So I was listening to a podcast by comedian Andrew Heaton (X), and he had a very interesting episode examining people's nostalgia for the American 1950's complete with humorous skits. For illustration's sake he assumed 50's America was another country called "Fiftiesland" and compared it's stats like GDP or live expectancy to Modern America. He conclude that a lot of the nostalgia came from how many astonishing improvements happened between 1900-1950 vs 1950-2024, even though Modern America is superior in almost every metric.
At the end he had a long monologue where he was trying to explain to his fictional Grandma Edna Bickle, born in 1889 and elderly by the 50's, what it'd be like in the future compared to how she grew up. Imagine trying to explain Netflix to someone who grew up with a radio.
It really demonstrates, in a lighthearted way, just how far we've come in ~125 years.
So imagine how astonishing the world will be in another 100, 300, or 500 years...
Anyway, it's a bit of a read, but I thought some of you all might enjoy it and Mr Heaten was nice enough to send me the transcript. Enjoy!

My great grandmother, Edna, was born in 1889. My Dad and I were recently reminiscing about her, and he said, “Gramma Bickle, tough old bird, tough old bird. Went blind at ninety-two, quit driving at ninety-four, died at ninety-six. Almost lived in three different centuries.” I have some immediate questions about that chronology, and the realization that Gramma Bickle apparently drove her car blind for two full years before handing her keys in, but I digress.
In 1954 my great gramma Bickle was sixty-five years old. Think about how the country changed from her childhood to her golden years. From when she was born, to a little younger than my parents are today, she saw an entire country go from horse and buggies and pretty much nobody owning a car, to almost everybody has a car. Only six percent of the homes in America had electricity when she was a teenager. By the mid nineteen fifties, the whole country is throbbing with electricity.
In her lifetime, the country went from basically no light bulbs, radios, telephones, refrigerators, or washing machines, to a country where all of that stuff is ubiquitous.
In the year 1900, only ten percent of American households had a stove in them. By 1960,--when my great grandmother is the same age as my parents are now—95% of households do. When she was born, anti-biotics didn’t exist, and polio could cripple your baby. By the time she’s my age, penicillen—a miracle drug!—has been invented. By the time she’s my parents’ age, penicillen is widely available and some genius has recently invented a polio vaccine.
So, if we’re looking at Fiftiesland as a country around today, here’s what’s going on. All of the old people in this country, in their lifetime, went from a horse-and-buggy 19th century third world economy with polio and no electricity—something that, if it existed today, we would be sending anthropoligsts to—to a more modern second world economy perhaps akin to contemporary Guatemala. Which is no small jump.
And the people my age who live in Fiftiesland are still celebrating kicking the crap out of the Nazis, inventing the atom bomb, and enjoying an economy which is comparatively booming—because all of the neighboring economies are rubble.
If Gramma Bickle, at forty years old, my age now, could somehow visit me in contemporary America—she would think I made a pact with Lucifer, the Prince of Darkness. Or maybe, maybe her progeny somehow goes on to conquer Oklahoma as warlords, and all her great grandchildren become opulant Oriental sultans.
I have an icebox in my kitchen that’s powered by lightning that lives in my wall. I have another smaller box that makes my food hot by shooting it with invisible particles like the ray gun from War of the Worlds.
Not only do I let my dog sleep in a tiny bed inside my house, like a toddler, we just finished up a round of antiobitics from when he cut his foot. My great-grandfather—this is true—lived with tuburculosis for years before it finally killed him. Anyway, see that dog I make wear a necktie for my amuesment? Yeah, my dog takes miracle drugs unavailable to John D. Rockefeller. Last year Wallace got elbow cancer but the doctor fixed that, no problem, took a couple of months. Wallace literally has better medical treatment available to him a mile from my house than any human being alive in 1950.
Gramma, you wanna watch Netflix, Paramount Plus, HBO, Peacock, or Amazon Prime? It’s television. Well, television is sort of like radio, only much better, and with images, and I can watch it whenever I want, and there are thousands of options. Like, imagine Broadway, only, like, a few thousand of them, and they’re all inside of that rectangle.
Huh, yeah, I’m not explaining that very well. Right. Okay, so you know how in your time you know multiple people who were literally slaves at some point in their life? Like, you personally know some older people who were, at one point, legally a form of property?
So basically, I have this glass rectangle on my wall that a million of the world’s greatest comedians and dramatists live inside of as my slaves, and they put on plays for me when I’m tired after work. Except I don’t have to feed them or pay them because I use my friend Nick’s HBO account. They just eat the lightning that lives in my wall.
What? Oh yes, I get very tired from work, Gramma. Really get [sigh] worn out, you know? Well, you know how your dad was a wheatfarmer, who spent hours and hours plowing through dust and boneshards in Indian Territory, where he might literally be shot by a Commanche, and the threat of looming starvation for the entire family was never more than one drout away?
Right, so I… I talk for a living. Yeah, that’s right. No, a bunch of strangers just sort of send me money every month cause they enjoy hearing me talk. It’s actually very challenging. Because! Gramma, I do a lot research, you see. Like for this episode, I had to read a lot, and I had to do a lot of math. No, I did not personally do the math.
I have another magical rectangle that has several thosuand math slaves trapped inside that do the actual math for me. When I was a kid I had to perssonally punch the equations in myself, and the rectantle would crunch the numbers. Those were hard times. Now I have a smarter glass rectangle that I can just talk to. I just type in, “Hey, average these ten numbers, okay” and there’s, I dunno, like translater slaves that talk to the math slaves, and they all figure out whatever I’m trying to say, increasingly in lower case and with minimal punctuation, and then give me the answer.
But I have to do the research. Like, I have to read a lot. No, I don’t go to a library. I have another rectangle that has all of the world’s libraries inside of it, and also a lot of pornography, so I just stay at home and look at that particular rectangle, alteranting between research and pornography depending on my mood.
It sure is tough, Gramma. I don’t have any coworkers to keep me company. I’m all by myself here in my well-lit, smokeless, air conditionined home. That’s right, air conditioning! Not just in my house, either—in my camper—which is a tiny extra house I tow behind my armored, self-propelling buggy, which I feed fermented dinosaur juice they pump out of the ground. Oh yeah. It has a rectangle in it that plays music. I’d say I have roughly… three to eight million musician slaves who live in the rectangle in my car, so I don’t get bored when driving to the movies, which is a very large rectangle I go to when I’m tired of watching rectangles on my couch.
What? Good question. It’s called a “camper” because I go camping in it. It’s sort of my hobby. You see, Gramma, my life is so stupidly cushy and comfortable that I amuse myself by going out into the woods to forego wall lightning, air conditioning, and even pornography sometimes, when I can’t get a signal, and instead I sit in a hammock and shit in holes I dig for fun. We call that “roughing it.” For sport, I spend hundreds if not thousands of dollars doing what your entire family did their entire lives until they finally got indoor plumbing, except of course my camper has a propane stove built in, whereas your pioneer family had to dig a hole in the side of a hill and cower in it from the weather like cavemen while burning cow dung for warmth. I dunno where propane comes from. Probably dinosaur farts or something.
Anyway, I prefer to travel around in my camper rather than fly—that’s right, fly—yeah, like a spitfire pilot—which I do multiple times a year using frequent flier points. Which are sort of free, imaginary coupons that banks give me to thank me for using their credit cards, which are also rectangles, but these particular rectangles are small and flat and full of slave bankers that live in my pocket, next to my nine-billion dollar super computer I mostly use as a map, so I don’t have to go through the hassle of folding and unfolding maps, and also to send funny pictures to people in Scotland, in between watching porn in the woods.
I digress. Let’s all take a deep breath. Somebody from my great grandmother’s generation, who lived long enough to be an adult in Fiftiesland, would rightly think: We live in a golden age! We live in the future!
Back in contemporary America, my parents are in their early seventies. My parents today are about how old Gramma Bickle was at the end of the 1950s. And the jump isn’t bad, but it’s not nearly as mind-blowing. The developments they’ve seen since childhood are very impressive in terms of computers and telecommunications and medicine, but otherwise, the world they live in is a more efficient, clever version of the world they grew up in. Cars are safer and more comfortable and fuel efficient, but they’re still basically cars. LED lights are cheaper than incandescent bulbs, but they’re still essentially electric lights. Penicillan is better, but it’s still just clinical mold that strategically murders errant bacteria.
If Fiftiesland were a country, rather than our own history, we would pretty much look at it sort of how we see the poorer parts of Latin America or Eastern Europe: a very nice place with lovely people, wonderful to visit, try the food. Get some funky vintage clothes while you’re there.
But a comparatively poor economy to America or Western Europe. You wouldn’t want to immigrate there for the money. And also, not surprisingly, some views about gender, sex before marriage, having kids really young, having lots of kids, and skepticism about homosexuality that a globetrotter and even quite a few conservatives today might be tempted to call “quaint” or “traditional.”
Basically, if Fiftiesland were a country today, we would view it like Honduras or Moldova, or maybe Czechoslavkia after the wall came down.

I just started medication so I’m still discovering a lot of its impacts.
Usually I have a very active and vivid imagination.
For example, I will hear a sound in the room and it will trigger an invented melody or even harmonies in my head. I hear music all day long and it also triggers images/scenarios. I have also “practiced” immersive day dreaming as far as I can remember. And I mean IMMERSIVE.
I usually picture invented situations, using characters and topics I’m very interested in, often with what I perceive as complex music. The daydreaming used to be maladaptive (I would miss school, not do my work, get late to events and not sleep/eat/rest. It involves pacing in the room, mouthing dialogues and a lot of jumping and some running.) I could daydream for 8 hours in a row, which is of course very bad. Nowadays I considered my daydreaming immersive but not maladaptive, for 1-2 hours a day for my entertainment.
I love daydreaming, it sometimes gives me sad feelings if I’m in a bad place, but 90% of the time It’s giving me very intense joy, because I daydream about things I’m so interested in. I don’t see time passing when I do it and I can struggle to get out of it and go on with my day. It feels the same as hyperfocus to me.
I also daydreaming all day long while I do other things. My mind is effectively doing two things at once. I thinks it helps me not getting bored when I’m doing it alongside something else. Still this daydreaming is immersive as well and I sometimes need to take breaks in what I’m doing when I’m getting too interested in the dream, then I go back to “multitasking”. I think it makes me less efficient in my everyday tasks, it distracts me and makes me slower even though I enjoy it. And it feels out of my control to an extent.
Since I started the medication (one week ago) it just stopped! I also feel like I struggle much more with audiation and picturing things in my mind. Don’t get me wrong , I can still get lost in my thoughts, but it’s mainly a single monologue and much less vivid pictures/sounds. Even though I miss the experience, it has helped me to function better.
I got diagnosed recently so I have some questions:

1. Is this type of daydreaming common in most people?
2. If not, can it be an adhd symptom ?
3. Has anyone stopped or greatly reduced daydreaming on medication ?
4. If I stop the medication in the future, will I be able to daydream vividly like I use to/ go back to my old self?
5. Did your perception of music change on medication ? I feel like I was able to dissect the music and follow a lot of the separate voices composing the harmony. I never had to work or train for it. But now I hear music more as a « block » if that makes sense? I truly don’t think I’m imagining this, it feels like my brain is prioritising the global sound instead of perceiving several details at once.

Or does that detract from others’ enjoyment? Does that even matter these days? Does your answer depend on whether it’s “Miss Saigon” or “Grease The Musical”? If so where do you draw the line?
EDIT: My faith in the ability of people to be respectful and decent has been greatly improved by the unanimously respectful and decent responses to my question. I agree entirely. Thank you.

Like i said, i can't hear the weather sounds in True Storms, only the interior sounds. Any help would be greatly appreaciated.
My loadorder:
# Automatically generated by Vortex
*WorkshopFramework.esm
*BakaFramework.esm
*HUDFramework.esm
*TrueStormsFO4.esm
*DressupA.esl
*NoraSpouse.esm
*Skb-MinigunsRebirth.esl
*PAHeavyImpact.esl
*PhotonDisruptor.esl
*CellRespawnMod.esl
*Legendary, rearmed.esl
*AutoAxe.esl
*Depth of Field Removal.esp
*Vertibird Minigun Replacer (Flak Gun).esp
*ImmersiveScalingNONAWKCRTweakedESP.esp
*LvScaling.esp
*Any Armour on Any Clothes - Legendary Edition.esp
*FaceMaxson.esp
*Squirrels_of_the_Commonwealth.esp
*DeadlierDeathclaws.esp
*EquilibriumWeapons.esp
*LegendaryCloth.esp
*Simple Ballistic Weave Expansion.esp
*W.A.T.Minutemen.esp
*GhoulBlood.esp
*Skb_RiflesRebirth.esp
*Backpacks of the Commonwealth.esp
*Zapgun.esp
*Mk41GyrojetHMG.esp
*Glock86.esp
*EG7.esp
*Liberator.esp
*ChinaLakeandHolorifle.esp
*CorvalhoWidowShotgun.esp
*F4NVServiceRifleRedux.esp
*Skb_MachinegunsRebirth.esp
*BeastWhisperer.esp
*EFF.esp
EveryonesBestFriend.esp
*DanseHelmet.esp
*Rangergearnew.esp
*Respawnable Legendary Bosses.esp
*WattzLaserGun.esp
*Hard Legendary Giant Creatures.esp
*ClassicSniper.esp
*M1Garand.esp
*M2045MagnumRevolverRifle.esp
*DualGun.esp
*StealthSuitDrk.esp
*MTs255.esp
*PuntGun.esp
*Punt Gun Unique.esp
*SelectRevolver.esp
*F4NVRechargerWeapons.esp
*smmg.esp
*HuntingShotgun.esp
*BullpupBozar.esp
*GaussRevolver.esp
*9x39Project.esp
*3dscopes.esp
*DP_CaravanShotgun.esp
*libertyprimecompanion.esp
*T65PA.esp
*ChildrenofBunkerHill.esp
*PrivateVertibird.esp
*SelectRapidMG.esp
*SelectShotgun.esp
*Automag.esp
*HuntingRevolver.esp
*Allow Companions Into The Institute.esp
*CROSS_BreakActionLaser.esp
*ExcavatorPA.esp
*RedShiftPowerArmor.esp
*River_Memorial.esp
*Extended Grenade Timer 10s.esp
*DV-Very Durable Vertibirds.esp
*DV-Armored Pilots.esp
*RaiderPAChopShop.esp
*FIS-Naming-Weap-Armo-EN.esp
*Animated Drinking.esp
*ImmersiveAnimationFramework.esp
*IAFBeerPatch.esp
*TrueStormsFO4-FarHarbor.esp
*DarkerNights.esp
*TrueStormsFO4-NukaWorld-FH-Compat.esp
*NoThirstyChemsPlus.esp
*Leah's Partial Chems.esp
*IAF - Far Harbor & Nuka World.esp
*TrueStormsFO4-EarlierSunsets.esp
*TrueStormsFO4-EarlierSunsetsFH.esp
*TrueStormsFO4-FarHarborExtraRads.esp
*TrueStormsFO4-GlowingSeaExtraRads.esp
*Tactical Flashlights.esp
*Tactical Flashlights - Settings.esp
*Binary Pickpocket Overhaul.esp
*Child Posters.esp
*ChildrenofGoodneighbor.esp
*Orphans.esp
*Higher Female Children Voice.esp
*vertibirdgrenade.esp
*G3Family_308CalEdit.esp
*Crimsomrider's 1950s Feminine Outfits.esp
*RiotShotgun.esp
*Riot Shotgun - Unofficial Update.esp
*SlowTime.esp
*No Aggro Impact Landing.esp
*FO4CorpseCollector.esp
*DD_Khassar_De_Templari_Increased_build.esp
*WestTekTacticalOptics.esp
*WTTO - Colour Targeting HUD.esp
*BrighterSettlementLights_ExtraBrightv1.1.esp
*Better Explosives.esp
*BrutalDeath.esp
*WestTekTacticalOptics - WP.esp
*WestTek Add-On.esp
*Better Thermal Vision.esp
*Pipboy For Everyone - All Dlc.esp
*Pipboy For Everyone.esp
*PIP-Pad.esp
*AlexSleevePatcher.esp
*MoleRatCure.esp
*TurretStands.esp
*Passthrough.esp
*Skip DIMA memories.esp
*SelectBlaster.esp
*Fatman_Targeting_Computer.esp
*SelectMarksman.esp
*RobotFactionPaint.esp
*Hellfirenew.esp
*HX3_HeadLampPatch.esp
*T-51.C Advanced Computer System 2.0.esp
*ExoticWorkshopCreatures.esp
*BeastMaster_ExoticCreaturesPatch.esp
*Quantum Deathclaws V1.1.esp
*Better_Settlement_Defence.esp
*ArtilleryFlare.esp
*ArtilleryInstantsuper.esp
*300%NoShadows.esp
*Pinkhl200%NoShadows.esp
*Yellow200%NoShadows.esp
*Pipboy For Everyone - PIP-Pad.esp
*Beastmaster Quantum deathclaw fix.esp
*Unique Mythic Deathclaws Redux.esp
*LuckyLoot.esp
*JugerOverhaul.esp
*EnclaveX02.esp
*Insignificant Object Remover.esp
*Any_Terminal_at_Any_Height.esp
*ITPCC.esp
*ExpandedCommonwealthAnimalEncounters.esp
*Rusty Face Fix.esp
*BE_Enhanced Grenades.esp
*Better Explosives - Grenade Frequency 15.esp
*CROSS_GoreCrits.esp
*CROSS_GoreCrits_FarHarborPatch.esp
*CarryWeight25Strength.esp
*CarryWeight500.esp
*ChinaLake_1.5xDamage.esp
*Holorifle_1.5xDamage.esp
*M1Garand-2xDMG.esp
*OWR.esp
*OWR_CraftableDecor.esp
*OWR_CraftableDecor_CW.esp
*OWR2.esp
*OWR2_CraftableDecor.esp
*OWR2_CraftableDecor_CW.esp
*WinchesterP94Balanced2.esp
*WinchesterP94PlasmaTweaks.esp
*SimpleCombatGrabs.esp
*P220.esp
*3dscopes-9x39project.esp
*3dscopes-bullpupbozar.esp
*3dscopes-classicsniper.esp
*Yona_Weapon_DefenseGun.esp
*3dscopes-defensegun.esp
*3dscopes-gyrojet.esp
*3dscopes-holorifle.esp
*3dscopes-huntingrevolver.esp
*3dscopes-servicerifle.esp
*3dscopes-wattz.esp
*WD_44.esp
*RSh-12.esp
*Realistic Death Physics - ALL DLC.esp
*Pet - Call -Feed Dogmeat.esp
*Marmo1233 - PowerArmorAirdrop.esp
*More Durable Power Armor - 75%.esp
*Chainsaw.esp
*NoRailRoadBallisticWeaveCPL.esp
*zNechi-KeepCompa.esp
*PoisonerLGND.esp
*ImmersiveScrapping_SeasonPass.esp
*InstitutePowerArmor.esp
*BallisticFiber.esp
*FO4Hotkeys.esp
*Fashionable Valentine.esp
*PushAwayCompanions.esp
*Classic And Funny Death Narriations (Memium).esp
*Death Camera Time (60 seconds).esp
*Companion Infinite Ammo and Unbreakable Power Armour.esp
*Craftable Cyrocells.esp
*AutomaticallyTurnOffTheRadio.esp
*BlockingOverhaul.esp
*CROSS_Cybernetics.esp
*CROSS_Jetpack.esp
*CROSS_Blades.esp
*CROSS_BrotherhoodRecon.esp
*CROSS_CryoLance.esp
*CannonballCrafting.esp
*Archimedes-II.esp
*AA Better Companions - No Conflicts.esp
*BossChestsHaveLegendaries.esp
*AVBPipeGunsReplace.esp
*GreaseGunSMG.esp
*Quad_Accelerator.esp
*Liberty_PA.esp
*AVBSPRifle.esp
*AnimChemRedux.esp
*ChameleonAndStealthFixes.esp
*Chemfluence AI Combat Dynamics.esp
*CriticalHitsOutsideofVATS.esp
*Combat Music Fix - FO4 Edition.esp
*spacefiddle_Follower-Stealth-Distance-Fixes.esp
*CompanionTracker.esp
*ClassicSniperSounds.esp
*Crimsomrider's Likable Strong.esp
*cryofix.esp
*DLC ammo.esp
*MGRemesh.esp
*DogmeatHelmetsAndHats.esp
*CurieFSO.esp
*HeavySelectShotgun.esp
*HuntingRifleSounds.esp
*ImmersiveDogmeat.esp
*K9TacticalHarness.esp
*zNechi-KeepCompa-Deacon.esp
*16xFusionCore.esp
*MAKE IT BUN DEM - 10dps for 60s.esp
*MAKE IT BUN DEM - Incendiary Effects 10DPS.esp
*NPCs Use Items.esp
*NoraSpouseFarHarbor.esp
*PowerArmorVoiceChanger.esp
*ProperInvisibility.esp
*RealThrowingWeapons.esp
*AKSounds.esp
*Smoke-able Cigars.esp
*Sneaky Kills.esp
*SilverShroudCallingCard.esp
*SimpleFinishersRE.esp
*StealthySilverShroud.esp
*StealthSuitVoice.esp
*UNnaked Power Armor.esp
*TCContender.esp
*Pacifying perks Tweak.esp
*pipboyspotlight.esp
*NCRMaskLampFix Flashlight AllVer.esp
*InteriorsEnhanced-All-In-One.esp
​

TLDR: Felt emotions in monologue song, gush about this years season.
Just started the song and got to Boyz to Men. When he started I thought it was fake. But my man sang Boyz 2 Men and fucking KILLED IT while establishing he is the last HOST before the 50th.
Got half way through the song and had to pause and write this stupid paragraph cause honestly, Good on ya Jake, you always kill it, followed an uncensored skit from John Austin Jones about Trump and just killed it and had so much fun.
This is long cause I have really enjoyed SNL this season, like a lot. Like I look forward to the episode. Because it's Live. It has people mostly on it that want to do a good job. They have musicians on it that mostly want to do a good job. Chris Stapleton? Are you kidding me. Want to finish just saying to me, SNL is fully back and every episode I look forward to, bad episodes gon happen when you're live, bad music gon happen when they don't book good musicians. But in my opinion SNL is back.

I came to this subreddit about last week asking for first time advice - so I figured it’d be fitting to come back with my first time at Sleep No More Shanghai. Thank you everyone who left the lovely comments and advice on my first post - much appreciated! I’ve written this both to share my experience and hopefully to exorcise it from my head because it won’t leave me alone and I need to talk about it. So this is going to get incredibly long, sorry! And very spoilery further down.
TL;DR: utter insanity, beauty and wonder and I’m still replaying it in my head even now. Roping in unsuspecting friends to go with me was 100% worth it, and I’m now in my friend chats trying to put together a second trip to Shanghai because I am never going to make the NYC one. Well done, Punchdrunk.
I’d kept myself to only the barest outline of Sleep No More’s details. I knew about Punchdrunk, that it was immersive, and that it was based on Macbeth and Rebecca. That’s about it - and while I was very kindly linked a first-timer's guide on Reddit, I didn’t read it (sorry!).
The only things I took going in were “drink lots of water beforehand”, “dress up”, “wear comfortable shoes”, and “if an actor reaches a hand out it’s okay to take it if it’s meant for you”.
I’ve done immersive theatre before: I went to “The Invitation” in London a while ago, but while the experience was interesting it didn’t really stick. We were shuttled from one “set” to another by staff members, and it felt less immersive and more like a stage play that took place around you instead of onstage.
Sleep No More I know was nothing like that, but nothing could prepare me for that night. I also don’t quite remember the exact floors of where I was, which is definitely the point of Sleep No More - but might make things confusing. So be warned.
We did Sleep No More on the day we landed so I was somewhat jet-lagged. I know I was worried about missing the first loop in my last post, but now that I’ve experienced the show myself, I’m actually glad we didn’t go in at 7PM because of how much was happening around me. When I go a second time, I’ll definitely do the 7PM entry, but probably the next day after I land! Also probably going to dress up again - we all did, and I went for a slinky silk top, witch-themed jewellery and palazzo pants. I doubt the dressing up did anything for me to stand out - not when someone was running around in a full backless lace gown, but it helped me get immersed into the world.
I was not expecting to be shoved to the front and asked to navigate a pitch black room with lanterns as a guide. Incredibly atmospheric, the music was on point but also very scary. Reaching the Manderley was a reprieve, and I made a beeline towards the Manderley once I saw it.
Upon entry, I ended up alone and left to my own devices once I left the elevator. The first thing I did was to take a wrong turn and end up in the toilet. No, not the toilet built for the set, I mean an actual toilet for any visitors who needed to answer the call. I hastily retreated.
I think because I entered at the end of the first loop, I couldn’t find any of the characters, so I decided to wander around. From there I found myself in the hotel lobby, where I watched a man with guyliner croon into a microphone and make eyes at I think the porter.
I didn’t know what that was about yet, so I kept exploring to get my bearings. I spent the first half an hour or so getting lost and prodding/touching EVERYTHING that could be interacted with and not nailed down. Not the best approach, but the set’s details were beautiful: the mirrors, the covered furniture, the open books, the array of fork-knife crosses in the cupboards…
I explored the restaurant, the hotel lobby, the forest with the graveyard and the two apartments. At one point, a whole stream of people walked by following an actor, so I followed the crowd into the ballroom.
In the ballroom, I watched the actors dancing. I still wasn’t sure what to look for or where I should be doing, but that changed when I saw the maid drug a drink and try to offer it to a pregnant woman. I was hooked from that point on.
When the dance ended, I followed the pregnant woman (i.e. Lady Macduff) out of the room. Turns out I make a terrible tracker and an even worse detective, because I would proceed to spend the rest of the night losing track of people and finding myself in strange, foreign places. I eventually found Lady Macduff, the maid and the porter again and watched a scene where the maid and the porter were in an altercation, the porter trying to stop Lady Macduff from drinking from the glass.
The maid won, and I followed the maid because I was about 90% sure the drink was drugged again and why do you want to drug a pregnant woman so badly? I then lost her around a corner and went back to the lobby, where I watched Lady Macduff unpacking her suitcase and cuddling a teddy bear. I wanted to give her a hug there and then because she looked so lost and lonely. Lady Macduff sat down in the restaurant… and the maid re-appeared.
Havoc ensued, and during the maid and Lady Macduff’s interaction - chase, more like, my heart was very much in my throat. When the maid left, my path was blocked by a crowd of onlookers, but Lady Macduff made her way down to the ballroom again. I followed her there, and I watched the hypnotising but very trippy supper scene. At that point, even more questions came up, like: when did the guyliner crooner manage to lose most of his outfit, why was there a very bloody person at the table, why were people pointing at each other and oh god what did I miss.
I had more luck following the maid this time, and was even more intrigued after watching her fight and trap a man under a steel door. I stuck very closely to her and watched her tidy and neaten rooms, but still had no answer as to why she wanted to drug Lady Macduff. A small group of us had found the maid and were just following her around, watching her interact with another man (Duncan?) at one point by pointing out a gift box to him, and then when the man left she was dancing on the bed.
By this point, I was completely convinced the maid was supernatural and she had been tasked with interrupting Lady Macduff’s pregnancy or doing something to the unborn baby, because at one point she was trying to climb up the walls of the bedroom like a demon possessed. We all followed her to the next room where she did more tidying up, stopped at a door at the back of the room, held out a hand and looked at us. For a moment I thought it was to the girl next to me, and then I realised - nope, it was for me. By sheer dumb luck I got a one-on-one.
It was intense. She led me into this tiny, barely lit room where she asked me if I was tired and invited me to sit down. She took off my mask, told me to close my eyes and off I went. She told me to breathe deep and listen to the sound of the ocean, and she asked if I believed in ghosts and the supernatural. At one point, she said we could hear “him” in every footstep in the hotel, and around me the lights were dimming to just a flickering lightbulb and her face. She then led me to a bookshelf where she placed my hands on two cushions, moved aside something, and in the darkness was this blazingly-lit and beautifully made diorama of the bedroom outside. She pushed my face towards it, finished her monologue, and then it was over.
She told me not to be scared at one point and placed a reassuring hand on my shoulder. I can’t decide if this was part of the monologue or if this was her in-character way of telling me not to be nervous because I’m sure I was trembling in my seat. In my defence, I was sitting in a dark room, barely able to see as someone whispered in my ear about supernatural goings.
What I distinctly remember is how brilliant the actress here was. The maid has a very doll-like face that just commands your attention, and despite her even, gentle voice there was an underlying menace. Watching the lights fade around us reducing her to just a ghostly face in the dark was an brilliant experience.
At the end of the session, she led me out of the room, shut the door, and left me in the now-deserted apartment stunned and trying to compose myself. I didn’t see her again, but that was such a privilege.
I wandered past a scene of a man shaving another man on my way out. It probably was important because a lot of people were standing around watching, but I was still trying to calm down from the one-on-one. I went up one more floor and found all the shops and detective agency.
I entered the club where a couple was drinking a bottle of snake liquor that ended with the woman vomiting something up after drinking the shot. From there I went to the detective’s office, where I had way too much fun rifling through drawers and reading documents. I found Grace Naismith’s file, but I didn’t know what it was about, only that it might be a lead. I think if/when I go back, I’ll try and see if that leads to a plotline or if it’s just there for flavour.
For the rest of the night, I followed a bartender - I think? - into a rundown shack and watched a card game and a brutal murder. Turns out I’d just watched Macbeth kill Banquo, and I was none the wiser till I was comparing notes with my friends. I was struck by how bloody the whole thing was: yes, the beating was done behind the counter, but when Banquo was dragged backstage I caught a glimpse of the beaten-in-face and the blood. Don’t know how they did that, but it sent shivers down my spine.
I hung around watching the bartender clean up, drinking and trying to set the place to rights. We all heard footsteps, and I followed the bartender out to the doorway and watched supposedly-dead-Banquo walk away into the alley outside. Next to me, the bartender whisked the person standing beside me for another one-on-one. I was a little disappointed, but I’d gotten one already and I really shouldn’t be greedy.
At this point, I tried to go back into the shack to look at the cards pinned to the wall, but the stewards barred my way and led me downstairs. I ran into a waist-coated man also heading downstairs, and only then did it dawn on me the night was over. I watched Macbeth's execution at the final banquet, and the ending scene of him just swinging above the table, backlit by dark, moody lights… brr.
When my friends and I went back to the hotel room late at night, we alternately sat in dumbfounded silence or exploded into more theories. Upon comparing notes, we had seen completely different things and turns out, yes I did miss a lot, but I didn’t feel bereft at all. One of my friends studies lit, so she filled me in on several characters and context.
If I had any complaints though, it was how some members of the audience were behaving. I was routinely shouldered out of the way and pushed forward as they tried to get a better view. There were a few audience members who actually bent around to get into the actors’ faces while the actors were emoting, but I didn’t see a steward intervene once. Or maybe I missed it?
Also, the groups following Macbeth and Lady Macbeth were a lot. The doorways and staircases were nowhere wide enough for the crowd passing through, especially for the more popular characters, but I don’t know if this situation has already improved. You could also clearly tell who’d been there before, because they’d be standing at the actors’ exits obstructing the way.
I went home with a bookmark and a souvenir guide, but no t-shirt because the gift shop was incredibly crowded. Overall though: I’m hooked and am now planning my next trip to the McKinnon to find more characters. Apparently I missed two whole floors! I’m also very curious to know whether the one-on-one with the maid I got differs from what’s currently in NYC at the moment.
Hopefully I’ll get to go sooner than later, because I’d want to go one more time before it closes for good. Not any time soon though, because I'm still processing a lot.

Barron, Laird. “Vastation,” The Beautiful Thing that Awaits Us All and Other Stories (Night Shade Books, 2013)
“He had still been Randolph Carter, a fixed point in the dimensional seething. Now, beyond the Ultimate Gateway, he realised in a moment of consuming fright that he was not one person, but many persons.”
“There were “Carters” in settings belonging to every known and suspected age of earth’s history, and to remoter ages of earthly entity transcending knowledge, suspicion, and credibility. “Carters” of forms both human and non-human, vertebrate and invertebrate, conscious and mindless, animal and vegetable. And more, there were “Carters” having nothing in common with earthly life, but moving outrageously amidst backgrounds of other planets and systems and galaxies and cosmic continua.”
“No death, no doom, no anguish can arouse the surpassing despair which flows from a loss of identity. Merging with nothingness is peaceful oblivion; but to be aware of existence and yet to know that one is no longer a definite being distinguished from other beings—that one no longer has a self—that is the nameless summit of agony and dread.”
H. P. Lovecraft – “The Gates of the Silver Key”
Preface:
When I volunteered to do a write-up for our year-long Laird Barron reading, Greg casually mentioned –slyly, one might say– that he had been planning to cover “Vastation” and would I like a crack at it instead? “Sure,” I said. “I like a challenge, why not?” My wife has left me. No one comes to visit me in this place where I have been taken. Even the rats and fleas, so ubiquitous in the rest of the institution, give my cell a wide berth. They know something is wrong. My thoughts spiral; I write in circles. It is possible that in a previous life I was a detective attempting to construct a timeline from a serial killer’s wall of thumbtacks and string. I will have my revenge on Greg.
Another Preface:
“Vastation” is actually a very straightforward story. You only need to familiarize yourself with the works of H. P. Lovecraft, read a little weird fiction literary theory, and stumble across an old interview between Laird and Greg. “Vastation” is what you get when you bludgeon Lovecraft’s stories over the head and throw their remains down a deep well into the Laird Barron cosmos. To crudely rearrange a few of Laird’s thoughts from the above-mentioned interview:
“Time is a ring… the universe is dirty… it’s all about stomach acids and semen and blood and effluvia… there’s even theories that it’s a cellular structure. [I]f you can get to the edge of the universe… If you were able to travel in your physical form, like superman, out to not the edge of the universe but the edge of all creation… you would cease to exist because there’s no room for you to exist there.”1
You drop Randolph Carter’s, “moment of consuming fright,” his epiphany at the end of everything that he is all living things, into Laird’s vision of an unending, hungering, ouroboros of time and space, and we have the premise of “Vastation.”
Two more points.

1. In reading many, but not all, of Lovecraft’s stories alluded to in, “Vastation,” I have learned that old Howie loved to write about characters living through the ages, living multiple lives, and taking numerous identities. The most prominent after, “The Gates of the Silver Key,” would be “The Case of Charles Dexter Ward.” Attention should also be paid to “The Whisperer in Darkness,” because it is the first appearance of the Mi-Go, who I believe to be the inspiration for Laird’s Pod People. 

2. The author and critic John Clute wrote a wonderful piece on the concept of vastation in regards to literary horror. He defines it, in part, as, “… a laying waste to a land or a psyche; a physical or psychological devastation; desolation… the even more disintegrative moment when the accidents of goodness are shaved mercilessly from the unsalvageable central core of the wicked.” In other words, vastation is when the illusory fabric of reality is pulled out from under the feet of the protagonist or narrator, exposing the absolute horrors beneath. In most horror or weird fiction stories vastation occurs gradually throughout the text or once at the climax. In “Vastation,” it happens endlessly. 

Summary and analysis:
“Vastation” is, as Laird once put it, “a “6000-word monologue from an unutterably mad superhuman” (UMS). Like Randolph Carter, he—and UMS does think of him/itself as a he, more on that later—knows that in some impossible sense he is all people, all living beings, throughout all of creation. He lives countless lives. He knows the future and the past, albeit imperfectly. He knows how to jump his consciousness from one body to another, how to travel time, how to manipulate biology on a molecular level. His knowledge and powers and nearly godlike. In death, in sleep, or simply by staring into his own left “freakish eyeball,” he visits the infernal blackhole known as Ur-Nyctos, the “the quaking mass at the center of everything,” and “portal to the blackest of hells.” There, he shatters into quantum nothingness before reconstituting somewhere else along the ring, and he knows it will never stop. World without end, lives without end, vastations without end.
Things get darker. Completely insane, UMS spends eternity killing himself, killing his friends, getting killed by his friends, and participating in the occasional apocalypse, all the while somewhat aware he is everyone he has ever killed and everyone who will ever kill him. Every turn of the ring is the same story from a different angle, like UMS riding a train at night, looking at his reflection in the dark window.
“Vastation” begins with the answer to an impossible question. Where does the story of someone unshackled from cause and effect, imprisoned in an eternally looping cosmos, start? How did UMS become the unutterably mad superhuman? Laird throws so many red herrings at us. Does the story begin in Chicago, when UMS dies at the hands of his personal Judas, Pontius Sacrus? Or in Crete, when he claims to have been a mere flea, or human, and beholds Ur-Nyctos through the keyhole in the potter’s hidden room (shout out to “Jaws of Saturn”)? Or when he abandons his distant-future body to be taken over by the Pod People? None of these moments contain UMS’s origin because they have happened before and will happen again ad infinitum. In “Vastation,” there are no first times. Laird solves this paradox by burying a plot point from “The Gates of the Silver Key” in the first words of “Vastation.”
“When I was six, I discovered a terrible truth; I was the only human being on the planet.” Notice, UMS did not say, “when I was six years old.” I spent weeks wondering what that meant. Then I noticed that Laird twice calls time traveling “tripping back.” It seemed oddly specific and turned out to be a phrase from “The Gates of the Silver Key,” in which, after Randolph Carter experiences the Zen-through-cosmic-horror epiphany I quoted at the top of this write-up, he beseeches Yog-Sothoth—because of course Yog-Sothoth makes an appearance— for even greater forbidden knowledge. Yog-Sothoth tells Carter, “what you wish, I have found good; and I am ready to grant that which I have granted eleven times only to beings of your planet—five times only to those you call men, or those resembling them.”
Five men, making Carter the sixth human, or sixth being resembling a human. “When I was six, I discovered…” The previous five are Pontiff Sacrus and UMS’s other friends.
About Pontiff Sacrus, I also spent an embarrassing amount of time obsessing over him. It may be of interest to know that high priests of ancient Rome were known as the College of Pontiffs, that the most prestigious position in the college was held by the Rex Sacrorum, that Ted is short for Edward, and that Edward Hutchinson is a necromancer who lives many lives and a significant character in “The Case of Charles Dexter Ward.”
By the way, the other time Laird stamps his foot and stares pointedly at the reader is when he employs the term “essential saltes.” It’s from “Charles Dexter Ward,” which begins with the following quote:
“The essential Saltes of Animals may be so prepared and preserved, that an ingenious Man may have the whole Ark of Noah in his own Studie, and raise the fine Shape of an Animal out of its Ashes at his Pleasure; and by the lyke Method from the essential Saltes of humane Dust, a Philosopher may, without any criminal Necromancy, call up the Shape of any dead Ancestour from the Dust whereinto his Bodie has been incinerated.”
So, UMS is damned to eternal life and eternal vastation. He, understandably, is insane. He whom the gods would destroy, they first make mad. Denials, contradictions, and possibly flat-out lies fill his monologue. Again, it’s in the first sentence. “I was the only human being on the planet.” He has to tell himself this. The knowledge of what he always will be, what he always has done, what he always will do., is too terrible for him to bear. He denies his infinite identities with the solipsist problem of other minds. He cannot be other people because other people are fungible, mere cheap Xerox’s, fleas; he is the only real McCoy. This is especially true of women—I said we would return to gender. While humanity in general is “grist for the mill,” women are either mentioned in passing or, in the case of UMS’s wives, described as inhuman automatons.
Think about it. Even though, on an infinite loop, he has done everything, been every human, has been/will be Beyoncé releasing her country album, Joan of Arc leading her men into battle, Martha Stewart receiving her sentence, and Bathory forcing some girl—who is also him—to kick stars, UMS never describes a single life he has spent as a woman. I think this is UMS grasping at an identity. It’s not that he necessarily hates women more than any other aspect of his universal selves so much as he is clinging to his gender as a self-defense mechanism. He is an individual because he flirts with Macedonian honeys. He is himself and not the wives he is tired of fucking, who are artificial anyway, even as they react to him with the very human responses of fear and suicide.2
Returning to the big picture, UMS’s cosmic gender identity issues are just the micro in the macro. Every timeline, every epoch, in “Vastation” is a story of committing murder to avoid forbidden knowledge. UMS’s wife kills herself rather than spend another night next to him as he dreams of Ur-Nyctos. UMS kills the potter before he can finish explaining how his wheel-device works—get it? — and then kills iteration after iteration of himself before he discovers the bloody peephole in the potter’s hidden chamber. He’s accused of witchcraft and imprisoned in a different well where he cannot share his knowledge of the past or future with anyone except other aspects of himself who mock him from the mouth of his prison. He reveals nanotech and genetic engendering to humanity, then commits global genocide to erase this knowledge. Again and again, UMS tries to keep humanity and himself from forbidden knowledge he cannot escape, murderously, scrambling back from the edges of vastation, forever failing.
There’s so much more. Any person who doesn’t miss the days when he went to sleep at a reasonable hour could write a dissertation on “Vastation.” I haven’t even TOUCHED most of the Lovecraft Easter eggs I found. I had a blast working on this, but this is me holding my gloves up and yelling, “no mas, no mass.” I’m going to bed.
Discussion:

1. Gordon van Gelder famously told Laird that he had bought “Shiva, Open Your Eye” (Laird’s first professional sale) because he wanted to see what Laird would do next. Ten years later, Vastation saw publication in Cthulhu’s Reign and has been called something of a reincarnation of “Shiva.” What similarities do we see? 

   1. I suspect, but could not find enough support in the texts, that UMS’s ascendancy into superhuman status, or his visits to Ur-Nyctos—if there is a difference—is what awakens the Old Ones, drawing their attention to pitiful humanity. He does seem to do his best to avoid them. Thoughts?
   2. If anyone has any thoughts about what Laird was referencing when UMS pushes his best friend off a bridge I would love to hear it.
   3. Does Laird deny UMS a name because he is everyone?
   4. “After I made me, I crushed the mold under my heel.” That’s some sort of pun about the fungal Pod People, right?
   Footnotes / references
   
2. from an interview between Greg and Laird which took place on June 23, 2021.
   “There was one theory, if you can get to the edge of the universe, somehow get to the leading, bleeding edge of reality, it’s actually, it would compress you to, basically it would get narrower and narrower. You would get flattened. If you were able to travel in your physical form, like superman, out to not the edge of the universe but the edge of all creation, it acts just like a blade… you would cease to exist because there’s no room for you to exist there.
   And that was one theory. But the other theory was--you know how a fountain works? You’ve got a base of water and it shoots up, and it looks like a different stream of water coming out of the angel’s mouth, but it’s just the water cycling. It’s the same water going through. That was another theory about the universe. It is constantly going through itself. If you recycle the water through the fountain, or you pull a slinky through itself, or a sock, it just constantly turns into itself over and over again.
   …maybe it’s not always 100% the same, because the slinky moves left or right a few millimeters. Unless you have it on a machine going through the same exact angle at the same speed, possibly there’s: this time it went through like this; maybe it wobbled a little bit. That’s how we could get the idea of free will. That determinism vs. you can have a little control over your destiny…
   Time is a ring… the universe is dirty. Look at the processes of all--there could be life forms out there that are very clean and just made of light and music…[b]ut generally speaking, it’s all about stomach acids and semen and blood and effluvia and all this stuff. So I was like alright, it’s an organic--the universe is very organic. There’s even theories that it’s a cellular structure.”
   
   1. Anyone interested in this type of analysis might want to check out Julia Kristeva’s theory of the abject.

**Prices firm, but I take off $1.00 for every $10 spent (multiple items)*\*
**I accept PayPal, Venmo, & Cashapp*\*
**Codes are always split/dual portion where applicable, & have no DMI*\*
**Only redeem the portion you pay for!*\*
**Get 'em before WB expires these titles!*\*
Birds of Prey HD/MA $3.5
Scoob! HD/MA $3.5
Wonder Woman: Bloodlines HD/MA $3.5
New additions
2000s 10-Film Bundle (The Departed 4K, I Am Legend 4K, Pan's Labyrinth 4K, The Hangover 4K, A History of Violence HD, Best in Show HD, A.I. Artificial Intelligence HD, Mystic River HD, Ocean's Eleven HD, Letters from Iwo Jima HD) HD/MA $30
24 Hours to Live HD/VU $3.5
355 HD/MA $4.5
48 Hrs HD/VU $6
65 HD/MA $4.5 or SD/MA $2.5
80 for Brady HD/VU $5
976-Evil HD/MA $5.5
A League of Their Own 4K/MA $5.5 or HD/MA $4
A Most Violent Year HD/VU $4.5
A24 Horror 5-Film Collection (X, Green Room, It Comes at Night, Hereditary, Witch) HD/VU $13.5
Addams Family '19 4K/IT $4.5
Addams Family '91 4K/VU $5.5
Afflicted HD/MA $4
Aliens 4K/MA $6.5
Almost Famous 4K/VU $5
American Psycho 4K/VU $5.5
Angels & Demons 4K/MA $6
Anyone But You HD/MA $7.5
Armageddon Time HD/MA $4.5
As Good as it Gets 4K/MA $6
Asteroid City 4K/MA $6.5
Atlantis Milo's Return HD/MA $5 or HD/GP $4.5
Avatar The Way of Water HD/MA $4.5 or HD/GP $4
Avengers 4K/MA $5.5
Back to the Future Trilogy HD/MA $10
Bad Boys 4K/MA $5.5
Bad Guys HD/MA $4.5
Bad Times at the El Royale 4K/MA $6
Banshees of Inisherin HD/MA $4 or HD/GP $3.5
Barbie HD/MA $6
Battle for Terra HD/VU $4.5
Beast HD/MA $4.5
Beekeeper 4K/VU $9 or HD/VU $7.5
Beguiled HD/IT $3
Beyond Re-Animator HD/VU $4
Big Chill 4K/MA $5.5
Big Eyes HD/VU $4
Billy Lynn’s Long Half Time Walk HD/MA $4
Black Adam 4K/MA $5.5
Black Phone HD/MA $4
Blockers HD/MA $3.5
Blood Father HD/VU $3
Bloodshot HD/MA $4
Body Double 4K/MA $5.5
Book Club Next Chapter HD/MA $5
Book of Life HD/MA $3.5
Bram Stoker's Dracula 4K/MA $6
Broken Hearts Gallery HD/VU $4.5
Bros HD/MA $4.5
Bullet Train 4K/MA $5.5 or HD/MA $4
Burrowers HD/VU $4
Call Jane HD/VU $4.5
Cannibal Cabin 4K/VU $5
Charlie's Angels '00 4K/MA $5.5
Cheech & Chong's Up in Smoke HD/VU or IT $3.5
Christmas Classics 4-Film Set (Miracle on 34th Street '94, A Christmas Carol '84, Home Alone, Jingle all the Way) HD/MA $12
Cinderella '50 HD/MA $4.5
Cinderella 2 HD/MA $4.5
Cinderella 3 HD/MA $4.5
Cobweb 4K/VU $7.5
Cocaine Bear HD/MA $5
Colossal HD/VU or IT $4
Come to Daddy HD/VU $4.5
Contagion 4K/MA $6.5
Creature from the Black Lagoon '54 HD/MA $3.5 or 4K/IT $4
Crouching Tiger Hidden Dragon 4K/MA $6
Counselor HD/MA $4
Da Vinci Code 4K/MA $6
Dagon HD/VU $4
Dark Skies HD/VU $3.5
Dear David 4K/VU $6
Dear White People HD/VU $3.5
Devil's Workshop 4K/VU $5.5
Devil's Workshop HD/VU $4.5
Devotion 4K/VU $6 or HD/VU $4.5
Diary of the Dead HD/VU $4
Dig 4K/VU $5.5
District 9 / Elysium Bundle HD/MA $7.5
Dragon Blade HD/VU $3.5
Dr. Strangelove 4K/MA $5
Dreamland HD/VU $4.5
Dream Scenario HD/VU $7
Dumb Money HD/MA $6
Dune Part 2 HD/MA $9.5
Easy Rider 4K/MA $6
Emperor HD/VU $3.5
Equalizer 3 4K/MA $7 or HD/MA $5.5
Evil Dead '13 4K/MA $5.5 or HD/MA $4
Evil Dead Rise 4K/MA $6 or HD/MA $4.5
Evil Under The Sun HD/VU $4
Exorcist (2-cuts) 4K/VU $6.5
Exorcist Believer 4K/MA $7 or HD/MA $5.5
Expendables 1-3 Set 4K/MA $10 or HD/VU $7
Expendables 1-4 Set 4K/VU $15 or HD/VU $11
F9 Fast Saga (Thea & Ext) HD/MA $4
Fall 4K/VU $6 or HD/VU $4.5
Fast & the Furious 10-film Set 4K/MA $30 or HD/MA $22
Fast X 4K/MA $6.5 or HD/MA $5
Feast (Unr) HD/VU $4
Fifth Element 4K/MA $5.5
Fifty Shades 6-Cut Set (Thea & Unr) HD/MA $12
First Purge HD/MA $3.5
Five Nights at Freddy's HD/MA $6
Fool's Paradise HD/VU $6
Force of Nature '20 HD/VU $3.5
Forger HD/VU $3
Freeheld HD/VU $4
Friendsgiving HD/VU $4
Front Runner HD/MA $4
Frozen '10 HD/VU $4
Funny Girl 4K/MA $5.5
Gandhi 4K/MA $5.5
Gateway 4K/VU $5.5
Gattaca 4K/MA $6
Ghostbusters Afterlife HD/MA $4
Ghoulies Go To College HD/VU $3.5
Glory 4K/MA $6
Godfather 3 Coda HD/VU $4
Good Boys HD/MA $3.5
Good House 4K/VU $5.5
Goodnight Mommy HD/VU $4
Goosebumps 2 HD/MA $3
Gran Turismo 4K/MA $7 or HD/MA $5.5
Grease Trilogy HD/VU $9 or 4K/IT $10.5
Green Knight 4K/VU $5
Green Room HD/VU $4
Groundhog Day 4K/MA $5.5
Guess Who's Coming to Dinner 4K/MA $6
Hail, Caesar! HD/VU or IT $2.5
Hammett HD/VU $4
Halloween Ends HD/MA $4.5
Halloween Kills (Ext) HD/MA $4.5
Harriet 4K/MA $6 or HD/MA $4.5
Hex 4K/VU $5.5
High Tension HD/VU $4.5
Hellbenders HD/VU $4
Hellraiser: Judgment HD/VU $4
Home Alone 1 & 2 Set HD/MA $6.5
Hook 4K/MA $6
Hot Tub Time Machine 2 HD/VU $3.5 or 4K/IT $4
Hunger Games Ballad of Songbirds & Snakes HD/VU $6.5
Ice Age Continental Drift HD/MA $3
I, Frankenstein HD/VU or IT $3
I Saw the Light HD/MA $4
Identity Thief HD/IT $3.5
Imaginary HD/VU $9
Indiana Jones & the Last Crusade HD/VU $4 or 4K/IT $4.5
If Beale Street Could Talk HD/MA $4
Inhabitant HD/VU $4.5
Insidious The Last Key HD/MA $3.5
Insidious Red Door HD/MA $5
Jay and Silent Bob Reboot HD/VU $3.5
Jerry Maguire 4K/MA $6
Jesus Revolution HD/VU $4.5
John Wick 4 4K/VU $6.5
John Wick 4-Film Collection HD/VU $13
Journey to Bethlehem HD/MA $5.5
Jumanji '95 4K/MA $6
Jungle Book '67 HD/MA $4
Jurassic World 6-film Set HD/MA $18
Kandahar HD/MA $5.5
Karate Kid '84 4K/MA $6
Kiss the Girls 4K/VU $6
Knights of the Zodiac HD/MA $5
Kramer vs Kramer 4K/MA $6
Last Action Hero 4K/MA $5.5
Last Christmas HD/MA $4.5
Last Night in Soho 4K/MA $5.5
Leprechaun 8-Film Set HD/VU $15
Lincoln Lawyer 4K/VU $6
Little Mermaid '23 HD/MA $5
Lost Boys 4K/MA $6
Love Again SD/MA $2.5
Lucky Number Slevin HD/VU $4.5
M3GAN (Thea & Unr) HD/MA $5
Ma '19 HD/MA $4
Madame Web 4K/MA $10 or HD/MA $8.5
Mamma Mia Here We Go Again HD/MA $3
Manodrome HD/VU $5.5
Marsh King's Daughter 4K/VU $5.5
Martyrs HD/VU $4.5
May HD/VU $4
Memories of Murder 4K/MA $6.5
Menu HD/GP $3.5
Meryl Streep 8-Film Set HD/MA $22
MIB International HD/MA $4
Midnight Meat Train (Unr) HD/VU $4
Migration HD/MA $6
Miller's Girl 4K/VU $9.5
Miracle on 34th Street HD/MA $4
Missing HD/MA $5
Mission Impossible Dead Reckoning Pt 1 4K/VU $7.5 or HD/VU $6
Mist 4K/VU $6.5
Mitchells vs the Machines HD/MA $4.5
Monster High Electrified HD/MA or IT $2.5
Mortal Kombat Legends Cage Match HD/MA $5.5
Mr. Holmes HD/VU $3.5
Mulan '98 HD/MA $4 or HD/GP $3.5
My Big Fat Greek Wedding 3 HD/MA $5.5
My Girl 4K/MA $6
National Champions 4K/IT $5
New Mutants HD/MA $4 or HD/GP $3.5
Night at the Museum Secret of the Tomb HD/MA $3
Night Swim HD/MA $8
Night Train to Lisbon HD/VU $4
No Good Deed HD/MA $3
No Hard Feelings HD/MA $5.5
Nope HD/MA $4.5
Nun 2 HD/MA $5.5
Ocean's Trilogy 4K/MA $16
Old 4K/MA $6 or HD/MA $4.5
Once Upon a Time in Hollywood HD/MA $3.5
Oppenheimer HD/MA $6
Other Side of the Door HD/MA $4
Out Of The Blue HD/VU $4
Overlord 4K/VU or IT $4.5
Parental Guidance HD/MA $2.5
Parents HD/VU $4
Parasite HD/MA $4
Paw Patrol Mighty Movie HD/VU $6.5
Pet Sematary Bloodlines HD/VU $5.5
Peter Pan Return to Neverland HD/MA $4.5 or HD/GP $4
Philadelphia 4K/MA $5.5
Pick 1 (Black Christmas '18 4K, Dog's Purpose 4K, Sparks Brothers 4K, Raw, Agnes Bourne, Antz, Being Frank, Loving, Don't Let Go, Kicks, Final Account) HD/MA $4
Pitch Perfect 3 4K/MA $5
Pixels HD/MA $3
Plane 4K/VU $5.5
Poor Things HD/MA $7.5
Pope's Exorcist HD/MA $5
Prey for the Devil 4K/VU $5.5
Priscilla HD/VU $6
Punch-Drunk Love 4K/MA $6.5
Queen & Slim HD/MA $4
Quick & the Dead '95 4K/MA $6
Rambo First Blood HD/VU $4
Rambo First Blood Pt 2 HD/VU $4
Rango HD/VU $3
Real Genius 4K/MA $5.5
Red Rocket HD/VU $4
Red Sparrow HD/MA $3.5
Renfield HD/MA $5.5
Requin HD/VU $4.5
Resident Evil Welcome to Raccoon City HD/MA $4
Robin Hood '73 HD/MA $4
Rosemary's Baby 4K/VU $6.5
Rhythm Section HD/VU $3.5
Ruby Gilman Teenage Kraken HD/MA $5.5
Rudy (Dir Cut) 4K/MA $6.5
Rudy 4K/MA $6
Run Lola Run 4K/MA $6.5
Saint Maud HD/VU $4
Samurai Jack Complete Series HD/VU $40
Saw 8-film Set (Unr except Jigsaw) HD/VU $20
Secret Life of Walter Mitty HD/MA $3.5
Shaun of the Dead HD/MA $4 or 4K/IT $4.5
Shrek 6-Film Set (1-4, Musical, Puss in Boots) HD/MA $19
Skiptrace HD/VU $3.5
Scorpion King 4-Film Set (1, 3, 4, Book of Souls) HD/MA $12
Scream 3 4K/VU $5.5
Scream 5 4K/VU $5.5 or HD/VU $4
Scream 6 4K/VU $7 or HD/VU $5.5
Sharktopus HD/VU $3.5
Shazam 2-film Set HD/MA $8
Shazam Fury of the Gods 4K/MA $6 or HD/MA $4.5
She Said HD/MA $4.5
She's the Man HD/VU $3.5
Silver Linings Playbook HD/VU $3 or HD/GP $2.5
Sisu 4K/VU $6
Sixteen Candles HD/MA $3.5 or HD/IT $3.5
Sleepless in Seattle 4K/MA $6
Smile HD/VU $4.5
Social Network 4K/MA $6
Sometimes They Come Back...Again HD/VU $4
Sometimes They Come Back...For More HD/VU $3.5
Sonic the Hedgehog 2 4K/VU $5.5
Spider-Man Across the Spider-Verse 4K/MA $7 or HD/MA $5.5
Split HD/MA $3 or 4K/IT $3.5
Spoiler Alert HD/MA $5
Star Trek First Contact 4K/VU $5.5
Star Trek Generations 4K/VU $5.5
Star Trek Insurrection 4K/VU $5.5
Star Trek Nemesis 4K/VU $5.5
Star Wars A New Hope HD/MA $4 or HD/GP $3.5
Starship Troopers 4K/MA $6
Step Brothers 4K/MA $6.5
Stillwater HD/MA $4
Studio 666 HD/MA $5
Sum of All Fears 4K/VU $5
Supercell HD/VU $4.5
Super Mario Bros Movie HD/MA $5
Super Troopers 2 HD/MA $3.5
Superfly HD/MA $4
Suspiria (2018) HD/VU $4
T2 Trainspotting 4K/MA $6
Talk to Me 4K/VU $6
Talladega Nights 4K/MA $6.5
Taxi Driver 4K/MA $5.5
Thanksgiving 4K/MA $7.5
The Batman 4K/MA $5.5
The Bay HD/VU $4
The Color Purple '23 4K/MA $8 or HD/MA $6.5
The Descent (Unr) HD/VU $4.5
The Flash HD/MA $5
The Marvels HD/MA $6.5
The Natural 4K/MA $6
The Other Guys 4K/MA $6
The Professional (Ext) 4K/MA $6
The Super '17 HD/VU $4
Ticket to Paradise HD/MA $4.5
Titanic 4K/VU or IT $6 or HD/VU $4.5
Top Gun Maverick HD/VU $4
Toy Story 3 HD/MA $4
Trading Places 4K/VU $6
Transformers Rise of the Beasts 4K/MA $7 or HD/VU $5.5
Trolls 3-Film Collection HD/MA $12
Trolls Band Together HD/MA $6.5
Tusk HD/VU $4.5
Umma HD/MA $4.5
Unbearable Weight of Massive Talent 4K/VU $5
Universal Monsters 4-Film Set 4K/MA $17
V for Vendetta 4K/MA $6.5
Vanilla Sky HD/VU $5.5
Velvet Goldmine HD/VU $4.5
Venture Bros Radiant is the Blood of the Baboon Heart HD/MA $5.5
Violent Night HD/MA $5
Walking Dead Season 9 HD/VU $7
Watchmen Ultimate Cut 4K/MA $7.5
Waxwork 2 HD/VU $3.5
We Summon the Darkness HD/VU $4.5
Welcome to Marwen HD/MA $4.5
Welcome to Monster High HD/MA or IT $3
Whiplash 4K/MA $6 or HD/MA $4.5
Whitney Houston I Wanna Dance w/ Somebody HD/MA $4
Wicker Man 4K/VU $5.5
Wish HD/MA $7
Witch HD/VU $3.5
Woman King 4K/MA $5 or HD/MA $4
Woman Walks Ahead HD/VU $4
You're Next HD/VU $3.5
X-Men 1-4 Set SD/MA $7.5
Zombieland Double Tap HD/MA $4
All other movies (A-Z)
10 Cloverfield Lane HD/VU $3 or 4K/IT $3.5
101 Dalmatians '61 HD/MA $3.5 or HD/GP $3
13 Hours HD/VU $2.5 or 4K/IT $3
14 Blades HD/VU $3.5
1917 4K/MA $5 or HD/MA $3.5
2 Guns 4K/MA $4 or HD/MA or IT $2.5
21 Jump Street HD/MA $3
22 Jump Street HD/MA $3.5
3 Extremes HD/VU $4
3 From Hell (Unr) 4K/VU $4 or HD/VU $2.5
3:10 to Yuma 4K/VU $5
31 HD/VU $2.5
47 Meters Down HD/IT $3.5
47 Meters Down Uncaged 4K/VU $4.5 or HD/VU $3
47 Ronin HD/MA $3 or 4K/IT $3.5
600 Miles HD/VU $3.5
71 HD/VU $3.5
A Christmas Story 4K/MA $6
A Dog's Purpose HD/IT $3
A Good Day to Die Hard (Ext) HD/VU $2.5
A Journal For Jordan HD/MA $4
A Quiet Place HD/VU $2.5 or 4K/IT $3
A Walk Among the Tombstones HD/IT $3.5
A Wrinkle in Time HD/MA $3 or HD/GP $2.5
A.C.O.D. HD/VU or IT $3.5
Abominable 4K/MA $5.5 or HD/MA $4
About Last Night HD/MA $3
Action Point HD/IT $2
Ad Astra HD/MA $4
Adaptation 4K/MA $6
Adrift HD/IT $3.5
Adverse 4K/VU $5
After Earth HD/MA $3
Aftermath HD/VU $3
Air Force One 4K/MA $6
Aladdin ‘19 HD/MA $3 or HD/GP $2.5
Aladdin ‘92 HD/MA $3.5 or HD/GP $3
Alien HD/MA $4
Alien Covenant HD/MA $2.5
Alfred Hitchcock 4-Film Set Vol 1 4K/MA $18
Alfred Hitchcock 5-Film Set Vol 2 4K/MA $21
Alien 6-film Set HD/MA $16
Alita Battle Angel 4K/MA $5 or HD/MA $3.5
All Eyez on Me HD/VU or IT $3
All is Lost HD/VU $3.5
All the Money in the World HD/MA $3.5
Allied HD/VU or IT $3.5
Almost Christmas HD/MA or IT $3
Amazing Spider-Man 2 HD/MA $3.5 or SD/MA $1.5
Amazing Spider-Man HD/MA $3.5 or SD/MA $1.5
American Assassin 4K/VU $4.5 or HD/VU $3
American Hustle HD/MA $3.5
American Reunion HD/VU or IT $3
American Ultra HD/VU or IT $4
American Underdog 4K/VU $5.5 or HD/VU $4
Anatomy of a Murder 4K/MA $5
Anchorman 2 HD/VU or IT $2.5
Angel Has Fallen 4K/VU $5 or HD/VU $3.5
Angel Heart 4K/VU $5.5
Angel of Mine 4K/VU $5.5
Angry Birds Movie HD/MA $3.5
Anna Karenina HD/IT $3.5
Annie ‘14 HD/MA $3.5
Annihilation HD/VU $3 or 4K/IT $3.5
Antebellum 4K/VU $5
Antlers HD/GP $3
Ant-Man & the Wasp HD/MA $3.5 or HD/GP $3
Ant-Man HD/MA $4 or HD/GP $3.5
Apache Junction HD/VU $3.5
Apollo 13 4K/MA or IT $5 or HD/MA $3.5
Arctic HD/MA $4
Arrival HD/VU $2.5 or 4K/IT $3
Art of Self-Defense HD/MA $4
Ash vs Evil Dead S.3 HD/VU $5
Assassination Nation HD/MA $3.5
Assassin's Creed HD/MA $3
Assignment HD/VU $4
Atomic Blonde 4K/MA or IT $4.5 or HD/MA $3
August Osage County HD/VU $3
Avengers Age of Ultron HD/GP $3
Avengers Endgame HD/MA $2.5 or HD/GP $2
Avengers Infinity War 4K/MA $4 or HD/MA $2.5 or HD/GP $2
Baby Driver HD/MA $4
Backdraft 4K/IT $5.5
Bad Grandpa HD/VU or IT $2.5
Bad Words HD/MA or IT $3
Bandslam HD/VU $4
Bank Job HD/VU $3.5
Barb & Star go to Vista Del Mar HD/VU $4
Barbie & Her Sisters in the Great Puppy Adventure HD/IT $3.5
Bart Got a Room HD/VU $4
Battle Royale HD/VU $4.5
Battleship 4K/MA or IT $4.5 or HD/MA $3
Baywatch HD/VU $2.5 or 4K/IT $3
Beauty & the Beast ‘17 HD/MA $2.5 or HD/GP $2
Beauty & the Beast ‘91 HD/MA $3.5 or HD/GP $3
Bedknobs & Broomsticks HD/GP $3.5
Before I Fall HD/VU or IT $3.5
Begin Again HD/VU $3.5
Beiruit HD/MA $3.5
Belly 4K/VU $5.5
Ben-Hur ‘16 HD/VU $3.5
Between Worlds HD/VU $3.5
Big Hero 6 4K/MA $5 or HD/MA $3.5 or HD/GP $3
Big Lebowski 4K/MA or IT $5.5
Big Short HD/VU $3.5
Big Wedding HD/VU or IT $3
Billy Elliot HD/MA or IT $4
Birdman HD/MA $4
Black & Blue HD/MA $4
Black Christmas '19 HD/MA $4.5
Black Panther 4K/MA $4.5 or HD/GP $2.5
Black Panther Wakanda Forever HD/MA $3.5 or HD/GP $3
BlackKklansman HD/MA $4.5
Blacklight HD/MA $4
Black Widow HD/GP $3
Blackhat HD/IT $3.5
Blair Witch Project ‘99 HD/VU $4
Bleeding Steel HD/VU $3.5
Blindspotting 4K/VU $5.5 or HD/VU $4
Blood Money ‘17 HD/VU $3.5
Blood Ties HD/VU $3.5
Blue Jasmine HD/MA $3.5
Blue Ruin HD/VU $4
Blues Brothers HD/MA $4 or 4K/IT $4.5
Bob's Burgers Movie HD/GP $3
Body Cam HD/VU $4
Bohemian Rhapsody 4K/MA $5 or HD/MA $3.5
Bombshell 4K/VU $5
Book Club HD/VU or IT $2.5
Book of Life HD/MA $3.5
Boss Baby HD/MA $2.5
Bourne Identity 4K/IT $5 or HD/MA $3.5
Bourne Legacy HD/VU $2 or 4K/IT $2.5
Bourne Supremacy HD/MA $3.5 or 4K/IT $4
Bourne Ultimatum 4K/MA or IT $5 or HD/MA $3.5
Boy ‘16 HD/IT $3.5
Boy & the World HD/IT $3.5
Boyhood HD/VU or IT $2.5
Braven HD/VU $4
Breakfast Club HD/MA or IT $4
Breakthrough HD/MA $3
Brian Banks HD/MA $3
Bridge of Spies HD/GP $3.5
Brothers Bloom HD/VU $4.5
Bumblebee 4K/VU or IT $5 or HD/VU $3.5
Butler HD/VU $3
Cabin in the Woods HD/VU $2.5 or 4K/IT $3
Cake HD/MA $4
Call of Wild 4K/MA $4.5 or HD/MA $3 or HD/GP $2.5
Calvary HD/MA $4
Candyman '20 4K/MA $6 or HD/MA $4.5
Candyman 3 HD/VU $4
Captain America Civil War HD/GP $2.5
Captain America First Avenger HD/GP $3.5
Captain America Winter Soldier HD/GP $3.5
Captain Marvel 4K/MA $4 or HD/MA $2.5 or HD/GP $2
Captain Phillips HD/MA $3.5
Captain Underpants First Epic Movie HD/MA $2.5
Carol HD/VU $4
Cars 3 HD/GP $2.5
Casablanca 4K/MA $5.5
Case for Christ HD/MA or IT $2.5
Casper HD/IT $4
Celebrating Mickey HD/MA $3.5 or HD/GP $3
Chaos Walking 4K/VU $5
Chappaquiddick HD/VU $4
Chasing Mavericks HD/MA $3.5
Chicago HD/VU $4
Child 44 HD/VU $4
Children ‘08 HD/VU $4
Christopher Robin HD/MA $4 or HD/GP $3.5
Chronicles of Riddick HD/IT $4
Clerks 3 4K/VU $4.5
Clifford the Big Red Dog HD/VU $4
Cloverfield 4K/VU $5.5 or HD/VU $4
Coco HD/GP $2.5
Cold Pursuit 4K/VU $5 or HD/VU $3.5
Collection HD/VU $3.5
Collide ‘17 HD/VU or IT $2.5
Colma The Musical HD/VU $4
Colombiana (Unr) HD/MA $4
Colony 4K/VU $5
Come & Find Me HD/VU $4
Commuter 4K/VU $5 or HD/VU $3.5
Company of Heroes HD/MA $4
Conan the Barbarian ‘11 4K/VU $5
Conspirator HD/VU $4
Contraband HD/IT $3
Contractor HD/VU $4.5
Cooler HD/VU $4
Cool Hand Luke 4K/MA $5.5
Cooties HD/VU $4
Cotton Club Encore 4K/VU $5.5
Countdown ‘16 HD/VU $3.5
Courier 4K/VU $5.5 or HD/VU $4
Craft Legacy HD/MA $4.5
Criminal HD/VU or IT $3
Croods HD/VU $3.5
Cruella HD/MA $3.5 or HD/GP $3
Crypto 4K/VU $5 or HD/VU $3.5
Daddy's Home HD/IT $2.5
Daddy's Home 2 HD/VU or IT $3
Damsel HD/VU $4.5
Dangerous 4K/VU $4.5 or HD/VU $3
Danny Collins HD/IT $3.5
Dark Crimes HD/VU $4
Darkest Minds HD/MA $4
Dark Places HD/VU $4
Dark Tower HD/MA $3.5
Darkest Hour ‘17 4K/MA $5 or HD/MA $3.5
Dawn of the Planet of the Apes HD/MA $3.5
Deadpool 2 (w/Super Duper Cut) HD/MA $4
Deadpool HD/MA $2.5
Death of Me HD/VU $4
Death on the Nile HD/GP $3
Death Wish '18 HD/VU $3
Deepwater Horizon HD/VU $2.5 or 4K/IT $3
Deliver Us From Evil HD/MA $3.5
Dentist 2-Film Set HD/VU $7
Despicable Me 2 HD/VU $3 or 4K/IT $3.5
Despicable Me 3 4K/MA or IT $4.5
Despicable Me 4K/MA or IT $4.5
Detroit HD/MA $3.5
Devil Inside HD/VU $3.5
Devil's Due HD/MA $3.5
Die Hard HD/MA $3.5
Die Hard 5-film Set HD/MA $18
Die in a Gunfight 4K/VU $5
Dilemma HD/VU $3.5
Dirty Dancing 4K/VU $5 or HD/VU $3.5
Disney Animated Short Films Set HD/MA $3.5 or HD/GP $3
Disneynature Monkey Kingdom HD/MA $3
Django Unchained HD/VU $3
Doctor Strange HD/MA $3 or HD/GP $2.5
Doctor Strange Multiverse of Madness HD/GP $3
Dolittle HD/MA $3.5
Dom Hemingway HD/MA $3.5
Don Verdean HD/VU $4.5
Doorman HD/VU $3.5
Doors 4K/VU $5.5 or HD/VU $4
Downsizing HD/VU $2 or 4K/IT $2.5
Downton Abbey A New Era HD/MA $4
Downton Abbey The Movie HD/MA $3.5
Draft Day HD/IT $3.5
Dragged Across Concrete HD/VU $3.5
Dragonslayer 4K/VU $5.5
Dream a Little Dream HD/VU $4
Dreamkatcher HD/VU $4
Dreamworks 10-Film HD/MA $25
Dredd 4K/VU $4 or HD/VU $2.5
Dying of the Light HD/VU $2.5
E.T. Extra Terrestrial 4K/MA or IT $5 or HD/MA $3.5
Early Man 4K/VU $5.5
Earth Girls are Easy HD/VU $4
Eddie the Eagle HD/MA $4
Edge of Seventeen HD/IT $3
Edward Scissorhands HD/MA $3.5
El Chicano HD/MA $4
Elysium HD/MA $3.5
Emoji Movie HD/MA $3
Empire of Light HD/MA $3.5 or HD/GP $3
Empire State HD/VU $3
Encanto 4K/GP $3.5
Enough Said HD/MA $3.5
Enter the Dragon 4K/MA $6
Epic HD/MA $3
Equalizer HD/MA $3.5
Equalizer 2 HD/MA $3.5
Escape From Planet Earth HD/VU $3
Eternals HD/MA $3.5 or HD/GP $3
Everest HD/MA $3 or 4K/IT $3.5
Everything Must Go HD/VU $4
Evil Dead 2 HD/VU $3.5
Ex Machina HD/VU $3
Exodus Gods & Kings HD/MA $3.5
Expired 4K/VU $4.5
Fair Game (Dir) HD/VU $4
Fantastic Four ‘15 HD/MA $4
Fast & Furious 4 4K/MA $5
Fast & the Furious 8-film Set HD/MA $17
Fast & the Furious 9-film Set HD/MA $19
Fast Color 4K/VU $5.5
Fatale ‘20 4K/VU $5 or HD/VU $3.5
Fatherhood HD/MA $4
Fault in Our Stars HD/MA $3.5
Fear of Rain 4K/VU $5.5
Fences HD/VU $2.5 or 4K/IT $3
Ferdinand HD/MA $3.5
Field of Dreams 4K/MA or IT $5.5
Fifty Shades Darker (Unr) HD/VU $2.5 or 4K/IT $3
Fifty Shades Freed HD/MA $4
Fifty Shades of Grey (Unr) 4K/MA or IT $4
Finding Dory HD/MA $2.5 or HD/GP $2
Finding Nemo HD/GP $3.5
Finest Hours HD/GP $3
Firm 4K/VU $6
First Man HD/MA $4
Flashback ‘20 HD/VU $4
Flight HD/VU or IT $3
Florence Foster Jenkins HD/VU or IT $3
Footloose ‘11 HD/IT $3
Forbidden Kingdom HD/VU $4.5
Ford v Ferrari HD/MA $4
Forest HD/IT $3.5
Forever My Girl HD/IT $3
Fortress HD/VU $3.5
Fortress Sniper's Eye HD/VU $3.5
Fox & the Hound 2 HD/MA $4 or HD/GP $3.5
Foxcatcher HD/MA $4
Frank & Lola HD/VU or IT $3
Free Guy HD/GP $3
French Dispatch HD/MA $4 or HD/GP $3.5
Friday the 13th 4K/VU $5.5
From Here to Eternity 4K/MA $5.5
Frozen (Sing-Along) HD/MA $2 or HD/GP $1.5
Frozen HD/GP $2
Frozen 2 HD/MA $2.5 or HD/GP $2
Frozen Ground ‘13 HD/VU $3.5
Fury HD/MA $3.5
Future World HD/VU $3.5
G.I. Joe Retaliation HD/VU $3 or 4K/IT $3.5
Gambit ‘12 HD/MA $4
Gambler HD/VU or IT $3
Gamer 4K/VU $5.5
Gemini Man 4K/VU or IT $4.5 or HD/VU $3
Get Out 4K/MA or IT $5 or HD/MA $3.5
Ghost in the Shell ‘17 HD/VU $3 or 4K/IT $3.5
Ghost in the Shell ‘95 4K/VU $5
Ghost Rider Spirit of Vengeance HD/MA $4
Ghost Team One HD/VU or IT $3.5
Ghostbusters ‘84 HD/MA $3.5
Ghostbusters (Thea & Ext) ‘16 HD/MA $3
Ghostbusters 2 HD/MA $3.5
Gifted HD/MA $3
Girl in Spider's Web HD/MA $4
Girl on Train HD/VU $3 or 4K/IT $3.5
Girl w/ All Gifts HD/VU $4
Giver HD/VU $3.5
Glass Castle 4K/VU $5.5
Glass HD/MA $4
God Bless The Broken Road HD/VU $3.5
God's Not Dead 2 HD/MA or IT $2.5
God's Not Dead 3 HD/MA $3
Gods of Egypt HD/VU $2.5 or 4K/IT $3
Gold ‘16 HD/VU $2.5
Good Dinosaur HD/GP $2.5
Good Kill HD/VU or IT $3.5
Grease 2 HD/VU $4
Great Wall 4K/MA or IT $4.5 or HD/MA $3
Greatest Showman HD/MA $3.5
Green Book HD/MA $4
Grey HD/VU or IT $3
Guardians of the Galaxy Vol 1 HD/MA $3.5 or HD/GP $3
Guardians of the Galaxy Vol 2 HD/GP $2
Guilt Trip HD/VU or IT $3
Gunman HD/MA or IT $3
Guns of Navarone 4K/MA $5.5
Hacksaw Ridge 4K/VU or IT $4.5 or HD/VU $3
Halloween ‘18 HD/MA $3
Hammer of the Gods HD/VU $2
Hannibal S.1 HD/VU $5
Hansel & Gretel Witch Hunters (Unr) HD/VU or IT $3
Hard Luck Love Song 4K/VU $5.5
Hard Target 2 HD/IT $1.5
Hardcore Henry HD/VU or IT $3.5
Hate U Give HD/MA $4
Hateful Eight HD/VU $3.5
Heat (Director's Cut) ‘95 4K/MA $5.5 or HD/MA $4
Heaven is for Real HD/MA $3.5
Hercules ‘14 HD/VU $2.5 or 4K/IT $3
Here Comes the Boom HD/MA $3.5
Hereditary HD/VU $3.5
Hidden Figures HD/MA $3
High Note HD/MA $4
Highlander 4K/VU $5.5 or HD/VU $4
Hitchcock '12 HD/MA $4
Hitman Agent 47 HD/MA $3
Hitman's Bodyguard HD/VU $3.5
Hocus Pocus HD/MA $3.5 or HD/GP $3
Home HD/MA $3
Home Again HD/MA $3
Home Alone 4K/MA $5 or HD/MA $3.5
Homefront HD/MA or IT $3
Homesman HD/VU $3
Honey 2 HD/VU $3
Hostiles 4K/VU $4.5 or HD/VU $3
Hotel Transylvania 3 HD/MA $3.5
Hot Fuzz HD/VU $4
Hotel Mumbai HD/MA $4
Hours ‘13 HD/VU $4
House of 1000 Corpses HD/VU $4
House of Gucci 4K/IT $5.5
House w/ a Clock in Its Walls sHD/MA $4
How to Train Your Dragon 2 HD/MA $2.5
Hugo HD/VU $3
Hunt for Red October 4K/VU $5.5 or HD/VU $4
Huntsman Winter's War (Ext) HD/MA $3 or 4K/IT $3.5
I Can Only Imagine HD/VU $3.5
I Feel Pretty HD/IT $2
Ides of March HD/MA $4
I Know What You Did Last Summer 4K/MA $5.5
Imitation Game HD/VU $3
In a Valley of Violence HD/MA or IT $3
In Secret ‘14 HD/VU $4.5
In the Blood HD/VU $4
Incredibles 2 HD/GP $3
Independence Day ‘96 HD/MA $4
Independence Day Resurgence HD/MA $2.5
Indiana Jones & the Raiders of the Lost Ark 4K/VU or IT $5.5 or HD/VU $4
Indiana Jones & the Temple of Doom 4K/VU or IT $5.5 or HD/VU $4
Indignation HD/VU $4
Indivisible HD/MA $3.5
Inferno HD/MA $3
Initiation 4K/VU $5
Initiation HD/VU $3.5
Internship HD/MA $3
Interstellar 4K/VU or IT $5 or HD/VU $3.5
Interview HD/MA $3.5
Into the Woods HD/MA $3 or HD/GP $2.5
Invisible Man '20 HD/MA $3.5
Invisible Man ‘33 HD/MA $3.5
Iron Man 3 HD/MA $2.5 or HD/GP $2
Iron Man & Hulk Heroes United HD/GP $3.5
Iron Mask ‘19 HD/VU $4.5
It Follows HD/VU $3.5
It's a Wonderful Life HD/VU $3
Jack & Jill HD/MA $3.5
Jack Reacher 4K/IT $4.5
Jack Reacher Never Go Back HD/VU $3 or 4K/IT $3.5
Jack Ryan Shadow Recruit 4K/IT $4 or HD/VU $2.5
Jacob's Ladder HD/VU $4
Jane Got a Gun HD/VU $4
Jarhead 3 (Unr) HD/IT $2.5
Jason Bourne HD/VU $2.5 or 4K/IT $3
Jesus Music HD/VU $3.5
Jexi HD/VU $3.5
Jobs HD/MA or IT $3.5
Joe HD/VU $3.5
Joe Kidd HD/IT $4
John Wick 1 & 2 Bundle HD/VU $4
John Wick 3 Parabellum 4K/VU $4.5
John Wick Chapter 2 HD/VU $3.5 or 4K/IT $4
John Wick HD/VU $2 or 4K/IT $2.5
John Wick Trilogy 4K/VU $13 or HD/VU (#3 4K) $9 or all HD/VU $8
Journey to the West Conquering the Demons HD/VU $3.5
Joy HD/MA $3
Judy 4K/VU $5 or HD/VU $3.5
Juliet, Naked 4K/VU $5.5
Jumanji Welcome To The Jungle HD/MA $2.5
Jungle Book ‘16 4K/MA $4.5 or HD/GP $2.5
Jungle Cruise HD/MA $4 or HD/GP $3.5
Jurassic Park 3 HD/VU $3.5 or 4K/IT $4
Jurassic Park 4K/MA or IT $5 or HD/MA $3.5
Jurassic World 5-film Set HD/MA $14
Jurassic World Fallen Kingdom 4K/MA $4.5 or HD/MA $3
Jurassic World HD/VU $2.5 or 4K/IT $3
Justice ‘17 HD/VU or IT $3
Kama Sutra HD/VU $4
Kick-Ass 2 HD/MA $3.5
Kid ‘19 HD/VU $3.5
Kid Who Would Be King 4K/MA $5.5 or HD/MA $4
Kidnap HD/VU or IT $2.5
Kill Zone ‘05 HD/VU $4.5
Killer Elite HD/IT $3
Killing Gunther HD/VU $4
Kin ‘18 4K/VU $4.5 or HD/VU $3
King Kong ‘05 4K/MA or IT $5 or HD/MA $3.5
King of Staten Island HD/MA $4
King's Man HD/GP $3.5
Kingsman The Golden Circle HD/MA $3
Kingsman The Secret Service HD/MA $3.5
Knives Out HD/VU $3.5
Knowing 4K/VU $5.5
La La Land HD/VU $3 or 4K/IT $3.5
Labor Day HD/VU or IT $3
Lady Macbeth HD/VU $4.5
Lady of the Manor 4K/VU $5
Lair of White Worm HD/VU $4.5
Lake Mungo HD/VU $4
Lara Croft Tomb Raider 4K/VU $5.5 or HD/VU $4
Last Dragon HD/MA $4.5
Last Duel HD/GP $3.5
Last Exorcism HD/VU $4
Last Knights HD/VU $3.5
Last Man ‘19 HD/VU $4
Last Stand HD/IT $2
Last Vegas HD/VU $3
Last Witch Hunter HD/VU $3 or 4K/IT $3.5
Lawrence of Arabia 4K/MA $5.5
Legend of Hercules 4K/IT $3
Legends of Oz Dorothy's Return HD/MA $3.5
Leprechaun 7-film Set HD/VU $12
Let's be Cops HD/MA $3.5
Let Him Go HD/MA $4
Let Me Explain HD/IT $2.5
Life ‘17 HD/MA $3.5
Life of Crime HD/VU $3.5
Life of Pi 4K/MA $5 or HD/MA or IT $3.5
Light of My Life HD/IT $3.5
Lightyear HD/MA $3.5 or HD/GP $3
Like a Boss HD/VU $3.5
Lilo & Stitch 2 HD/MA $4 or HD/GP $3.5
Lion HD/VU $4
Lion King ‘19 4K/MA $4 or HD/GP $2
Lion King ‘94 4K/MA $5 or HD/MA $3.5 or HD/GP $3
Little HD/MA $3.5
Little Mermaid ‘89 HD/MA $4
Live Free or Die Hard HD/MA $4
Locked Down 4K/MA $5.5
Logan HD/MA $3
Logan Lucky HD/MA $3.5 or /IT $4
Lone Ranger HD/MA $3.5 or HD/GP $3
Lone Survivor HD/VU $2.5
Longest Ride HD/MA $3
Longest Week HD/VU $3.5
Looper HD/MA $3.5
Lorax HD/MA or IT $3
Lord of War 4K/VU $5.5
Lords of Salem HD/VU $4
Lost World Jurassic Park HD/MA $3.5
Love & Mercy HD/VU $3.5
Love the Coopers HD/VU or IT $4
Love, Simon HD/MA $3.5
Loving HD/VU or IT $3.5
Luca HD/GP $3
Lucy 4K/MA or IT $4.5 or HD/MA $3
Lyle, Lyle Crocodile HD/MA $4.5 or SD/MA $2
Madagascar 3 HD/MA $3
Maggie HD/VU $2.5
Magic Mike's Last Dance HD/MA $4.5
Magnificent Seven ‘16 HD/VU $3
Maleficent HD/MA $2.5 or HD/GP $2
Maleficent Mistress of Evil HD/GP $2.5
Man Who Fell To Earth ‘76 4K/VU $5
Man Who Shot Liberty Vance 4K/VU $5.5
Marauders HD/VU $3.5
Marksman HD/MA $4
Martian HD/MA $3.5
Mary Poppins ‘64 HD/MA $3.5 or ‘64 HD/GP $3
Mary Poppins Returns 4K/MA $4.5 or HD/GP $2.5
Mask of Zorro 4K/MA $6
Mauritanian 4K/IT $5
Max Steel HD/IT $3
Maze Runner HD/MA $3.5
McKenna Shoots for the Stars HD/IT $2
Meatballs HD/VU $4
Megan Leavey HD/VU or IT $3
Memory HD/MA $3.5
Men HD/VU $4
Men in Black 3 HD/MA $3
Men in Black 4K/MA $5.5 or HD/MA $4
MI-5 Spooks '15 HD/VU $4
Mickey & Minnie 10 Classic Shorts HD/GP $4.5
Mid-Century 4K/VU $5
Midnight in the Switchgrass 4K/VU $5 or HD/VU $3.5
Midsommar (CANADA) 4K/IT $3
Midway 4K/VU $4.5 or HD/VU $3
Mile 22 HD/IT $3
Million Dollar Arm HD/GP $2.5
MindGamers HD/MA or IT $3.5
Minions 4K/MA or IT $4.5 or HD/VU $3
Miracles from Heaven HD/MA $3.5
Miss Peregrine's Home for Peculiar Children HD/MA $3
Mission Impossible 3 4K/VU $5
Mission Impossible 6-film Set HD/VU $17
Mommy HD/VU $4
Moneyball HD/MA $3
Monster High Electrified HD/IT $2.5
Monster Hunter HD/MA $3.5
Money Monster HD/MA $3.5
Monster Trucks HD/VU $2.5 or 4K/IT $3
Monsters University HD/GP $3
Monuments Men HD/MA $3.5
Moon 4K/MA $5.5
Morbius HD/MA $4
Morgan HD/MA $4
Mortal Engines 4K/MA $5.5 or HD/MA $4
Mortal HD/VU $4
Mortal Instruments City of Bones HD/MA $3
Mortdecai HD/VU $3.5
Mother! HD/VU $2.5
Mountain Between Us HD/MA $2.5
Mr. Peabody & Sherman HD/MA $3
Mud HD/VU $2.5
Mulan 2 HD/GP $3
Mulan ‘20 4K/MA $4.5 or ‘20 HD/MA $3 or HD/GP $2.5
Mummy ‘17 4K/MA or IT $4.5 or HD/MA $3
Mummy ‘99 HD/MA $3.5
Mummy 4-Film Set (Mummy 1-3, Scorpion King) HD/MA $12
Mummy Trilogy 4K/MA or IT $14 or HD/MA $9 4K/IT
Muppets Most Wanted HD/GP $3
Murder on the Orient Express HD/MA $3.5
My All American HD/MA or IT $3.5
My Best Friend is a Vampire HD/VU $4
National Lampoon's Vacation 4K/MA $5.5
Nebraska HD/VU $3
Need for Speed HD/GP $3.5
Needle in a Timestack 4K/VU $5.5
Nerve HD/VU $3.5
News of the World HD/MA $4
Night at the Museum Trilogy HD/MA $11
Night House HD/MA $4.5 or HD/GP $4
Nightmare Alley HD/GP $3.5
Nightmare Before Christmas 4K/MA $5.5 or HD/MA $4 or HD/GP $3.5
No Time to Die 4K/IT $4.5
Noah HD/VU or IT $2.5
Nobody's Fool HD/IT $2.5
Non-Stop HD/VU or IT $3
Norm of the North HD/VU $2.5
Nostalgia ‘18 HD/MA $3.5
Now You See Me 2 4K/IT $4
Now You See Me HD/VU or IT $2.5 or SD/VU $1
Nut Job 2 HD/IT $2.5
Nut Job HD/IT $2.5
Nutcracker & Four Realms HD/MA $3.5 or HD/GP $3
Oblivion 4K/MA or IT $5 or HD/MA $3.5
Occupation ‘18 HD/VU $3.5
Occupation Rainfall HD/VU $4
Office Christmas Party 4K/IT $3.5
Olaf's Frozen Adventure HD/GP $3
Oliver! 4K/MA $5
On Chesil Beach HD/MA $4.5
One Ranger HD/VU $4.5
Onward HD/GP $2.5
Open Water 2 Adrift HD/VU $4
Open Water HD/VU $4
Operation Avalanche HD/VU $4
Other Woman HD/MA $3
Ouija HD/MA or IT $3.5
Our Kind of Traitor HD/MA $4
Outlander S.1 Vol 1 HD/VU $5
Overboard ‘18 HD/VU $3.5
Oz the Great & Powerful HD/MA $3 or HD/GP $2.5
Pacific Rim Uprising HD/MA $4
Paddington HD/VU $3.5
Pain & Gain HD/VU or IT $3.5
Paper Towns HD/MA $3
Paradise Highway 4K/VU $5
Paranormal Activity 3 (Ext) HD/VU or IT $3
Paranormal Activity 4 (Unr) HD/VU or IT $2.5
Paranormal Activity Ghost Dimension (Unr) HD/VU or IT $3.5
Paranormal Activity HD/VU $4
Paranormal Activity The Marked Ones HD/VU or IT $3.5
Passengers HD/MA $3.5
Patriot Games 4K/VU $5
Patriot's Day HD/VU $3
Paul Apostle of Christ HD/MA $3
Peanuts Movie HD/MA $3
Penelope HD/VU $4.5
Peppermint HD/IT $3.5
Percy Jackson Sea of Monsters HD/MA $3
Perfect Guy HD/MA $2.5
Perks of Being a Wallflower HD/VU or IT $3 or SD/VU or IT $1
Pet Sematary ‘19 HD/VU $3 or 4K/IT $3.5
Pet Sematary ‘89 HD/VU $3.5 or 4K/IT $4
Peter Rabbit HD/MA $3.5
Pete's Dragon ‘16 HD/MA $3.5 or HD/GP $3
Phantom Thread HD/MA $4
Philomena HD/VU $2.5
Pirates of the Caribbean 5 HD/MA $3 or HD/GP $2.5
Pirates! Band of Misfits HD/MA $3.5
Pitch Perfect 2 4K/MA $4 or HD/MA $2.5
Pitch Perfect HD/MA $2.5 or 4K/IT $3
Pixar Short Films Set Vol. 3 HD/MA $3.5 or HD/GP $3
Planes Fire & Rescue HD/GP $3
Planes HD/MA $2.5 or HD/GP $2
Planes, Trains & Automobiles 4K/VU $5.5 or HD/VU $4
Playing w/ Fire HD/VU or IT $2.5
Poltergeist ‘82 4K/MA $5.5
Poltergeist (Ext) ‘15 HD/MA $4
Pompeii HD/MA $3.5
Power Rangers ‘17 HD/VU $3 or 4K/IT $3.5
Predator ‘18 HD/MA $3
Predator ‘87 HD/MA $4
Pride & Prejudice & Zombies HD/MA $3.5
Primal HD/VU $3.5
Promise HD/MA or IT $3.5
Protege HD/VU $4
Proud Mary HD/MA $3.5
Psycho 4K/MA $5
Pulp Fiction 4K/VU $5.5 or HD/VU $4
Punisher War Zone 4K/VU $5.5
Purge Anarchy HD/MA $3 or 4K/IT $3.5
Purge Election Year HD/MA $3.5
Purge 4K/MA or IT $4.5 or HD/MA $3 or
Push 4K/VU $6
Quantum of Solace HD/VU $4.5
Quarry 4K/VU $5
Quartet HD/VU $4
Queen of Katwe HD/GP $2.5
Quiet Ones HD/VU $3.5
Rambo ‘08 HD/VU $4
Rambo 5-film Set HD/VU $18
Rambo Last Blood 4K/VU $4.5 or HD/VU $3
Ran ‘85 4K/VU $5.5
Raya & the Last Dragon HD/MA $3.5
Rear Window 4K/IT $3.5
Rebel Without a Cause 4K/MA $5.5
Reclaim HD/VU $3.5
RED 2 HD/VU $2
Red Dawn ‘12 HD/IT $3
Redline ‘10 HD/VU $4.5
Reign of Assassins HD/VU $4.5
Replicant ‘01 HD/VU $3.5
Replicas HD/VU $3.5
Rescuers Down Under HD/MA $4 or HD/GP $3.5
Rescuers HD/MA $4.5 or HD/GP $4
Reservoir Dogs HD/VU $4
Resident Evil Retribution 4K/MA $5 or HD/MA $3.5
Resurrection of Gavin Stone HD/VU or IT $2.5
Retaliation ‘17 HD/VU $4
Revenant 4K/MA $5 or HD/MA $3.5
Ricki & the Flash HD/MA $3
Riddick (Unr) HD/VU or IT $3
Ride Like a Girl HD/VU $4
Right At Your Door HD/VU $4
Right One 4K/VU $5.5
Rings HD/VU or IT $2.5
Rio 2 (Sing-Along) HD/MA $3
Riot HD/VU or IT $3
RIPD HD/IT $2.5
Risen HD/MA $3
Rob Zombie Trilogy (3 From Hell, House of 1000 Corpses, Devil's Rejects) HD/VU $8
Robin Hood ‘18 HD/VU $3
Robocop ‘14 HD/VU $2.5
Rocketman ‘19 HD/VU $3 or 4K/IT $3.5
Rocky Horror Picture Show HD/MA $4
Roman J. Israel Esq HD/MA $3
Ron's Gone Wrong HD/MA $3.5 or HD/GP $3
Room '15 HD/VU $3.5
Rough Night 4K/MA $5 or HD/MA $3.5
Run The Race HD/MA $3
Runner Runner HD/MA $3.5
Rush HD/IT $3
Safe HD/VU or IT $2.5
Same Kind of Different As Me HD/VU or IT $3
Samson HD/MA $3.5
Santa Clause HD/MA $3.5 or HD/GP $3
Santa Clause 2 HD/MA $3.5 or HD/GP $3
Santa Clause 3 HD/GP $2.5
Sapphires HD/VU $4
Sausage Party HD/MA $3.5
Saving Mr. Banks HD/GP $3
Saw (Unr) 4K/VU $4.5
Saw 7-film Set (Unr) HD/VU $16
Saw HD/VU $3
Scarface HD/MA $4 or 4K/IT $4.5
Scary Stories to Tell in the Dark 4K/VU $4.5
Schindler's List 4K/MA or IT $5.5 or HD/MA $4
Scream '96 4K/VU $5 or HD/VU $3.5
Scream Trilogy HD/VU $11
Secret Garden ‘20 4K/VU or IT $5.5
Secret in Their Eyes HD/VU or IT $3
Secret Life of Pets 4K/MA or IT $4.5 or HD/MA $3
See No Evil 2 HD/VU $3.5
Selma HD/VU or IT $2.5
Serenity ‘05 4K/MA $5.5 or HD/MA $4
Seriously Red HD/VU $4
Sex Tape HD/MA $3.5
Shack HD/VU or IT $2.5
Shallows HD/MA $3.5
Shang-Chi Legend of the Ten Rings HD/GP $3
Shape of Water HD/MA $3.5
Sherlock Gnomes HD/VU or IT $2.5
Shivers HD/VU $4
Show Dogs HD/MA $3.5
Sicario HD/VU $2.5 or 4K/IT $3
Sicario Day of the Soldado HD/MA $4
Sicario, Wind River, Hell or High Water HD/VU $7.5
Side Effects HD/IT $3.5
Silencing HD/VU $4
Silent Night, Deadly Night 3-Film Set (3-5 HD/VU $7.5
Silk Road 4K/VU $5
Sing ‘16 HD/MA $3 or 4K/IT $3.5
Sing Street HD/VU $4
Sinister HD/VU $3
Sisters (Unr) HD/IT $2.5
Skeleton Twins HD/VU $4
Skyfall HD/VU $2.5
Skyscraper 4K/MA $5 or HD/MA $3.5
Sleeping Beauty ‘59 HD/MA $4 or HD/GP $3.5
Sleepless HD/IT $2
Sleepy Hollow 4K/VU $6.5
Slender Man HD/MA $4
Smokey & the Bandit HD/MA $3.5
Smokin' Aces 4K/MA $5.5
Smurfs The Lost Village HD/MA or IT $3
Snitch 4K/IT $3 or HD/VU $2.5 or SD/VU or IT $1
Snow White & the Huntsman (Ext) 4K/VU or IT $4.5 or HD/VU $3
Snow White & the Seven Dwarfs ‘37 4K/MA $6 or HD/MA $3.5 or HD/GP $3
Snowden HD/MA or IT $3.5
Snowpiercer HD/VU $4.5
Solo A Star Wars Story HD/GP $3
Son of God HD/MA $3
Sonic the Hedgehog 4K/VU $5 or HD/VU $3.5
Soul HD/MA $3 or HD/GP $2.5
Source Code 4K/VU $5.5
Southpaw HD/VU $3
Spartacus HD/MA $3.5
Spectre HD/VU $3.5
Spider-Man 2 (Thea & Ext) HD/MA $4.5
Spider-Man 3 HD/MA $3.5
Spider-Man 4-Cut Set (Spider-Man 2 w/ Thea & Ext) HD/MA $11.5
Spider-Man Far From Home HD/MA $3
Spider-Man Homecoming HD/MA $2.5
Spider-Man Into the Spider-Verse HD/MA $4.5
Spider-Man No Way Home HD/MA $4 or SD/MA $2
Spies in Disguise HD/MA $3.5 or HD/GP $3
Spinning Man HD/VU $4
Spiral 4K/VU $5 or HD/VU $3.5
Spongebob Sponge out of Water HD/IT $2.5
Spontaneous HD/VU $4.5
Spy Who Dumped Me 4K/VU $5 or HD/VU $3.5
St. Vincent HD/VU $3
Stand Up Guys HD/VU $3.5
Star Trek 3 Search for Spock 4K/VU $5
Star Trek 4 Voyage Home 4K/VU $5
Star Trek Beyond HD/VU $3
Star Trek Into Darkness HD/VU $2.5 or 4K/IT $3
Star Trek The Motion Picture ‘79 4K/VU $5
Steel Dawn HD/VU $3.5
Still Alice HD/MA $4
Straight Outta Compton (Unr) HD/MA $3 or 4K/IT $3.5
Strange World HD/MA $4 or HD/GP $3.5
Suburbicon HD/VU $3 or /IT $3.5
Sundown The Vampire in Retreat HD/VU $3.5
Super 8 4K/VU or IT $5 or HD/VU $3.5
Sword in the Stone HD/MA $4 or HD/GP $3.5
Taken 2 HD/MA $3.5
Taken 3 (Unr) HD/MA $3.5
Tangled HD/GP $3.5
Ted (Unr) HD/MA or IT $2.5
Teen Spirit ‘19 HD/MA $4
Teenage Mutant Ninja Turtles ‘14 4K/VU or IT $4.5 or HD/VU $2.5
Terminator 2 Judgment Day (Special) HD/VU $4.5
Terminator 2 Judgment Day 4K/VU $5 or HD/VU $3.5
Terminator Dark Fate 4K/IT $4
Terminator Genisys HD/VU $3 or 4K/IT $3.5
Texas Chainsaw ‘13 HD/VU $3.5
Thanks for Sharing HD/VU $4
The Heat HD/MA $3
The Impossible HD/VU $3.5
The Sting 4K/MA $5.5
Think Like a Dog 4K/VU $5
This is the End HD/MA $3.5
Thor Dark World HD/MA $4 or HD/GP $3.5
Thor HD/GP $3.5
Thor Love & Thunder HD/MA $3.5 or HD/GP $3
Thor Ragnarok HD/MA $2.5 or HD/GP $2
Three Billboards Outside Ebbing, Missouri HD/MA $3.5
To Kill a Mockingbird HD/MA $3.5
Toll HD/VU $4.5
Tomorrowland HD/GP $3
Top Five HD/IT $3
Top Gun ‘86 4K/VU $5 or HD/VU $3.5
Total Recall ‘90 4K/VU $5 or HD/VU $3.5
Touched w/ Fire HD/VU $4.5
Toy Story HD/GP $3.5
Toy Story 4 4K/MA $4 or HD/GP $2
Training Day 4K/MA $5.5
Transformers Age of Extinction HD/VU $2.5 or 4K/IT $3
Transformers Dark of the Moon 4K/VU $4.5 or HD/VU $3
Transformers The Last Knight 4K/VU or IT $4 or HD/VU $2.5
Trolls HD/MA $2.5
Trust ‘16 HD/VU $4
Tucker The Man & His Dream 4K/VU $5
Tulip Fever HD/VU $4
Tumbledown HD/VU $4
Turbo HD/MA or IT $3
Turning HD/MA $4
Ugly Dolls 4K/VU or IT $5.5
Unbreakable HD/GP $3.5
Unbroken HD/VU or IT $3
Uncharted 4K/MA $5.5 or HD/MA $4
Uncle Drew HD/VU $3.5
Underworld Awakening HD/MA $3
Underworld Blood Wars HD/MA $3
Untouchables 4K/VU $5.5
Us ‘19 4K/MA $5.5 or HD/MA $4
Valerian & the City of a Thousand Planets HD/VU $3.5
Vampire Academy HD/VU $3.5
Vanishing ‘18 HD/VU $4
Venom 4K/MA $5 or HD/MA $3.5
Victoria & Abdul HD/MA $4
Virtuoso 4K/VU $5 or HD/VU $3.5
Vivo HD/MA $4.5
Voices ‘14 HD/VU $4
Voyagers 4K/VU $5
Walk HD/MA $3.5
Walking w/ Dinosaurs HD/MA $3
Wall '17 HD/VU $4
War for the Planet of the Apes HD/MA $3
War of the Worlds ‘53 4K/VU $5.5
War on Everyone HD/VU $4
Warcraft 4K/IT $4.5 or HD/MA $3
Warhunt 4K/VU $4.5
Warm Bodies HD/VU $3 or SD/VU $1.5
Warning HD/VU $4
Watch HD/MA or IT $3.5
Wayne's World HD/VU $4.5
We Die Young HD/VU $3.5
Weekend HD/VU $4
Werewolf The Beast Among Us (Unr) HD/MA or IT $3.5
West Side Story 4K/MA $5 or HD/MA $3.5 or HD/GP $3
What Men Want HD/VU $3 or 4K/IT $3.5
What We Did on our Holiday HD/VU $4
When the Game Stands Tall HD/MA $3
Whiskey Tango Foxtrot HD/VU or IT $3
Why Him? HD/MA $3
Widows HD/MA $3.5
Wild Card HD/VU $3
Willow HD/MA $4 or HD/GP $3.5
Wilson HD/MA $3.5
Winchester HD/VU $3.5
Winnie the Pooh Springtime w/ Roo HD/MA $4 or HD/GP $3.5
Wolf Hound 4K/VU $4.5
Wolf of Wall Street 4K/VU $5 or HD/VU or IT $3.5
Wolverine (Unr) (w/Thea) HD/MA $3.5
Woman in Gold HD/VU $3.5
Won't Back Down HD/MA $3.5
Woodlawn HD/MA or IT $3.5
World War Z HD/VU or IT $2.5
Wraith HD/VU $4
X-Men Apocalypse HD/MA $3
X-Men Days of Future Past HD/MA $3
XXX Return of Xander Cage HD/VU $2 or 4K/IT $2.5
Z for Zachariah HD/VU $4
Zero Dark Thirty HD/MA $3.5
Zeros & Ones HD/VU $4
Zootopia HD/MA $3 or HD/GP $2.5

Basically the title. It kinda slapped, it got the audience cheering, and I turned to my wife and said "this guy can actually sing".
We usually skip the musical guest performances cause they're just meh - on occasion there's a good one. Kudos to Jake, he went hard this episode

⭐️ Featured image on this post is from: Comic Con Mania (CBS Arena)

🎨 Art & Exhibitions

Event	Date	Venue
A Celebration of Ukrainian Culture	Fri 24th May	St Mary's Guildhall
After The End Of History: British Working Class Photography 1989-2024	Until 16th Jun	Herbert Art Gallery & Museum
Summer Exhibition	Until 23rd Jun	Warwick Arts Centre
Coventry's Jewish Community	Until 30th Sep	Herbert Art Gallery & Museum
Picturing High Streets: Coventry - Tim Mills	Until 3rd Nov	Coventry Transport Museum
Collecting Coventry	Until Apr 2025	Herbert Art Gallery & Museum
Dippy In Coventry: The Nation's Favourite Dinosaur	Until Feb 2026	Herbert Art Gallery & Museum
Warwickshire's Jurassic Sea	Until Feb 2026	Herbert Art Gallery & Museum

🎤 Comedy

Event	Date	Venue
Ed Byrne: Tragedy Plus Time	Thu 23rd May 7:30pm	Albany Theatre
Six Chick Flicks	Sat 25th May 7:30pm	Warwick Arts Centre
Ed Gamble: Hot Diggity Dog	Sun 26th May 7:30pm	Warwick Arts Centre

👨‍👩‍👦‍👦 Family

Event	Date	Venue
Comic Con Mania	Sat 25th May	Coventry Building Society Arena
Treasure Island	Sun 26th May 1pm	Albany Theatre
Rubbish Shakespeare: Romeo and Juliet	Sun 26th May 2:30pm	Warwick Arts Centre
Victorian Playthings	Until 1st Jun	Herbert Art Gallery & Museum
Tinker Make Play: May the Forces be with You	Until 1st Jun	Coventry Transport Museum
Family Sundays	Until 23rd Jun	Warwick Arts Centre
Mini Creatives	Until 25th Jun	Warwick Arts Centre
Junior Drama Classes (5-7)	Until 2nd Jul	Belgrade Theatre
Junior Drama Classes (8-11)	Until 3rd Jul	Belgrade Theatre
Sensory Stories and Rhymes	Until 16th Jul	Herbert Art Gallery & Museum
Mini Museum Engineers Play	Until 28th Aug	Coventry Transport Museum

🎥 Film

Event	Date	Venue
Action Rayz: Soy Cuba	Thu 23rd May 7pm	Coventry Cathedral
Big Banana Feet	Until 22nd May	Warwick Arts Centre
Perfect Days	Until 22nd May	Warwick Arts Centre
Made in England: The Films of Powell and Pressburger	Until 23rd May	Warwick Arts Centre
La Chimera	Until 23rd May	Warwick Arts Centre
Shallow Grave 30th Anniversary	Until 23rd May	Warwick Arts Centre
Blackbird Blackbird Blackberry	Until 27th May	Warwick Arts Centre
Catching Fire: The Story of Anita Pallenberg	Until 20th May	Warwick Arts Centre
Warwick Student Cinema	Until 28th Jun	University of Warwick

🍔 Food, Markets & Socials

Event	Date	Venue
Gin & Juice	Sat 25th May	Kasbah
Bristol Alternative Market	Sat 25th May	LTB Showrooms
Bongo's Bingo	Sat 25th May 6pm	HMV Empire
Vintage Vera Kilo Sale	Sun 26th May	Fargo Village

🎵 Music

Event	Date	Venue
Jools Holland & His Rhythm & Blues Orchestra	Wed 22nd May 7:30pm	Warwick Arts Centre
Sink or Swim presents: Mengers + Yes Princess + Freespirits	Wed 22nd May 7:30pm	The Tin
Tunde: Voice of Lighthouse Family	Thu 23rd May 7:30pm	Warwick Arts Centre
Block Party at The Box	Fri 24th May 7pm	The Box, Fargo Village
Immortal Onion X Michal Jan + Batsch	Fri 24th May 7:30pm	The Tin
One Night in Nashville	Fri 24th May 7:30pm	Warwick Arts Centre
The Soap Girls + Hek Boss + Madra	Fri 24th May 7:30pm	Arches Venue
London Concertante: A Night at the Opera by Candlelight	Fri 24th May 7:30pm	Coventry Cathedral
The Specials vs Madness	Fri 24th May 8pm	Rialto Plaza
Voodoo Room: A Night of Hendrix, Clapton & Cream	Fri 24th May 8pm	Albany Theatre
DNB Free Rave	Fri 24th May 10pm	HMV Empire
Sing It Loud: A Community Choir Celebration	Sat 25th May 7pm	Warwick Arts Centre
Strange Adventures: Jackdaw with Crowbar + Satsangi + The Rollocks + Trojan Pony	Sat 25th May 7pm	The Tin
In Isolation + Chaos Bleak	Sat 25th May 7:30pm	Arches Venue
The Fureys	Sat 25th May 7:30pm	Albany Theatre
Ben Hemsley	Sun 25th May 5pm	Kasbah
Godiva Calling Heat 3: Push + Breaker + Freespirits	Sun 26th May 6pm	Arches Venue
Jazz Fridays	Until 28th Jun	Warwick Arts Centre

🗣 Poetry, Writing & Talks

Event	Date	Venue
History Talks on Coventry	Tue 21st May 11:30am	Herbert Art Gallery & Museum
Step into Coventry's History: A Virtual Walking Tour	Wed 22nd May 6:30pm	Chapelfields
Coventry's True Crime Tales	Sun 26th May 7pm	Albany Theatre
Charterhouse Tours	Until 27th May	Charterhouse

⚽️ Sport

☹

🎭 Theatre & Performance

Event	Date	Venue
The Tempest	Wed 22nd - Fri 24th May	Warwick Arts Centre
Grease The Musical	Thu 23rd - Sun 26th May	Belgrade Theatre
Swim, Aunty Swim!	Until 1st Jun	Belgrade Theatre
NT Live: Encore (Screening)	Until 2nd Jun	Warwick Arts Centre

🛠 Workshops & Classes

Event	Date	Venue
Songwriting	Until 25th Jun	Warwick Arts Centre
Adult Acting Classes (Thursday)	Until 4th Jul	Belgrade Theatre
Adult Acting Classes (Friday)	Until 5th Jul	Belgrade Theatre

Any events that we've missed? Drop them in the comments below!

6 THE EMERGENCE OF THE PHALLIC GIRLS
The Unique Space of Their Emergence
….
The Atemporality of Manga and Anime
Every form of visual media functions according to its own temporality. In the case of popular culture most of these temporalities are a matter of movements.
All forms of visual expression are marked by a form of movement particular to their medium. Manga, anime, and film each have their own “grammar” of movement. Lining up photographs of real people like frames in a manga, for example, would not produce the same effects as a manga. On the contrary, it would lack reality (riariti), and the only effect it could produce would be of kitsch. This is because the kind of movement specific to the photographic medium clashes with the manga form.
These techniques for expressing movement include everything from the macro-level of speed lines in manga. Used effectively, they produce the effect of realistic movement. Reality (riariti) in anime is produced not by naturalistic backgrounds or by imitating cinematic techniques but only by realizing the kind of movement that is unique to anime. Under these conditions even a character drawn with a single line can seem just as real or even more real than a person in a photograph or a film. Now let us consider the question of temporality in manga and anime while paying attention to how they express movement.
A comparison of the work of Ishinomori Shotaro and Nagai Go is useful in thinking about temporality in manga. Ishinomori and Nagai use very different methods for representing time. Simply put, one uses “cinematic time” and the other “gekiga time.”
As Kato Mikiro has also argued, Ishinomori’s work brought the representation of time in manga to an extremely sophisticated level. His techniques were then adopted as a kind of grammar unique to manga and eventually rendered even more sophisticated in the hands of artists like Otomo Katsuhiro. One can certainly see the influence of film in these techniques (Ishinomori himself was also a great fan of Western films). Even more than someone like Tezuka Osamu, Ishinomori intended his manga to be like films. In contrast to this, Nagai’s techniques are more specific to manga, almost as if he were taking a position against cinema. Because this point is very closely related to the emergence of the beautiful fighting girls, let us look into it in greater detail.
In Ishinomori’s work, time “flows,” as it were, at the mostly consistent speed. It is his well-known techniques for describing intervals in dialogue - for example, the kind of time produced by the contrast between the dialogue within speech bubbles and the handwritten dialogue outside the speech bubbles - that maintain the objectivity or intersubjectivity of time in Ishinomori’s works. It is a more chronological, measured time that flows straight and even, without slowing or faltering.
In Nagai’s work, on the other hand, time no longer flows. It contracts and expands along with the reader’s subjective viewpoint. Action-packed, high-impact moments are drawn with large frames and take up many pages. This way of representing time, hardly used by Ishinomori at all, has become the trademark of Japanese manga in general. Ishinomori’s Masked Rider (Kamen raidaa) and other works in the squadron genre have been more often adapted as live-action dramas than as anime. This is in stark contrast to Nagai’s works, which have almost always been adapted as anime. There are no doubt reasons internal to the industry for this, but that does not explain everything. It seems clear that Nagai’s work itself has a greater affinity for being adapted as anime. And one of the things that anime have adopted from manga is the kind of atemporality represented in Nagai’s work.
In an earlier essay I was critical of this sort of atemporality in the work of Miyazaki Hayao. Here, I would like to return to that earlier essay to reconsider the atemporality of manga and anime.
As Miyazaki himself points out, anime starts out as the stepchild of manga. Anime often borrow techniques directly from manga. The best known example of this is the use of so-called manpu (Takekuma Kentaro) but the atemporality of anime is also derived from manga. Miyazaki compares anime’s atemporality to a traditional Japanese form of storytelling known as kodan storytelling, in which time and space are grossly distorted and exaggerated according to the passion and expressivity of the characters. The kodan “Kan’ei sanbajutsu” (Horse riding in the Kan’ei era), for example, is a long and extremely detailed description of how Magaki Heikuro climbs up a stone staircase on a horse. This kind of unlimited extension of a single privileged moment is typical of the atemporality of kodan storytelling, and Miyazaki is extremely critical of it.
One sees this kind of temporality most often in gekiga comics like those of Kajiwara Ikki. The most extreme example is perhaps Nakajima Norihiro’s Astro kyu dan (Asutoro kyu dan), the climaz of which is a single baseball match between the Astros and the Victories, the description of which took three years in serialization and more than two thousand pages. Astro kyu dan was a groundbreaking work, but it was neither minor nor avant-garde. It was published in Shonen jampu (Jump), a leading manga magazine, and, with the exception of a few raised eyebrows here and there, readers had no trouble accepting it.
The media space of manga and anime clearly tends toward atemporality. Manga about sports inevitably favor these descriptive techniques. The time between the moment the ball leaves the pitcher’s hand to the time it is swallowed up in the catcher’s mitt, the moment when a long-distance runner speeds up just before the finish line, the time of a round of boxing: all of these extremely short periods of time are extended and rendered in elaborate detail. The impact of a particular scene is heightened in direct proportion to the time spend describing it and the density of the narrative. Such techniques have been used most effectively in manga and anime. There is nothing in films or even novels capable of rendering this sense of atemporality quite as naturally. This point may have to do with the particularity of “Japanese space” that I discuss later.
Of course, the imaginaire, the realm of the imagination and fantasy, is atemporal to begin with. Dead people, for example, do not age in this realm. This is very different however, from Sigmund Freud’s notion of the atemporality of the unconscious. The unconscious is atemporal by its very nature, while the Imaginary can accurately be said only to strive for atemporality. In the imagination there is often a striving toward unlimited experience, which leads to a frantic gathering together of privileged moments.

In an essay on schizophrenia, the psychiatrist Nakai Hisao writes about the distinction between chronological and kairological time. Chronological time, named after Chronos, the Greek god of time and the father of Zeus, refers to physical time that we can measure on the clock. Kairos, on the other hand, is the Greek word for “opportune moment” and refers to time as human beings actually experience it. When we feel as if a boring lecture will go on forever or the time spent with a lover is over in a millisecond, it is because we are experiencing the time of kairos. Nakai writers that at a certain point in the progress of schizophrenia, patients experience “the collapse of kairological time and the maintenance of chronological time.” If this is possible, then there is no reason to think that the opposite might not also happen. Chronological time might recede, and the individual might leap headfirst into kairological time. In borderline cases and hysterics, for example, kairological time is clearly dominant. The time experienced by these individuals is often marked by the “here and now” of narcissism.
There are several other ways in which anime and manga strive for atemporality, or the suppression of chronological time. Characters like Sazae-san and Doraemon never grow old, and their stories unfold cyclically , always in the same setting. The technique of the tournament form that anime borrowed from manga magazines like Shonen jampu is another example of an atemporal form, like an infinite musical scale. The way the ranks of the enemy grows infinitely stronger is nothing if not a technique for introducing cyclical atemporality even as it disguises the passage time. In anime there is also the issue of the voice actor. What does it mean that the voice actor seems ageless and immortal? Often we have no idea how old they are in reality, and they may play the same boy roles for years on end. They must be immortal as well: When Yamada Yasuo, who did the voice of Lupin, died, the role was taken over by a virtual vocal clone of Yamada’s named Kurita Kan’ichi.
<…>
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part I)
Philosophy of Care by Boris Groys (Chapter 10: Under the Gaze of the Charwoman part II)
Becoming an Artwork by Boris Groys (Chapter 7)
<…>
American comics are fundamentally loyal to the techniques of cinema . In other words, they use chronological time in every respect. The flow of time from frame to frame is always even, and emotional prolongation and exaggeration is minimized. The characters’ subjective viewpoints are rendered through their monologues, and they do not demand readerly identification any more than necessary. In Japanese manga, on the other hand, particularly since kairological time was introduced by Tezuka, there has been a proliferation of techniques for rendering brief moments with high density and a very light touch. As these techniques were developed and further refined, they forced readers to identify with the characters even as they made it possible for them to read at a very fast pace. There is nothing else like this in the history of representational culture. It is very different from the way short time periods are presented in long novels such as the four days of the Brothers Karamazov or the single day of Joyce’s Ulysses. The high temporal density of these literary works derives from their indexical and polyphonic narrative structures. What they lack, moreover, is speed. The paradoxical combination of high-density and high-speed forms of expression is the unique quality of the media space of manga and anime.
The atemporality of manga derives from the screen effect whereby something looks as if it were stopped because it is moving so fast. Atemporality is not the only effect made possible by this copious description of instantaneous moments. I have pointed out that it also makes speed-reading possible. What does the copious description of instantaneous moments have to do with speed-reading? Here it would be useful to explain one of the most conspicuous codes that characterizes manga and anime.
Synchronic Space in Unison
Manga has its own very particular set of codes. As is well known, manga have multiple means for communicating these codes, both visual and verbal, as well as various supplemental onomatopoetic and mimetic expressions. Its methods of visual expression are far from simple. The background may be drawn in great detail, but the characters must be drawn using symbolic abbreviations. This is necessary to maintain visual continuity for the same characters from frame to frame. The characters’ emotions must also be expressed symbolically. This is the function of so-called manpu. Movement is expressed symbolically using various kinds of “speed lines.” I use the word “symbolic” here to indicate that these expressions directly transmit meanings as simple codes, leaving almost no room for multiple interpretations.
A frame from a manga chosen at random illustrates what I mean in greater detail. It is easy to see that multiple code systems coexist within even a single frame. We may begin by reading the text, but the shape of the bubbles that envelop the text are also expressive of emotions and situations. The manga as a whole consists of a very long list of codes, including the facial expressions of the characters, manpu, onomatopoetic and mimetic expressions, and speed and concentration lines. In manga it is almost impossible for a given mark, ln the paper not to carry any meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. The brush or pencil strokes and the panel layout, as well as the empty spaces and the abbreviations, all contribute in some way or another to the meaning. When we stop and think about it, it is quite surprising that we have read such huge quantities of manga without ever being conscious of all of these codes . How is it that a system of codes of this complexity has come to be shared as a common grammar so unconsciously - and accurately? Answering that question alone would make for a fascinating history of representational culture. But for now let us leave that aside and move on.
Some readers may be wondering whether there is really anything unique here about manga and anime. Don’t film and theater have their own complex systems of codes? What is unique about manga and anime is not the layering of codes on top of one another, or even the number of codes in use. What is important is that in manga and anime these codes do not create a polyphonic effect. Instead, they work in unison.
What do I mean by this? Even though multiple layers of codes operate in a manga or an anime, they express the same meaning, or the same emotion. Multiple code systems are synchronized to convey the meaning of a single situation. The more precise and rhythmic this synchronization is, the more rapidly we end up reading them. Speed-reading is an effect of this unison of codes, but at the same time the codes are brought into greater synchronicity by being read quickly.
One more crucial factor is that each of these codes that we have been discussing is highly incomplete on its own. No single manga code can convey meaning by itself. The text of the images alone do not relay sufficient meaning to be read in isolation. This means that all of the code systems must supplement each other. It is only this mutual supplementation that makes possible the synchronization and the unisonic effect of the whole.
For this reason the space of manga functions a representational space that is both excessively overdetermined in meaning and highly redundant. A related phenomenon is the rapid spread of those unsightly so-called telops that have become so irritatingly common on television programs in recent years. The words of the performers on variety shows are repeated for emphasis using subtitles, to which are added (in all likelihood synthesized) recordings of the laughter of the crew. Here also, you have multiple codes working in unison to ensure that the viewer was no way to react but to laugh. Some have pointed to this as an example of television becoming like manga. But I am more interested in considering what it is about our culture that makes us so found of these redundant and exaggerated forms of expression.
According to Frederik Schodt, who has also written about Japanese manga, the Japanese preference for combining visual with verbal expression has its roots in the kibyoshi picture books of the Edo period. Schodt’s thesis will of course require careful study before we can be certain. But at the present moment it does seem to be the case that Japan is the only country in which the fundamental grammar of popular culture can be described as the copious expression of multiple codes in unison. It is not that there are no examples of this in other countries, but nowhere else has it attained the widespread popularity and sophistication that it has in Japan.
This distinctive medium, which becomes meaningless when the codes are separated out and excessively meaningful when they are synchronized, brings to mind something else as well. It is very similar to how the Japanese language itself uses phonetic kana along with Chinese characters. As the anime director Takahata Isao has argued, anime and the Japanese language stand in a very intimate relation to one another. Takahata’s point is the anime is the Japanese language. Of course, there have been claims like this before, such as the one that suggests that manga resemble Japanese calligraphy. Misconceptions about kanji, particularly the idea that they are ideographic, and fascination with the refined look of the characters led even Jacques Lacan into thoughtless remarked that “the Japanese cannot be psychoanalyzed.” [*12. Jacques Lacan, “Avis au lecteur Japonais,” in Le seminaire de Jacques Lacan, ed. J. A. Miller, vol. 11 (Paris: Editions du Seuil), 497-500.] If we accept the distinction between the Symbolic and the Imaginary, we have to recognize that this is wrong. If there is something unique about kanji, it is not that they are closer to symbols than to letter. It is entirely possible to be attached to the visual appearance of writing, to treat it like a fetish, whether it be kanji or alphabetic letters. For the same reason we should avoid facile conflations of the imaginary function of anime and manga with the symbolic one of the Japanese writing system.
My sense is that the uniqueness of the two-pronged kanji/kana writing system employed in Japanese has less to do with its visual qualities than with the fact that reading it is a highly context-dependent process . And it is this fact that helps regulate the emergence of symbolic effects into the Imaginary. What we can say at this point for sure is that neither a Chinese character nor a phonetic reading on its own is sufficient to denote meaning. And it goes without saying that it is only with the addition, in synchronic unison, of katakana and roman letters that the full meaning can be gleaned. It is probably not a coincidence that the code systems of anime and manga work in a similar way.
The ease with which we enter into the world of a manga and the extraordinary speed at which we are able to consume them suggest that we may “read” them in the same way that we read Japanese writing. If this is indeed the case, we might make a further hypothesis about the Japanese writing system. We cannot claim that Japanese writing somehow blurs the boundaries between the Imaginary and the Symbolic. We can argue, however, that it provides us with a sophisticated mechanism for processing imaginary objects using symbolic operational forms.
This hypothesis helps explain a number of stranger phenomena. The first of these is that drawing ability is not the most important factor in assessing Japanese manga artists and anime directors. In fact we are strangely forgiving of their technical skills in drawing. The ability to draw certainly doesn’t hurt, but it is merely an added value. There are any number of Japanese artists who are considered “greats” but whose drawing ability is inexpert when judged by the standards of the West. Even Otomo Katsuhiro, for example, is not valued in the West for his ability to draw. Instead, his international reputation rests on his ability to tell a good story. This tendency to downplay drawing ability is also reflected in the fact that almost all critical writing on manga and anime to date focuses exclusively on narrative and character analysis.
It seems likely that we Japanese inhabit a cultural sphere that has experienced a rather distinctive development of technologies for the symbolic processing of imaginary things. This hypothesis has implications that are not limited to the theory of manga and anime. But because those implications would take us far beyond the scope of this book, we leave them for later and return to the main argument, bearing this hypothesis in mind.
The Space of Multiple Personalities
It should be possible to further expand on and generalize from these notions of the multilayered codes in manga and anime and the way they function in unison. It should be possible, for example, to think of a character in a manga as a kind of code. In my understanding, manga works have a structure that resembles a patient with multiple personalities. The better the work, the more occasions it provides for the multiplication of these personalities. To put it differently, the more perfect the manga, the more completely it succeeds in integrating the totality of its character into a single mutually supplementing system of partly personified characters.
In clinical practice it is well known that the separate personalities of patients with multiple personality disorder are highly incomplete in themselves. It is not uncommon for these individual personalities to be simple types whose entire nature can be expressed with a single phrase. In this sense it might be more appropriate to refer to them not as “personalities” but as individual “specs” (functions). This sort of incompleteness applies to many manga works as well.
It should be clear that what I am opposing to this space of multiple personalities is Mikhail Bakhtin’s notion of polyphony. Here is Bakhtin on the space of polyphony:

• A plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of fully valid voices is in fact the chief characteristic of Dostoevsky’s novels….a plurality of consciousnesses, with equal rights and each with its own world, combine but are not merged in the unity of the event…not only objects of authorial discourse but also subjects of their own directly signifying discourse…. The consciousness of a character is given as someone else’s consciousness, another consciousness, yet at the same time it is not turned into an object, is not closed, does not become a simple object of the author’s consciousness. In this sense the image of a character in Dostoevsky is not the usual objectified image of a hero in the traditional novel….He created a fundamentally new novelistic genre.

The space of manga and anime has virtually nothing to do with these characteristics. In fact that space is more like an even more extreme version of what Bakhtin describes as having come before Dostoevsky. In other words, manga and anime give us “a multitude of characters and fates in a single objective world, illuminated by a single authorial consciousness,” in which “a character’s discourse [can] be exhausted by the usual pragmatic functions of characterization and plot development” and made to “serve as a vehicle for the author’s own ideological position.”
It is a fact that is often misunderstood, but like many other subcultural productions, the degree of freedom of expression in manga genre is extremely low. Compared with the novel, the formal characteristics and the range of narratives and narrative perspectives in manga are much more tightly circumscribed. What manga have instead is a much greater diversity of styles than the novel. This is also typical of most subcultural forms. To put it in semiotic terms, manga are impoverished on the syntagmatic axis (i.e., the horizontal structure) but extremely rich on the paradigmatic axis (i.e., the vertical branch).
For this reason it is not possible for manga to convey narratives above a certain level of complexity. The personalities of characters in manga have to be simple enough to be understood at a glance. If complex personalities cannot be described, complex narratives are not possible. In manga, therefore, the individual personalities of characters are inevitably types. If many manga contain only characters that belong to identifiable types, this is because the characters have to be arranged according to a code in which each one of them carries a single meaning. But this is no reason to complain about the lack of complexity and depth in manga characterization. In manga, a single personality is often divided among multiple characters. In other words, an entire manga work in its entirety is the coordinated expression of a single personality - of, for example, the personality of the author.
If it seems like I am belittling manga and anime by making this argument, this is not my intention. But just to be sure, let me make my defense of them explicit. The characteristics of manga that I have described above are weaknesses in terms of their capacity for literary expression. But do we not live in a time when the authority of the literary has been considerably weakened and the exponents of so-called high culture are being banished to an ever-shrinking territory?
If the weaknesses of subcultural forms like manga fall under the category of what I have just described as the syntagmatic, their strength lies in their paradigmatic diversity. One example would be popular music, where a diversity of sounds and arrangements are applied to simple structures, making for virtually infinite repetition and renewal. These days, techniques like sampling and remixing are not limited to music. We can all remember quite clearly how refreshing and powerful we found the anime series Neon Genesis Evangelion (Shin seiki Evangerion), which was produced almost entirely using these technical refinements. Subcultural forms will surely continue to seduce and bewitch us with their uncompromising superficiality. They may not be able to portray “complex personalities,” but they certainly do produce “fascinating types.” The beautiful fighting girl, of course, is none other than one of those types. That she can only survive in a subcultural habitat is due to the reasons given above.
[To be continued]

So I'm watching Lizzie McGuire movie and the intro song reminds me of another song and I can't remember which one. In the verse "I'm not the kind of girl who gives up just like that.. oh noo". I can recall another song with a similar tune and all I remember is that instead of "ohhh no" in this song it says "woaaah... yeah!"
Also maybe before "woah yeah" it says somethings like "---something something..how it should be ee".I'm not a 100% sure about that part, just about the ohhh yeaa part.
(For some reason Grease musical movie comes to my mind so it could be from there or some other musical maybeee idk)
Thanks in advance!

Tonight I was laying out for my husband the finer points of the Kendrick v. Drake battle - as I have done every day for the last couple of weeks- and was knee deep in breaking down how Kendrick used double entendre and wove history and culture in his lyrics to cultivate an ongoing critique of Drake and the music industry. Went on to talks about how great it is to see people analyzing the lyrics as a former teacher, and how excited I am to see this type of “close reading” skill being used with music and how important those skills are and on and on.
And I saw it. The glazed eyes searching for a pause in the monologue so he could escape. lol. In that moment I realized- oh- I’m in a hyper fixation. Yeah- That makes sense.
I excused myself and he is happily watching hockey. Bless that man. lol

Greetings, fellow inhabitants of the BasedWorld. Although this query might not pertain directly to the esteemed Lil B, it delves into the realm of based artists, and I am confident this is the sole domain that could offer any insight, besides perhaps sadboys. However, I surmise I would have more success here.
About a year ago, I stumbled upon Lil B and have since grown into a fervent admirer. His blend of humor, depth, and love is unmatched, cementing him as my favorite rapper. This led me to explore artists akin to him, such as Soulja Boy during his based era with mixtapes like "Skate Boy" and "PBM" with Lil B, along with other Cloud Rap artists like Bladee, Chris Travis, Main Attrakionz, etc. One day, YouTube recommended me a video by another based rapper, Yung God. His renowned "Caillou Based Freestyle" captivated me, igniting a quest for more.
I soon unearthed that he was part of a collective named "Ocean Gang," which appeared to wield considerable influence in the underground scene during the early 2010s. At its zenith, Ocean Gang seemed to boast a plethora of members, though the principal ones were Yung God, Cartier God, AGoff, Truly Based, and possibly Soulja Boy, whose involvement felt somewhat unofficial. Last summer, my playlist was dominated by Lil B and Ocean Gang members. Despite being a latecomer, I quickly realized that both music and information on them were scarce.
While they continue to release music—Cartier God and AGoff remain prolific, and Yung God dropped "Sorry 4 tha Drought" last year, his first release since 2018—retrieving their older tracks proves challenging. Much like the BasedGod, Ocean Gang, especially Yung God, exhibited an astonishing work ethic. From 2010-2012, Yung God appeared to release a new song almost daily. Although many tracks are still available online, numerous others seem lost. A dive into Yung God's channel on the WayBack Machine reveals more songs that have since vanished. Yung God maintained two YouTube channels: the semi-active "officiallyyunggod" and "2610bu," the latter seemingly abandoned nearly a decade ago and potentially not even affiliated with him. Many older videos on these channels contained descriptions linking to LimeLinx, a defunct website once used to download music, with all its links now dead or redirecting to dubious sites likely harboring malware. Around 2012/2013, Yung God switched to DatPiff, either because LimeLinx shut down or he opted for a platform change, with LimeLinx closing later.
LimeLinx's demise implies many songs and mixtapes have become inaccessible, as Yung God frequently encouraged fans to use it to download full mixtapes. Current knowledge suggests only five full mixtapes by Yung God exist on YouTube: "Tha Afterlife," "Asylum," "Splashaholics," "Dystopia," and "Sorry 4 tha Drought," yet references indicate many more, such as "Grease" and "The Barbie Tape."
This issue extends beyond Yung God; all members seem to have lost tracks. Many were taken down, possibly by the artists themselves. Their social media presence has also significantly diminished, with numerous accounts abandoned and linked to other defunct accounts and websites. Despite their past online popularity, they have largely vanished, leaving behind only the core members.
It is conceivable that hundreds of tracks are lost. According to a source on RYM, an extended version of their collaborative "Ocean Gang or Drown" mixtape was even released on DVD. Despite their internet popularity and loyal fanbase, their music and members have seemingly disappeared, with few discussions about Ocean Gang today.
Some content has been archived via the Wayback Machine and YouTuber "Docta Caffeine," who laments in his video descriptions the unarchived songs he wishes he could save.
So, as a relatively new aficionado addressing the knowledgeable members of BasedWorld: What transpired with Ocean Gang? Why is so much of their music missing? Did a falling out occur?

I have been on an instrumental funk kick for about 14 months now. It started last Spring with Funky Duck and Rango II, and has expanded to all Vulfpeck songs, plus Fearless Flyers, Greyboy Allstars, Woody Goss, Vulfmon, The Meters, Herbie Hancock, Stuff (so much Stuff), Cory Wong, Scary Goldings, etc etc.
I listen when I study, when I cook, when I'm driving, or when I'm just vibing in my room reading or playing chess. I imagine many of you are the same, since we're all here.
I have also been dealing with anxiety for the past two years, with obsessive worries that can take over any moment when my mind could wander (brushing my teeth, unloading groceries, walking to class, waking up in the morning). I also imagine some of you can relate to this. I think the core of my ongoing healing process is bringing myself back to the present moment over, and over, and over, sitting with my various discomforts and quieting my mind.
As anyone with anxiety knows, this is much, much easier said than done. But I have noticed something special about funk with how good it is at helping bring me back to the present moment and reducing my stress. I have two main reasons for why I think this is.
The first is the rhythms. This is the most obvious one to me. I don't think it's controversial to say that funk relies on rhythm more than any other genre. All these wonderful multilayered syncopated rhythms (ex. Fried Grease by the Greyboy Allstars) or just a good groove just tickle my brain in the perfect way, and tapping along is both fun and mentally taxing enough to hold the part of my attention that might otherwise have gone towards the black pit of despair.
The second is that I think funk is just naturally... silly? Unserious? Fun? Like, funk is never going to make you cry I think. I would even argue that the unseriousness is one of the central appeals of the music. When I am emotionally exhausted, there's a lot of types of music I need to avoid, because it either reminds me of my worries or brings up lots of feelings that I don't have the energy to feel in that moment. So I listen to funk. A lot of funk doesn't ask you to be happy, or pretend everything is okay; it's too influenced by the blues for that. It asks you to dance instead, or at least mentally dance, which sometimes is a lot easier and more therapeutic than trying to let out tears or something like that.
To be clear, avoiding the depths of my feelings is often not the answer for me. But when I need to bring myself out of a negative pit of thoughts I've dug for myself, funk does it better than anything else.
tl;dr I think the rhythms and unseriousness of funk are really helpful for managing my anxiety. I am curious if any of yall feel the same, so I thought I'd share. Let me know what you think!

"Y'know why I love the internet? Because it's just like me." "Vulgar, combative, and contradictory?" "Overflowing with perversion and stupidity?" "Yes, and yes."
In 2013, Deadpool wanted a game, and gave a director at High Moon Studios his proposal written in the finest crayon he could muster. They accepted it (after being blown up following the initial rejection). As such, Deadpool finds himself trying to bring in the bounty on generic hateable villain Chance White, only for him to be rescued by the Marauders and killed by Mister Sinister. Driven by a desire for revenge (all while ignoring the X-Men and Cable's various attempts to get him to help save the world), Deadpool travels across Genosha in order to kill the supervillain.

Strength

• Kicks a large sewer grate free when said grate had just been unaffected by him sliding into it
• Sends a group of private soldiers flying back into walls with a spin kick
• Hits an explosive barrel away a distance
• Stabs through a throne and a Mister Sinister clone's neck
• Cuts off a person's head and arms
• Pushes a large block
• Pries open a large set of elevator doors by a penthouse
• Controls a mounted machine gun with one hand which most people require two to fire

Durability

Healing Factor

• After a short period of not taking damage, Deadpool's health rapidly refills to full
• His healing factor causes a person to believe that all his guards are constantly missing Deadpool with their gunfire
• Doesn't notice he's been impaled by rebar after coming conscious, and then pulls himself free
• Was once stabbed in the heart by Wolverine
• Shoots himself in the head, and comes back to consciousness later with a knife stabbed into his chest
• Falls from a Sentinel foot onto concrete, twisting his head around cutting an arm off, and he needs to stagger around to collect his arm, put it in place so it can instantly attach, before twisting his head back the right way around
• Bisected at the waist, being held in midair by his intestine and continuing to fight after falling on top of a man's head
  • Deadpool ultimately bleeds out, meeting Death, but soon recovers and gets back up
• Is torn apart and beheaded by Mister Sinister, falling unconscious, and when he wakes up his body is reattached (though the X-Men may have placed his body back together)
• Cannot get drunk

Gameplay

• Doesn't take fall damage
• Takes hits from a clone of Blockbuster, who tears up large chunks of stone or concrete ground before throwing it
• Takes hits from Arclight (who may or may not be a clone), who jump punches a large platform in a sewer to break it into the ground before doing so again to send it into freefall
• Has grenades explode by him
• Shot by a launched rocket
• Tanks electric attacks

Other

• Punched back a distance by Cable
• Fine after crashing his bike into a wall which had just launched him across Genosha
• Blasted back from an explosive shot destroying a door
• Sent flying from the explosion of a large piece of debris slamming into the tower he's on
• Walks out of a Blackbird crash which knocked out Wolverine, Rogue, and Psylocke
• Knocked back by an attack's shockwave
• Filled with electricity as he connects two large severed wires to open a door

Speed

• Aims and shoots at regular speed in a slow-mo sequence

Weapons

Deadpool is shown as owning a large range of weapons. Highlighted below are the ones he uses in-game.
Melee

• Beauroyre blades
• *Bang Lee* sais
• K-SOH 20lb. hammers
  • Can be imbued with flame as part of an attack

Firearms

• DT 1981S pistols
• Nuthals 220S submachine guns
  • Sustains a person in midair with both submachine guns firing
• Kingmaker shotguns
• Harrison PLS pulse rifles, which are strong enough to turn foes into blood smears

Explosives

• Frag grenades capable of blowing a home in the ground beneath Deadpool while bisecting him
• Land mines
• Carries C4, with one package blowing up the sewer ceiling, the wall to the bathroom above, and blasts a person walking away a notable distance
  • Has a lot of C4
• Rigs explosives at a game studio that he sets off from his apartment in order to convince them to make a game about him

Other

• Flashbangs
• Bear traps

Teleportation

• Can teleport short distances
  • This later gets upgraded to cover longer distances
• Teleports into a helicopter to commandeer its gun
• Brings Deadpool back to the platform he jumped off of when he falls
• Teleports around Genosha to set up a plan

Fourth Wall Awareness

Medium Awareness

• Starts the game by bombing the studio that made the game in order to have them make the game
  • Due to the game being actively developed as it's played, sections running over budget can cause Deadpool to have to go through cheaper areas for a period, such as a retro Zelda-like section
  • When a section isn't finished, he sends the developers more money so they can fix it
• Sees two achievements he earns right at the start of the game
• Receives the script for his game before editing it in crayon and showing it to the player
• Notes his controls have been reversed after his head had been twisted backwards

Object Conjuration

• Commands goons to spawn in the tutorial
• Spawns in a crate containing a bouncy castle
• Brings in a coin operated rocket for him to sadly ride while Cable monologues
• Gives himself a woman on either leg, lightning to strike his sword, and fireworks in the sky before having the credits roll
• One section is filled in front of a live studio audience, somehow

Other

• Stretches a censor bar
• Creates a bridge of thought bubbles to traverse an area
• Begs the player to get him out of Cable's boring monologue
• Uses a C4 trigger to replay the level he just went through, greatly draining the game's budget

Intelligence

• Controls Sentinel arms through loose wires
• Uses control panels at the top of a tower to shock a Mister Sinister clone, possibly play music (though this may be an aspect of the game), and ultimately destroy his plans
• At the end of the tutorial, spawns in a bouncy castle which he later falls onto alongside the person he's capturing so that he survives dropping out of the top of a skyscraper
• Has Cable assist him in modifying a Sentinel foot to launch him across Genosha
• Spray paints an X on the ground before the final battle which ends up being the location Mister Sinister stands on where he's squashed by a flying Sentinel foot
• Modifies a bike so it's rocket powered and can launch him across Genosha, then drops some C4 at a pre-set location so to knock down a Sentinel hand, propelling a crate with a greeting message and two more C4 packets onto the other side of a ravine, before that C4 explodes to knock down a statue and make a bridge for several X-Men

Other

• Cannot die
  • He can near death experiences in some circumstances, such as while bleeding out due to being bisected, but soon gets brought back to reality
• Can double jump and wall jump
• Eats through his mask
• Is capable of becoming briefly invincible with an upgrade
• The two voices in his head may not share the same knowledge as Deadpool, though they may also just be different aspects of his personality that focus on different things
• When Rogue absorbs Deadpool's healing factor, she also gains his personality, fighting ability, and the two voices from his head