alongside the more established services. As long as it keeps adding good movies to its roster, that is. It recently snagged a few critical darlings like Killers of the Flower Moon and Wolfwalkers.

10. The Pigeon Tunnel

For a documentary about one of the most celebrated writers of spy fiction, The Pigeon Tunnel can seem—at first glance—deceptively placid. Clocking in at just over 90 minutes, the film features an extended conversation between David Cornwell, AKA John le Carre, and Oscar-winning docmaker Errol Morris. It’s just that. Two people talking, with Morris off-screen, their parrying question-and-answers broken up with archival images and re-enactments of Cornwell’s past, as well as snippets from the classic movies or TV adaptations based on his spy universe: The Spy Who Came in from the Cold, Tinker Tailor Soldier Spy and A Perfect Spy.

9. Hala

Writedirector Minhal Baig’s Hala is an intimate coming-of-age drama held up by its personal writerly touches and a star-making turn from Geraldine Viswanathan as the title character. Hala’s struggling with the same kinds of things we normally see high school characters struggle with: What to do after graduation, how to manage a relationship with her parents that’s not quite adult and not quite childish, and (of course) boys. Viswanathan’s understated quiet and the warmth in which the situations are shot (almost always centered on her face)—be they at a family dinner or a walk in a Chicago park or a reading of a high school English assignment—make the dramatic ricochet of Hala’s minor rebellion rattle us all the harder.

8. Boys State

The tendency to read too much into Boys State as a representative of American politics—contemporary, functional, broken and otherwise—doesn’t quite line up with the event itself, in which every year the American Legion sponsors a sort of mock government sleepaway camp in Texas for high school boys (girls get a similar program of their own), where attendees join parties, run for office, craft platforms, run campaigns, hold debates, then ultimately exercise their right to vote.

7. On the Rocks

Sofia Coppola’s new movie On the Rocks starts out as a story of possessive fatherhood, with Felix (Bill Murray) narrating to his teenage daughter, Laura: “And remember, don’t give your heart to any boys. You are mine until you get married. Then you’re still mine.” The girl laughs off the declaration as a jape, which turns out to be a catastrophic tactical mistake. In her womanhood, Laura (Rashida Jones), does indeed get married to a man, Dean (Marlon Wayans), and they have two beautiful daughters of their own, eldest Maya (Liyanna Muscat) and youngest Theo (Alexandra Mary Reimer).

6. Bruce Springsteen’s Letter to You

The black-and-white behind-the-scenes documentary accompaniment to Bruce Springsteen’s album of the same name, Bruce Springsteen’s Letter to You is a beautiful and companionable tour through the music and its making from an American master. Director Thom Zimny buys into the album’s concept, which focuses on just how long Springsteen’s been at this thing. Poignant juxtaposition with archival footage and pictures emphasizes just how long the E Streeters have been at this—and reminds us of who and what was lost along the way.
Also Read: The Last Duel

5. Fireball: Visitors from Darker Worlds

Werner Herzog will show you multiple clips from Mimi Leader’s Deep Impact for no other reason than because he likes them, he finds them well-done and evocative—he says as much in that even-keeled, oddly accented voice over—then soon after chastise “film school doctrine” when complimenting a field video shot by a South Korean meteor specialist in Antarctica. Like Nomad: In the Footsteps of Bruce Chatwin, his documentary from earlier in the year, Fireball (co-directed with Clive Oppenheimer, with whom he made 2016’s Into the Inferno) is less about what it’s about (meteorites, shooting stars, cosmic debris—and the people who love them) than it is about Werner Herzog’s life, which is his filmography, which is a heavily manipulated search for ultimate truth.

4. CODA

Sometimes a movie so successfully plunges you into its world that it completely engulfs you in a lived-in experience. From the gorgeous, scenic opening moments of CODA, you can almost smell the Atlantic salt air and pungent scent of the daily catch. The movie transports you to Gloucester, Massachusetts and lovingly drops you into the life of one family. Seventeen-year-old Ruby Rossi (Emilia Jones) is what the title of the movie refers to—a child of deaf adults.

3. A Charlie Brown Christmas

We could get into plenty of arguments over which Charlie Brown animated special is best, but A Charlie Brown Christmas is my favorite pull of the bunch. Charlie Brown’s confrontation with the Christmas season’s commercialism (back in 1965 no less) and a sad little fir tree make this a cartoon classic, as the ultimate funny-pages shlimazel suffers endless social indignities (no Christmas cards) and the holiday blues.

2. Wolfwalkers

Wolfwalkers is filmmaker and animator Tomm Moore’s latest project out of Cartoon Saloon, the animation studio he co-founded in 1999 with Paul Young, and the capper to his loosely bound Irish folklore trilogy (begun with 2009’s The Secret of Kells and continued with 2014’s Song of the Sea). At first blush, the film appears burdened with too much in mind—chiefly thoughts on everything from English colonialism to earnest portraiture of Irish myths, the keystones of Moore’s storytelling for the last decade.

1. Killers of the Flower Moon

Martin Scorsese has made a career telling stories that tackle issues of justice, retribution and betrayal. From his overt and poetic crime films, through to his dark comedies, religious parables and character pieces, he has long been drawn to stories where the ambiguities of life collide with the complexities of survival, and where day-to-day choices result in consequences sometimes obvious, and sometimes far more subtle and insidious.

Wade held Jasmine in his arms as he flew a low height down the long road to another section of the staryard, Tina on his back and Nathan and F right behind them in the air. Together, the five glided across the base grounds, taking care as to not irritate the aerial security during their search for the meeting room. Being outside for the flight, the group considered it a blessing that Wade's 'enhanced cooling unit' allowed his body to tolerate the breaching sun in the still cloudy sky, which, according to F, was dangerous to drones like her due to the inefficient cooling she and disassembly drones like her suffered from. Given F's physical fault, she had to fly under shady areas in order to safely traverse the base at day.
Originally, Wade and his friends had planned to walk to the meeting zone, but after running into a trooper experiencing a health mishap, the group did what they could to help the distressed officer. By the time he was brought to the medical ward by other soldiers, Wade found that him and his team would be at least a few minutes late if they kept on their way with their walk.
Deciding to speed things up, Wade, understanding the concern for performing such an effort, opted to carry the Fowleys around the base to the meeting area. Reluctantly, F decided to come along, carrying Nathan in a similar manner that Wade was carrying Jasmine. Taking notice of the time on his HUD, which read, "9:47 AM", Wade scouted for the building he and his friends were directed to. "8072" He said to himself, the number being for the building that would house the imminent meeting.
"They said it was down here, right?" Wade asked aloud to Tina before stopping himself in mid-air, the girl holding onto him tightly as he tried to speak over the growing sound of a retrofit Apache flying overhead.
Looking about, Tina nodded as she spotted the target building. "Yes, I believe that's the one over there!" Pointing past his head, Wade followed her finger to a large building ahead at his right. The structure was moderately tall, only about two stories high, with several soldiers and officers going in and out of the building. Wade smiled as he noticed the target number, as well as the big, bold words describing the building's designation. "8072, Briefing Center B"
"Good eye, honey. Hang on!" Continuing his low glide, Wade zoomed towards the building's entrance before stopping just meters above the ground, his two friends close behind as they slowed down as well. The troopers around them initially looked startled by the sudden arrival of Wade and his group, but quickly regained their composure as Wade hovered still above them.
"At ease! Just visitors." One of the soldiers declared as they identified the newcomers, who touched down before Wade let Jasmine down to her feet, Tina hopping onto the ground along with her.
Putting his hands up, Wade apologized for his swift surprise. "Sorry for the scare, we got delayed for a meeting we're invited to."
The soldier gave an understanding nod as he replied to the former worker drone sternly. "I can see that, just be a bit more careful next time, Mr. Carter. You gave the boys here quite a scare."
Wade returned the gesture in embarrassment as F put a hand to his back, chuckling at his efforts as Tina questioned the officer. "Is Mrs. J in there? She's the one who called for us."
The guard gave his reply as Wade and Tina pulled out their IDs for clearance. "Yes she is, Miss. The meeting's set to begin in under ten minutes." Checking the two drones' IDs, Jasmine and the others pulled out theirs as well, the watchman motioning another trooper over to verify the group. Once the guard finished checking the five's cards, he nodded in approval as the watchman spoke once more. "You're clear to enter."
"Thank you Sir, again, sorry about that spook back there." Wade replied with a smile as the trooper gave one of his own, the disassembly drone and his allies making their way towards the office door before stopping upon the call of a voice.
"Hey, Felice!" Wade turned to find the origin of the voice, F doing the same as the two quickly spotted a quartet of soldiers walking excitedly towards F. The disassembly drone glanced to her friends with a smile before turning back to the approaching entourage.
Wade examined the four troops as they got closer: Two human men, one woman, and a male worker drone. One of the male soldiers had short, blonde hair, and a small scar to the right side of their face. The second man bore a tan skin tone and had black hair, with blue strips that went down slightly in a mullet style. The woman bore a set of long, dark green hair, with the hair going down and over her left shoulder. As for the worker drone, he wore the standard green soldier helmet, single eye visor and all. He had no hair on him from what Wade could tell, and bore a pair of whiteish purple eyes on his visor.
As F walked over to the soldiers, the same one that called to her spoke again. "Felicity, I didn't expect to see you around here today! Where you been?"
The girl soldier interrupted his initial chatter. "Hang on Carlos, do you even know if she remembers us?"
"Aye, don't she have one o' them memory locks, or sumthin?" The drone added in a heavy Scottish accent.
F waved her hand as she replied to the group. "Easy, everyone. Thankfully I still got my memories, courtesy of my technician back at Central." Lowering her hand, F let down her usual persona as she gave a wide smirk to the soldiers, clearly pleased to see them. "Good to see you guys around here."
The soldiers gave light cheers to F as they all embraced her, the group having a surprise reunion as Wade and the others watched in surprise. These must've been F's old colleagues from when she was in the service, Wade thought. Quite the coincidence for them to be here at this base of all places.
Not bothering with the convenience of the matter, Wade shook the thought off as he and his friends watched F and her old friends breaking the hug, Tina wrapping an arm around her boyfriend as the second male human spoke to her in what the two discerned as Spanish. "Ay, who your new friends, F?"
"Oh, these guys?" F replied in the same language, quietly startling Wade and the others as they had never heard her speak like that until now. Glancing over to Wade, F motioned him and the others to come over. "Everyone, these are some friends I made in the past few days. Wade, Nathan, Tina, and Jasmine." She pointed her hand to the four as she said each of their names. "I met the boys here during my time on Ceres. Jasmine and Tina here are sisters."
The four soldiers gave various forms of excitement, ranging from hearty laughs to low woops and even a whistle from one of the guys. As F stood next to her old teammates, they each introduced themselves to Wade and his friends. The blonde soldier went first. "Well, it's a pleasure to meet you all, name's Carlos, Lieutenant Marksman."
"I'm Private Alvaros, good with close-range and stealth operations." Said the tan soldier with a salute.
"Sergeant Lucia Vasquez, usually the one who leads this bunch around these days." The female warrior stated with a humorous smirk.
"And Corporal Duncan Wallace, at your service!" The soldier drone stated proudly as he saluted to the bunch in front of him, who gave warm smiles as Wade shook his hand.
"Quite honored to meet you all, seems you have quite the history with F." The former worker drone said as Carlos patted F on her back.
"Oh, we do! She's the one who took charge when we didn't! Did you all hear of the Pasting of Nola VI?" Jasmine and Tina gave nods of affirmation while Wade, not as familiar with such history, held his hand up in a questioning manner.
"I think, wasn't that the battle where the Navy just barely held the outpost in that system? From the Stryker Clan?" Wade asked as Carlos nodded approvingly to him.
"That's right, and if Felice weren't there, WE would've been the ones getting pasted!" Carlos' statement brought victorious cheers and "oorahs" from the group, F letting a blush loose as she chuckled at her team's praise of her efforts.
"Well, that's not wrong." Although she didn't want to break off from her friends and discuss the past few years since they'd last met, F remembered the briefing. Clearing her throat, she continued. "And as much as I'd like to chat about the good times, I've been called to a meeting here, as have Wade and his crew."
The soldier group gave understanding looks to F as Lucia spoke up. "Thought so, Carl here was real eager to see you, though."
"Maybe we can talk after the meeting?" Nathan proposed as the soldiers collectively nodded in agreement, F readying a smartcomm attachment before turning to face her friends again.
"We're probably getting low on time, you all go in, I'll catch up in a sec." Wade nodded in acknowledgement before taking Tina's hand, the lover drones continuing towards the briefing center as Jasmine and Nathan followed behind them.
Passing through the door, the four guests observed a short hallway, which seemed to split into two paths as they came closer to the other end. Looking to a sign on the wall above, they saw arrows pointing to two separate areas, "Primary Briefing Room; Main Lobby + Secondary & Tertiary" Going to the right, they entered the moderately active lobby, several officers walking and standing about in mass chatter. Walking over to the desk up against the wall to their left, Wade and his group waved a hand to the occupying attendant.
"Welcome, what do you need?" The desk attendant asked as Tina raised a finger to reply.
"We're here for a meeting, Mrs. J called us here."
The attendant nodded in understanding before directing an arm towards the other end of the room, where a single door stood. "She should be in the second briefing room down that way."
"Thank you." Tina replied warmly before she and Wade began walking towards the door, their friends behind them as they proceeded into the room.
The room beyond the door was quite sizable, a large circular table occupying the middle with several chairs surrounding it. The walls went up a few meters, with four whiteish blue lights illuminating the room. On the wall opposite to Wade and Tina were three monitor screens, all of which showed the USN in bright blue. In several of the seats were faces both familiar and unfamiliar, several men and women in varying styles of uniforms conversing about quietly or taking notice of the recent visitors. Standing up near the monitors were three people: A decorated officer whom Tina identified as a ship captain, and the so-called operatives, Tessa, albeit as a hologram, and J.
Walking slowly into the room, Wade gave a low wave of his hand as he tried to hide his nervousness. Noticing his shyness in front of the officers, Tina held his hand and rubbed his arm comfortingly while returning a pleasant smile to the staff in the room.
"Ah, Wade, Tina. Glad to see you all here." J stated with a smile as she scanned the group, raising a digital eyebrow as she noticed one missing guest. "Or, most of you, I see. Did F run off somewhere?"
Wade shook his head as he replied to his fellow disassembly drone. "Oh, no. She just ran into some old friends, she should be back-"
"Right now." F finished aloud as she entered the room, seemingly having heard Wade speaking about her absence. The warrior drone fast walked to Wade's team, taking a seat near them as they prepared to do the same. "Not too late, are we?"
"Not at all." The standing officer answered as the group took their seats, Wade and Tina sitting next to each other as they got comfortable. The captain examined the lot for a moment, glancing to J as he asked about them. "So, these are the ones you helped rescue from the Mojave?"
"Yes Captain, and they helped us out greatly in turn. This is Wade Carter, one of the captured drones whom became a disassembly drone before we could mount the rescue. The luckiest one, if you ask me." Motioning her arm over the others, she continued. "And there's his girlfriend, Mrs. Tina Fowley, and her sister Jasmine." Smirking to F and Nathan, she finished her friends' introductions. "And these two are Serial Designation F and Mr. Nathan, whom I've heard were once under your ranks."
The military captain gave a welcoming smile to the five as they returned the gesture, eyeing F and Nathan specifically before speaking to them. "Indeed they were, we still have records on their contributions to the colonies." Eyeing F, he continued. "Though, in Mrs. F's case, I won't blame her if she doesn't remember us. We've been very well aware of JCJenson's 'memory suppression' protocols when it comes to their DDs."
F laid back in her seat with a smug look as she replied to her former superior. "Well, my friend on the station's a good tech gal. She's... waived that hindrance from me."
"I see, that means your still with us, am I right, Mrs. Lee?" Unlike her friends next to her, F was not startled by her original name being said aloud, rather smiling proudly as she saluted to the captain. "Good to see you again."
"Pleased to be here, Sir." F replied as she lowered her arm, glancing to her companions next to her as J spoke up.
"Everyone, I'd like you to meet Captain Preston Mitchell, commander of the USNV Vickers down at the stardock."
Wade gave a respectful salute to Preston as he spoke first. "It's an honor to meet you, Sir."
"Thank you, Mr. Carter. I've heard about your efforts from J, you did an admirable job back there, son." Wade failed to hide an embarrassed blush from the compliment, but it quickly faded as a beep sounded from a small device on the table. It was swiftly silenced by the captain as he tapped a button on the small, pyramid shaped timer, then facing Wade's group before continuing. "Though, as much as we could use some small talk, it'll have to wait till later."
"Indeed, we're running late at this point." Said another officer, a highly decorated member of the base with dark skin, dark grey hair and a thin beard. He immediately won the attention of everyone in the room as he spoke up. "I'm General Hugh Hood, overseer of this base. I'm certain you know some of the reasons you're here with us, correct?"
Wade nodded as he spoke to Hood. "Yeah, it's cause of those rogue agents from the JCJenson corporation." Glancing to J, the corporate drone nodded in affirmation before speaking herself.
"Tessa and I spent the last hours of yesterday evening clearing up the matter with General Hood, along with several other officials stationed here." She stopped as the middle monitor behind her flashed with a banner at the top, reading, "INCOMING TRANSMISSION", and in place of the USN emblem was a textless version of the JCJenson logo. Below the profile image was another two lines of text. "N. Jenson (Company Exec); Comms Source: Yottrite IV"
"And also told our boss about what happened here too, he wanted to give his say on this ordeal." Looking to the general, J asked him, "May I put him on?"
Hood only gave a nod of approval to the corporate drone before she picked up a remote on the table and tapped a button, accepting the call as the picture shifted to show a middle-aged man in a pristine-looking business suit on the screen.
Wade and Tina glanced to each other before J introduced their guest on the screen. "Ladies and Gentlemen, the CEO of JCJenson: Mr. Noor Jenson."
Jenson gave a pleased nod to his subordinate as he spoke to J. "Thank you for the pleasantries, J. I see we are ready to discuss our plans on dealing with this 'recall' disaster I've bore witness to on the news this morning?"
J nodded as she replied to her boss. "Indeed, I've explained to General Hood here about our efforts yesterday, and, as of recent, we've just received a message from a source we believe to be close to the company."
Mr. Jenson looked down to J attentively as he spoke to her. "Well, that's quite intriguing news, J. Do you have this message available for us to view?" J and Hood both nodded in affirmation, but didn't get an immediate reply as Jenson gazed to Wade and his friends. "...And I presume these are some of the drones rescued from one of the factories?"
Again, J nodded to her superior before explaining her colleagues. "Yes Mr. Jenson, the two drones at the front in particular were among those taken by the Administrator and their subordinates." Pointing an arm to Wade and Tina, she introduced the drone couple. "The disassembly drone here is Mr. Wade Carter, a brother to his-technically speaking-owner, the late Ron Carter. The latter helped us recover Wade during an initial raid inside the Nevada facility." When bringing up Ron, J gave an apologetic look to Wade as to show she did not mean to be offending on him and his brother's relationship. "And this is his romantic partner, Mrs. Tina Fowley. I heard she and her sister Jasmine are pilots."
Jenson looked over the two drones as his obedient employee described them to him, quietly sighing as Wade and Tina returned the gaze with nervous smiles. Once J finished, Jenson spoke to Wade. "I... would say it's a pleasure to meet you, Mr. Carter. But, given recent events, I don't hold fault to you for feeling frustrated at me for my... former subordinate's actions."
Wade shook his head lightly, taking Jenson's light apology with a faint smile as he replied to the CEO. "Actually, I don't. The only person I have such feelings put towards is," He hesitated for a moment, his anger at Dr. Halloway returning for a short moment before he eased himself. "..That bastard Halloway."
"The feeling's mutual, Mr. Carter. Dr. Halloway has been trying my patience for years now, especially with you and your fellow disassembly drones." Looking to J, then F, he returned his gaze to Wade before questioning him on his new body. "I don't know if J has told you of this, but if there's one truth my company has admittedly not held up to for a while, it's our quality. Recently, some of my research staff here made blueprints for an upgraded variant of the disassembly drone design. It's intended to fix several faults we expected to be nonexistent previously, most notably that atrocious cooling unit."
As a schematic pulled up on the left monitor, everyone glanced to the improved design before F spoke up about it. "If I may ask, Mr. Jenson, how big of an improvement is this new cooling unit supposed to be?"
"Good question, F. Frankly, it's supposed to do away with the issue entirely. Saves us from sacrificing enormous supplies of oil for the poorly built unit in the previous iterations. We even tested it with a repaired drone just a few days ago, and it worked flawlessly." Then, glancing to Wade again, he questioned the former worker drone on his new form. "Speaking of, how does your enhanced body feel, Mr. Carter? I'm certain it feels better to not have to-"
"Actually, Mr. Jenson," Wade interrupted, pulling out one of his canteens as he answered the CEO on his upgrades. "I guess Halloway changed up the blueprints, cause unfortunately this new cooling unit didn't cure the overheating problem. I... kinda learned that the hard way." Wade glanced to Tina apologetically, still feeling bad from her seeing him eat the corpse of the dead murder drone back at the factory.
The corporate CEO grimaced in frustration as he took in Wade's statement, already intolerant of the head researcher's actions as he replied. "...I was worried about that, Edgar always likes to run things his own way, making excuses for that 'Administrator' he watches over." Taking an agitated breath, he continued on with his spew on the two culprits of yesterday's events. "It was only because of all the very impressive creations and enhancements she and her research team provided that I tolerated them for so long, but this..." Sitting up straight in front of the camera, Jenson finished sternly. "J said the Administrator... Cyn, I believe? She was apparently something worse than we presumed originally, and I'm very inclined to believe so after yesterday."
"As well as the program tied to the Administrator, the AbsoluteSolver." J clarified before receiving an agreeing nod from Mr. Jenson, standing corrected on his placing of blame.
Raising a hand, Nathan asked about the supposed plans. "Yeah, about this "Solver Project", what do we plan to do about that?"
"Good question, Nate." Tessa replied as she crossed her arms before looking to Jenson and beginning her explanation. "Initially, we were going to investigate the other factories spread across Earth in order to get some more info on the Administrator before things get worse. But, just this morning, it seems someone else saved us the trouble." Just as Tessa neared the end of her sentence, J held up the remote again, tapping a few buttons before the left monitor shifted to show a slightly grainy video onscreen.
The video only showed a single being, a worker drone, dressed in a chrome suit and bearing a set of yellow eyes. Behind them was what appeared to be a vacant room, a few shelves holding many books within them standing still in the back. The drone's visage indicated they were filled with immense anxiety, terrified of being caught as they spoke quietly to the camera.
"I can only hope someone gets this in time, they're gonna be on me once they find out the transmitter screens are down!" Turning the camera, he showed what appeared to be a large factory room, several more of the mysterious conveyor belts like at the factory slotted next to each other. It was hard to discern every detail due to not only the window reflection, but also the dark lighting in the inactive conveyor room. Filming the room beyond, the drone continued. "Dr. Halloway's a madman, he's got more of those stolen drones being brought here and he's going to be overseeing it in the afternoon tomorrow! I've seen what happened back in Nevada, I can't take this any longer! I'm at coordinates ##.######, -###.###### Please, send someo-"
The suspicious, partially scrambled transmission immediately cut off to static, leaving Wade, Tina, and their friends with confused expressions as Tessa spoke up. "Yeah, that caught me by surprise too."
"So, that guy says they got more drones being sent 'there', but... where is there, exactly?" Jasmine asked with immense curiosity.
"I was hoping you'd ask that, Mrs. Fowley." The technician replied as she glanced to J, who tapped a few more buttons on the remote before speaking over her boss-friend.
"While the transmission itself isn't much to work off of, our friends from Comms over here managed to intercept the signal earlier, and even better, discern where it originated from." As J started her explanation, the screen shifted once more to show a large city, with one skyscraper highlighted in red as it was zoomed towards on the screen. "That scrambled audio wasn't a simple glitch, it was intentionally done so as to hide key information for us to uncover. Upon cleaning up the message, we managed to recover a set of coordinates, which direct to this structure here, in San Francisco."
Wade and his friends stared at the building in shock, examining the tall structure as it stood over the shorter buildings in the city. Tina broke the silence in her gaze. "So, this is another factory? It looks... terribly different from the one we got out of."
"Not exactly, Mrs. Fowley." Mr. Jenson answered, Tina and the others looking to him as he continued. "THAT is the Administrator's main laboratory, its location was kept on the down low so other authorities and terrorist groups wouldn't find out what the buildings true purpose was." Sighing, Jenson completed his reply. "But, with this recent mistake of Halloway's, that place has lost all purpose for us at the company."
Wade raised a hand to speak. "So, we're going to pounce on that place? Get Halloway before he runs off again?"
"Exactly." General Hood replied as he looked up to Mr. Jenson. "This whole 'recovery/recruitment' effort has gotten out of hand all across Sol. We've gotten countless reports of people being killed because of this, be it the brutal robberies here in Nevada or the bloodbath on Ceres. Even if Mr. Jenson refuses to cooperate, this has become a dire matter for us now. One way or another, this insanity will be stopped with due haste."
The CEO nodded in acknowledgement before explaining his own plans for the mission. "Speaking of cooperation, upon seeing what was happening at Earth, I ordered a detachment of our corporate starships in orbit at the time to depart for Sol in order to help with investigating the situation. They're not warships, but they are well-armed. I'll dispatch them to your authority upon concluding this call." Glancing to Wade and his team for a moment, Jenson continued. "As for the mission, I may not have much of a say, but let it be known that you have my blessing to do whatever it takes to end this madness. I don't care what you do with Halloway or any of his lackeys, or what happens to that facility down there... I want that program shut down."
"Thank you for the extra hands, Mr. Jenson. We'll make sure this Administrator is dealt with." Hood replied gratefully as Wade sat firm in his seat, Tina and the others following suite.
"General?" The former worker drone said aloud, catching Hood's attention before he made his request. "I know I'm not a soldier, but I want to help with dealing with Halloway and his grunts. After what he did, after losing my brother, I can't rest until I see that man stopped."
Tina raised a finger as well. "As do I, Wade could use a hand with those people, and given how we did during our escape run out of that place, I think the two of us make quite the duo." She glanced to Wade with a smirk as she referenced their combat prowess when flying together.
Nathan and F stood up before the latter gave her own request. "Sir, I wish to take part in this mission as well. I can also recommend Wade for you too, as I fought alongside him during the factory raid."
"Wouldn't mind giving a hand myself! And I'm sure my pal Kurtis would love to help, he's here at the base too!" Nathan added with a confident smirk, the group's determination encouraging Jasmine to stand up as well.
"I'd like to help too." She stated simply, a smile on her face as the general and his companions observed the five guests.
Admittedly, Hood knew it would be a bit absurd to allow these people to take part in an operation which would certainly involve bloodshed, especially considering most of them merely had civilian status at the moment. But, upon careful evaluation of the five, their desire to see this problem dealt with, and the fact that some of them had experience on the field...
He paused his train of thought as Captain Mitchell spoke to him. "General? I read up on the Fowleys' files when we recovered Mrs. Jasmine here, they provided service in their early careers." He smirked to the pilot sisters as he finished adding his say. "And to be frank, we need more people like them here. The records we have of them showed them to be damn fine pilots."
Tina blushed at the praise from Mitchell as she spoke to the general. "That is true, we uh... did get discharged for our... 'fancy maneuvering'."
"Sir?" Jasmine said, the general's attention on her as she added to the conversation. "Even if our flying is a bit out of protocol, Tina saved a lot of people on that starjet a few days back. I can promise you, she's an excellent woman to have at the wheel."
Glancing to Wade again, Hood took in his face, one of begging desperation as he spoke once more. "Please, Sir. My brother, the troops he brought from the Coalition, Halloway's gotten them all killed cause of this. I want to do this. I HAVE to do this, at least for them."
The good general took a deep, quiet breath, considering his decision once more before finally revealing it to Wade and his friends. "Mr. Carter, Fowleys? I'm probably making myself a fool for saying this, but you're permitted to assist us in this mission."
The drone couple contained their gratefulness in the form of ecstatic grins as Wade replied to the general. "Thanks, General. We won't let you down."
"And Mrs. Lee?" Hood said as he glanced to F, who returned the gesture as he told her, "You're technically under Mr. Jenson's authority, whatever his answer is, it's mine as well."
Bringing her yellow-orange eyes to her CEO, F awaited Mr. Jenson's answer. "F, yes? I heard Mr. Hood call you by a different name just now, I assume you have some experience with the army?"
The warrior drone nodded as she explained herself. "I once inherited the name of Felicity Lee, Mr. Jenson. I served under the USN Defense Forces before joining the DD Division." Then, glancing to the military staff near her, she finished with, "I had hoped to provide my enhancements to the Force one day."
Jenson gave a hint of a proud smile as he finally gave his decision. "Well, it seems you'll finally get that chance. From now on, even after this mission on Earth is over with, you're hereby dispatched to serve under the USN."
F admittedly couldn't hide her excited smirk as she flung a salute to her now former boss. "Thank you Sir!"
Looking up to Jenson, General Hood asked the CEO, "Mr. Jenson, how long until your ships can reach Earth?"
Jenson glanced down at his communication console as he answered the military leader. "At max speed, their Ion drives should be able to bring them into orbit in as little as one to two days. I believe there should be some ships within the system that could help as well."
"Signal them when you can, Mr. Jenson. We could use all the help we can get from them." The CEO nodded to Hood as he stood firmly to the viewer, the general turning to face Wade and his colleagues. "And Mr. Carter? We'll be mobilizing our forces immediately after this meeting concludes. It'll be a minute, but I want you to gather whatever items and belongings you'll need for this operation. Be ready to head to the flight pads in no more than three hours."
"Understood Sir!" Wade said with a salute, Tina, Jasmine and Nathan giving their own as Jasmine raised a finger.
"What about the area around the lab? That place looks like it's in the middle of the city."
J raised a finger as she told Jasmine and the others about their resolution of the civilian obstacle. "Shortly after reporting our findings on the transmission, Hood told us that they were sending in some teams to clear out the civilian population within several miles of the facility. Once we get there, it should be of no concern."
Jasmine sighed in relief as Tina spoke up. "So the people should be safe from any sort of danger?"
"Correct, Mrs. Tina." Preston answered before continuing. "Given the resistance Halloway and his men showed during the Coalition's raid, they most certainly won't hold back there."
"One more thing, Sir." Nathan asked. "The Coalition's going to help us out with this too, right?"
"You can count on it, Mr. Nathan." The Vickers' captain replied as he looked to J, then to Jenson as he spoke further. "I met the leader of the Coalition's detachment working with us when I was introduced to J and Mrs. Elliott here, they intend to see this conflict finished. I highly doubt they're willing to sit back and let us do this by ourselves."
"And their help will be much appreciated." Hood added, everyone's attention returned to him as he looked to Tessa, curious eyes scanning her holographic form. "And Mrs. Elliott, if I may. Do you mind heading down here to assist us in our investigations later on?"
"Funny you say that, General. I'm almost done with my own snooping around on the JCJ up in orbit, Cyn has some small departments of hers aboard, and I thought I'd gather some more intel before coming down." Glancing to Mr. Jenson, she saw him giving an understanding nod before returning her gaze to the military staff. "I should be down there by the evening, judging by where you're located."
"Do what you must, Mrs. Elliott. We could use whatever you find." Hood replied firmly as he turned once more to the JCJenson CEO. "Thank you for your time, Mr. Jenson. We will get to the bottom of this."
"It's my pleasure, General." Glancing to J and Tessa, he spoke to them once more. "J? Contact me when you've finished with Halloway and his Administrator."
"It'll be done, Mr. Jenson." The obedient servant answered before saluting firmly, receiving a final nod from her boss before he ended the transmission.
With their off-world guest out of the way, Hood looked to Wade and his friends, J, Tessa and Captain Mitchells sharing the gaze with them as the general spoke to them in finality. "Well, you know what comes next everyone. You're all dismissed for now. And remember, landing zone by 1300."
"We'll be there Sir." Wade said with a nod as he and his friends stood up, pushing in their chairs before making their way out to the door.
As they neared it, Wade stopped for a moment as they heard Hood call to one of his friends. "And F?" The soldier drone looked to the general as he continued. "Before we depart, would you mind changing your uniform? I believe it could help with identifying you from the other disassembly drones more easily." Glancing to J, then back to F, he finished with, "I recall hearing about the most formidable drones having clones prepared, yes?"
"Correct, Sir. I'll stop by the nearest barracks while I can." F replied before turning back to the door with her colleagues, Wade opening the door for them all as they passed through. After them, Wade passed through himself, shutting the door to the meeting room as he returned to the lobby.
Walking about together, F spoke to Wade and the others. "Well, that went smoothly. I'll be heading down to the barracks, then head over to your place to help out."
"Actually," Wade replied, raising a finger up as he asked his fellow murder drone, "You think you could bring your friends over? We could get to know each other while we're getting ready."
F glanced to Nathan with a smile before returning her eyes to Wade. "I could see about that. You're gonna like them, I can promise you that."
Taking Tina's hand, Wade walked with his girlfriend alongside Jasmine and the others, nearing the hallway they came through as they prepared for the walk back to the apartment.

This is pretty light hearted imo (Also I have literally never posted on Reddit, lmk if I need to change this post in any way!)
So I follow the Tumblr AITA blog and recently there was a post from a film bro. He was asking if he was an asshole for calling his coworker stupid for liking Avatar (the blue people one).
To summarize his initial submission, he gave brief information on how he and his coworker (emphasis on him calling this guy his coworker) had movie nights. He made a point of saying his coworker had terrible movie taste which was why he often chose movies. This one time, though, his friend suggested watching Avatar.
This dude DESPISES the movie. Enough that, when his coworker gave reasons for why he liked the movie, this dude called him stupid. Multiple times. And then got into an argument bad enough the coworker slept on the couch. I'll get to that in a second.
Dude was very clearly expecting Tumblr to be on his side.
When I say this guy was an asshole, I'm saying that around 97% of people voted him an asshole. The poll ended recently, but the guy decided to make a response post. The AITA blog will usually reblog additional info posts, but this guy for most of this response was antagonizing the people who called him an asshole (myself included - some of the comments he addressed I had made in my initial judgement). He also doubled down on his friend being stupid because of having a bad taste in films.
The ONLY reason the AITA blog reblogged the response is because he - very briefly - clarified the couch comment.
Apparently, the guy wasn't just his coworker. He was his roommate too. (He never clarified if they share a bed.)
This is where I decided to be petty.
At the end of his response post, he claimed that people online couldn't think critically. And something about just how insufferable this guy was, not only in how he talked about media, but how he had no remorse for how terribly he spoke about and to his friend.
So me, being an English-loving and majoring college student who has been feeling a void at the lack of essays I have been required to write now that classes are out, decided to write a critical analysis of the post.
I initially focused on the response post, figuring that I would just implicitly write about the initial one. He had bullet points of the various comments the Tumblrinas made so I bullet pointed my analysis too. - I spoke about EACH of the points he made. - I applied rhetorical analysis to his response and, eventually, his initial submission (because this man did not comprehend that people were not, in fact, just mad at him because he disliked Avatar). - I analyzed the hell out of his tone. - I quoted exact sentences from the post to analyze specifically. - I CITED which paragraphs the sentences were from. - I brought in STATISTICS - twice! (I wasn't expecting this when I started writing the analysis, but got excited when I realized I could include it.) - I wrote a CONCLUSION too!
This man implied he wanted people to think critically about his post. So I chose to do a critical analysis of it.
I don't know, I stumbled upon the response late at night and the small idea to point put flaws in the logic of the response spiraled into an essay on a Tumblr post. But I actually did have fun! It's only been a couple weeks since classes ended, and while essays aren't the most fun, I've found myself missing doing critical analysis essays.
My professors and high school English teachers would be so proud. But also so sad that I never spent this much effort on my essays but spent it on a post the op will likely never read :')

There's this movie/show that keeps showing up on my YouTube shorts, but I can't ever find the name of the film! There were two alien girls, one was wearing a blue hat and a bandage over her nose, some guy said she was appropriating his culture, then the friend dragged her to the bathroom to do a makeover (I assume), a girl walks in the bathroom and sees the alien girl without her hat, and starts screaming. The short ends there. I saw another short from the same film (I think. Unless they combined two different films on one short)- where a barista sees a lady with her man, leans over and gives him an Upvote, pressing tge up arrow on his shirt. Barista says "i hope thats not too forward" while she oogles him with her eyes. Some other lady showed up at the coffee shop and the barista told her to go somewhere else because she didn't have enough upvotes. The customer said she had already been to 5 other shops, begging the batista to just let her get a coffee. The short then cut to the two alien girls mentioned above.
Please help me find this film, I've been wanting to watch it for several weeks now but can't even find it in my YouTube history!

Hello! This is something I have been wanting to do for a while!
Hans is an interesting character, and one no one can really agree about. He pretty much has been forgotten about in recent years, with the only thing being talked about is how he was a bad twist villain. People say his reveal just has him change personality all of a sudden, and that there was no hints before.
Well, here is all the things I have found out and observed about Hans in Frozen, that do in fact reveal him as a villain way before he refused to kiss Anna!
Fact number 1!
He is based off of the Evil Mirror!
Every character in Frozen is based off of someone in the Snow Queen book. Elsa is obviously the Snow Queen, while Anna is Gerda, and Kristoff is supposedly the Robber girl. Interestingly, they all represent Kia in some way. Elsa has his character journey, while Anna gets his curse, and Kristoff is a boy.
With Hans, he is based off of the Evil Mirror, and how they did this, was to have Hans reflect the personalities with the people he is with. With Anna he is bubbly and excited. With Elsa he is regal and somewhat somber. And with the Duke he is annoyed and quick to anger. He also is scared and worried with the villagers.
Here is some examples showing these character shifts.
When Anna and him go to ask Elsa for her blessing on their marriage he is all giggly and hyper with Anna, but then he switches to Elsa's personality and becomes regal to try and convince her. He even speaks more proper "Your majesty, if I my ease your...".
Then with the next scene after Elsa runs away, he is worried like Anna, but when they confront the Duke who is freaking out, Hans shifts between the two. He is defensive of Elsa like Anna is, and a little goofy still with her, but then he quickly gets irritated with the Duke just as the Duke is also very irritated with Anna and believing Elsa is a monster.
He better reflects the Duke later in the movie when we see Hans helping the villagers. With the villagers he has a very worried air about him, but as soon as the Duke starts talking to him, he immediately gets annoyed and then angry, matching how the Duke is acting.
All of these character shifts keep happing through the rest of the film until he reveals his true personality to Anna.
Fact number 2!
The Chandelier!
When Hans and the solders reach Elsa's castle, Hans actually tried to kill Elsa here. When Hans stops Elsa from killing the Duke's men, by saying "Queen Elsa, don't be the monster they fear you are". Elsa stops and lowers her guard. We then see from Hans' perspective and he notices the guy pinned to the wall raising his crossbow to kill Elsa. Then, for a brief moment we are shown Hans' face and he looks up before he runs to the guy to try and stop him. Hans runs over and grabs the crossbow and aims it up, shotting, the chandelier. Hans had noticed the chandelier was right above Elsa, and he attempted to kill her with it while making himself look like he had tried to save her.
Fact number 3!
Hans is a chameleon!
Not literally, but when asked about Hans, the directors called him a chameleon, because he quickly adapts or blends in to situation. Most villains have a plan that they use to manipulate the hero's with. They are usually the ones in control. But Hans never has a solid plan, and he is constantly having to change tactic due to Anna and Elsa's decisions.
His initial plan was to try and woe Elsa into marrying him. But, as Hans said later in the movie, "nobody was getting anywhere with her". So he switched over to Anna, with plans to kill Elsa later. This is actually visually shown with his clothing as well. When Anna first meets Hans, he is in a blue shirt and pants, with a purple scarf tie on his neck. This matches Elsa perfectly, showing he was going after her initially, but then when we see him again he is wearing something that matches him with Anna.
But then Elsa's powers are revealed and Arendelle is cursed. Hans plan changes to trying to get the people on his side, and making Anna and Elsa look bad. He apparently let Anna go alone so that he could later take the army up to Elsa's castle and try and make it look like Anna and Elsa were conspiring to destroy Arendelle when the people see them together. With the people, he tries to act good and caring, like a good leader, and is constantly trying to act like the good guy. Constantly saying they are not to harm Elsa, because he wants to come off as noble and like he is always giving her a chance, because despite Elsa having just cursed the land, she is still Arendelle's queen and the people still love her, they are just confused and worried about what she is doing. So Hans tries to paint himself as benevolent, waiting for Elsa to slip up, either by refusing to lift the curse, or by hurting someone.
And this tactic works. Later in the film, Hans says he will go look for Anna, but he is stopped and told that if Anna is dead, he is all Arendelle has left. Then when Anna comes to him to cure her frozen heart, Hans' plan changes for the last time. He knows he cannot save Anna because he does not love her. But he no longer needs her. He has gotten the admiration of Arendelle, and now he also has a good excuses to kill Elsa. So he locks Anna up, and gets the final confirmation that he is in charge now, by saying Anna is dead and she married him right before she passed away. Finally having full control and because everyone believes Anna died because of Elsa, Hans condemns Elsa to death.
Fact number 4!
"Love is an Open Door" shows how manipulative he is of Anna!
Now, Hans was always going to have a song that showed that he was not right for Anna. Originally it was a song called "Your You", and it was meant to sound like a love song that Hans is saying to Anna, but he is constantly mocking her throughout it. The creators felt like it gave away to much so they created "Love is and Open Door".
Now, I am no song writer or experts, so these are just my opinions on what and where it shows that Hans is just using Anna.
Him saying he has been searching for his own place, and then gesturing to Arendelle, is a big one a lot of people point out. Another one is also how they sing out of sync for most of the song as well, showing how they are not actually compatible or synchronized with each other.
What I noticed however, is that whenever Anna leads the song, they are compatible, but when Hans tries to lead, Anna always says something wrong. The biggest one is of course Anna saying "Sandwiches", to which Hans quickly brushes it aside and acts like that is what he was about to say. But recently someone also pointed out that there is a part where Hans says "You", and Anna replies with "And I", and they both say together "Were just meant to be". Now, if you did not notice why this is a clue, like I did at first, pretty much they both say Anna. Hans saying "You", is referring to Anna, and Anna saying "And I" is just referring to herself. The lyrics are not saying Anna and Hans are meant to be, it is instead saying Anna and Anna are meant to be.
The only time Hans takes the lead and it works, is at the very end, where he asks Anna to marry him.
Outside of the song, there is some other hints of manipulation before as well. Apparently the line "I would never shut you out", is very manipulative. Anna is acting vulnerable and telling Hans the hurt she has over Elsa shutting her out. Hans takes this sad topic in Anna's life, and tries to make himself look good, by telling her that if she is with him, he won't act like that. He does not tell Anna he is sorry that her sister seems to ignore her for no reason, nor does he try to help Anna figure it out, by suggesting that perhaps the burden of one day being queen made Elsa feel like she needed to grow up quicker.
Fact number 5!
"You can't marry a man you just met".
This is actually something I never see anyone talk about. Anna is immediately mocked and educated about trying to marry Hans to quickly, but not Hans.
See, we all know why Anna is so quick to try and marry Hans. She has been locked up all her life and barely knows how the real world works, or even how to make real relationships with people, whether it is friendships or romance. Hans is the first person in her life and she is clinging onto him. But what is Hans' excuse? He was not locked up all his life, and he clearly has seen the world and knows how it works. He even came as a representative of the Southern Isles. But he is rushing his engagement with Anna. He could have asked if they could start courting, but he immediately jumps to engagement.
Hans is 24 in the film, and Anna is only 18, yet no one questions Hans in trying to marry Anna immediately after meeting her for just a day.
Downsides
Is Hans actually a really well thought out villain? No, there are a lot of problems with many of my points. Hans being based of the Evil Mirror, while cleaver, is not really something people would know unless they looked it up, not like the rest of the cast and how it is clear who they are supposed to represent. It is also not that clear as Hans does not have much screen time, so his character shifts are not all that noticeable noticeable.
Then there is his plan. It was never going to work. Even if he managed to marry Anna or Elsa, he was never going to be king, just a prince consort. And then even if he killed Anna and Elsa, then Arendelle would go to one of their relatives, and not to Hans.
And of course, Hans smiling nicely after Anna, after he fell into the water. A lot of people think this shows that Hans was initially good or in love with Anna. After all, no one is around, so there is no point on keeping up the act.
This scene makes it seem like the creators are just trying to trick the audience. But that is giving the audience false information about Hans' character, so it is bad writing.
My theory is that Hans has always acted like this to survive. He acts like a kind and harmless guy because as the 13 in line, he really has no power or influence, so he has to keep on peoples good side. But, as the story continues on and Hans gains more power and influence, his true personality finally comes out.
But of course, this is only a theory and I don't really have evidence for it.
There is also the question of if he wanted Elsa dead, why did ne not just let the guy shot her. My guess is that if Elsa died there and the eternal winter was over, then that guy would have become the savior of Arendelle and not Hans. So Hans tried to act like he was trying to save her. still does not make that much sense, because if she died by the chandelier, the credit would still go to the guy and not Hans.
Conclusion!
I think Hans is a really good and thought-out villain! at least much more then people notice or give credit for. He is not perfect and there is a lot of flaws, but he is also really cleaver and maybe with a few tweaks of the story, could have been great.
Well, that is all I have to say for the moment. What do you think? Do you like Hans and did you learn anything new about him from this?