#denny love icons

[beatleswings]

WINGS Christmas photoshoot. 1979.

[king-of-the-birds]

PAUL'S BALL

a launch party for wings

He produced a handwritten invitation, leaving space to write in the invitee's name, as well as a number, which would be used for a raffle drawing toward the end of the evening. (The prize was a magnum of champagne; the disc jockey Jeff Dexter was the winner.) (..) The recommended dress was "glam."(..)

Some 800 musicians, reporters, friends of the band and music business honchos were invited.(..)

As always at such events, there was ample carping, which a reporter for Rolling Stone duly cataloged. After describing the Empire Ballroom as decidedly unhip, a leftover from the days when the Joe Loss Orchestra would play foxtrots, and young ladies shopped for husbands among the dancers, the writer noted that while the wine and cheese were free, everything at the bar was for sale.

(…)

Eyebrows were raised when, instead of a Wings performance, partygoers were treated to fox-trots, waltzes, quicksteps, and congas, played by McVay's band-along with what McVay remembered as arrangements of sixties and seventies hits, including a Beatles medley and some Beach Boys tunes. They were raised higher still when the heavily sequined and coiffed Frank and Peggy Spence Latin and Ballroom Formation Dancing Teams filed onto the floor to demonstrate their artistry.

"I'm beginning to think that Paul actually digs all this" one guest quipped to the Rolling Stone reporter, "that he actually likes dance bands, ballrooms, and buffet food. That's incredibly camp, you know, incredibly camp. Have you seen his suit? It's like a clown's costume, the jacket is about five sizes too big, and it's not even been finished."

(from the McCartney Legacy Vol. 1)

Paul: A press launch is always a good excuse to have a night out, so we invited friends and journalists, played the album, danced and had a few funny people come on to entertain. I wore an outrageous big check suit that I thought would be good. When I went to collect it from the tailor that morning he told me that it wasn’t finished. I said, ‘Maybe not, but it’s a look!’ So I went to the party with the cotton and the stitching showing, and everyone said, ‘Your suit’s not finished.’ I said, ‘Yeah, I know. Great, huh?’

(from Wingspan, 2002)

Some of the guests that attended were Jimmy Page, Elton John, Sandy Denny, Mary Hopkin, members of the Who, the Faces, Deep Purple, Ginger Baker, Henry McCullough, Gilbert O'Sullivan, Graham Bond, Sandie Shaw, the Greek synthesizer wizard Vangelis, the actors Malcolm McDowell, and Terence Stamp, some of the Monty Python troupe, Sir Joseph Lockwood, the head of EMI, Allan Clarke, of the Hollies, and (Benny) Gallagher and (Graham) Lyle.

After the party a fan encountered Paul:

He went skipping (yes it is true) down the road with Linda and just as he turned the corner to a side street, I took courage and called him back. He stopped and said “yeah” so I ran to catch him up and breathlessly asked him for his autograph. The funny part is my pen was at the bottom of this large bag of mine! He stood patiently watching me with arms folded as I rummaged elbow deep. I asked him if he had a pen as I just couldn’t find mine; he said no (which isn’t surprising as he had this crazy suit on that had no pockets).

(Kathy Turner – From Meet the Beatles for Real: Wings Party)

[sirhinkjinks]

be who you are :sparkles: :nail_polish: :heart_eyes:

[mondlevan]

looking for alaska headers

“♡” or reblog if you save/use — follow me.

twt: @szamofada

[itspileofgoodthings]

that Bobby Bones interview with Taylor where he claims that the cookies she gave him made him sick and she tells him to stop lying is my Roman Empire because I can’t stop thinking about how, while keeping it still lighthearted enough for interview etiquette, she unequivocally shuts down his gaslighting and despicable toad behavior.

[23meteorstreet]

i get that a lot of people hate first person POV in films/shows but after “being frank” i need first person eps for the rest of the gang

[bandfreak]

the beach boys

[thebahwrites]

hihi! hope you’re having a good day. i want to draw a scene from the last chapter of killshot, but i need to know how far off the ground and what’s holding hangman up so high (i’m guessing the debris and the beams but i want to get the full picture), thank you for such an amazing fic btw qwq

Oh my God, okay no I'm totally normal about this and not freaking out AT ALL!!! (I say very normally shaking about you wanting to make art for my beloved fanfic, please don't worry I just get very emotional and honored whenever anyone even mentions the idea of that...) but I'm ALL GOOD HOW ARE YOU LOVE?

But also, I'm about to get weird because.... for Reasons I may know more about mines than most people so let's go! (Descriptions and stuff under the cut?)

The idea for the place they're in it's a Mine Hall which is like... a pocket within the mountain/underground that is somewhere between 60 and 100 meters tall ground to ceiling (and apparently close to 60 to 100 yards as well, I don't know how the imperial system works so I'm sorry if that's the one you use), but there's irregular points, like, ones closer down and ones way up high.

Here's some ref pics just for an idea! [x] [x] [x] [x] And as for the lab refs/ideas, here's some? [x] [x] [x] [x]

Like, some of these are big enough that enormous ass WHOLE TRUCKS come in and out so you can imagine it more or less? The room they were in was one of those halls, repurposed for ~Nefarious Purposes~ and all, underground lab, etc, still a mine hall.

NOW AS FOR MY MIND EYE. It's hard for me because I have aphantasia so most I can do is describe in detail but basically: the beams coming from above is a thicker one (for structural support of whatever crashed down) and others auxiliary ones, now, how far above they are is at least a couple meters (7-ish feet?) but I'd say give or take 6 to 10 meters? (10 to 30 feet, boy, at this point I'm just trusting Google with these measurements) but honestly... artistic rendition allowed? I honest to God trust you with whatever ya deem looks best!

I think the most important piece of it is that there's just uhhh how do I put this, it's a pocket among the debris because the room hasn't collapsed entirely, ya!

sorry for the rant I hope this is what you asked? Please let me know if I can do more!

and THANK YOU FOR READING MY FIC ;;

[captaincleverusernamehere]

Our DM has decreed that our cowboy warlock is effectively immune to the madness caused by looking at the moon in this campaign because his wide-brimmed cowboy hat makes it too much effort to consciously crane his neck to look all the way up at it. Let this be a lesson that if you bring up stupid elements of your character design enough times you WILL be rewarded

[beatleswings]

WINGS. 1972. Photo taken by ROBERT ELLIS.

[themaskofreason]

just saying. if i was the morporkians/scrummagers (can't remember who but I want to say morporkians) and *i* had gotten the music question in the second round i would've said night by the altogether as the final clue. (and i did. i got morning mood, mother dearest got the second clue and i pure exploded like "omg the final one is night by the altogether :D") also i did so well in this week's connecting wall like i got two of the connections on the first one and as soon as I saw "authenticator" on the second one i screamed "GOOGLE SERVICES"

[chawliekin]

and if I said that dennis’ insistence on being the breadwinner/provider despite literally being a pampered princess who dgaf about traditional roles of masculinity in every other regard (aside from ego) is because his mom only stayed with/chose frank for his wealth and dennis is highly aware that he’s difficult to love and unable to show his emotions openly so he has to be contributing something to the relationship materially in order to feel like he’s worth staying for… and mac grew up with parents who were extremely ambivalent to him and eachother so he has to overcompensate by proving his worth at every given moment and seeking praise/validation from people (and religious icons) who will never demonstrate the same amount of dedication to him but he has no idea how else to desperately keep himself close to those he loves other than by eroding himself into something they’ll approve of… dear god they’re both exactly what the other needs — someone who can’t and won’t leave them even if they try — and they don’t even see it…

[littlebigmouse]

List of Small Things™ I enjoy about Fullmetal Alchemist in no particular order

Everyone in FMAB/manga is just Some Guy™ and very human and I love that so here goes:

Falman getting stuck with a serial-killing suit of armor in his appartment for days and his reaction to it. It may have been weeks. He's been on sick leave the entire time. He's a guy in his early thirties with a flock of early-greying hair because being in a dead-end-role in the military is stressfull, ok. He gets stuck at home with a funny little serial killer (and eventually some foreign body guards, and a foreign prince?? lighting signal fires in his backyard?? like man what a week)

The whole military ambush against the Devil's Nest was yes, kind of kickstarted by the gang kidnapping Al for Greed, but it was mostly kickstarted because Ed was down south to do his yearly official report and Bradley and Armstrong just happened to be present when he was informed Al had gone missing. Greed's entire operation was done in by a teen doing his paperwork

on that note, Greed really decided to spend his immortality wisely by pursuing absolutely none of his supposed ambitions and just decided to settle down with a bunch of buddies. An offshot of the buddies he was initially made to guard, too. I don't think Greed is aware of this either

everyone on that radio building. The radio host 100% down to get some coup-shenanigans into his station to drive engagement. The guys sympathising with Mrs Bradley and taking care of her. Breda taking control of the narrative with a perpetual frown by the skin of his teeth.

I know the story of how the Bradleys met is technically not canon(?) but Mrs Bradley slapping her future husband upon their first meeting because he got his flirting tips from his siblings will never not be funny. Idiots. All of them.

EVERYTHING about Darius and Heinkel. They lost their jobs and became wanted criminals upon helping out some scrawny 15 year old. They have families they miss dearly. They haven't looked back since. "You guys don't HAVE to help me save the world" - "It's not like we have anything better to do"

i was going to say the Ice Cream Truck, because it's iconic, but actually, when told to disguise a vehicle, 15-year-old pinacle of edgelord fashion Edward Elric turned it into a colourful nightmare of spikes that barely resembled a car but might be closely related to the worlds deadliest parade float. None of this was necessary. Ed is just like that.

Hawkeye growing her hair out after meeting Winry, and Winry getting piercings after seeing Hawkeye's

Denny Brosh bursting into tears when he sees Maria Ross is still alive. Dude managed to not quit his job despite working in the same city (department?) where his best friend's killer was his supervisor. They were also very real for showing us that this is a guy who oversleeps and is older brother to at least three younger siblings. There was no need to give us more on Denny Brosh but every little detail hit so hard when they reunited.

okay so remember that time Ed and Ling ate Ed's shoe. Remember that Ed spend some time on a "deserted island" as a kid. Gluttony's stomach had nothing on him. Izumi raised some anime-ass boy-scouts. 100% Farm boy behaviour. These kids are so 15 it makes me want to bite things

immortal, soul-spliced dwarf in a flask got rid of his Sloth and still managed to procrastinate on his world domination plan until the last minute. Most Human disaster.

the entire half-episode they spend on Dr. Knox and his regrets and family. FMA is so good about humanising everyone.

everyone bullied Yoki because he was a small town fraud exploiting workers for his own benefit. Simply a jerk. He also hit Pride with a car in an epic rescue, and cried and screamed the whole way through

that one shot of a kid curiously poking a soldier they found bound on the ground with a stick

(I know it's technically not canon, but-) "I'm trying to save your life, asshole!"

Edward Elric

[saintsenara]

you said “the eleven-year-old riddle, for example, is written in a way which suggests he has an accent and uses words and expression which would be understood as working class”. Can you elaborate on what you mean? I love your meta btw. You are brilliant

thank you for two tmr-related follow-up questions to the slughorn/snape bonanza meta, anons!

[and thank you for calling me "brilliant", anon no. 1. picture me kicking my little feet in the air and chirping like a cat which has just seen a bird outside.]

how is the eleven-year-old riddle shown to be common as muck?

besides the fact he lives in an orphanage.

it's things like this:

“You can’t kid me! The asylum, that’s where you’re from, isn’t it? ‘Professor,’ yes, of course — well, I’m not going, see? That old cat’s the one who should be in the asylum. I never did anything to little Amy Benson or Dennis Bishop, and you can ask them, they’ll tell you!”

while none of this is in a demonstrably non-standard dialect of british english [i.e. riddle doesn't use contractions like "ain't" or "innit", or say "i never did nothing to little amy benson..."] it's definitely a way of phrasing his speech - especially when coupled with the fact that this quote reads like he's speaking really quickly, and he's described as looking "furious" - which would be considered uncouth, especially in the 1930s. [not big fans of emotional volatility, the posh].

his refusal to speak deferentially to dumbledore - and the fact that when he's eventually induced to call him sir he is described as being "unrecognisably polite" - is a similar indication that he doesn't exist as a child in the sort of context where he's forced to perform more refined manners in order to get what he wants.

[the sixteen-year-old riddle is considerably more obsequious, because he recognises that the way to get things out of e.g. slughorn is to comport himself like his upper-class peers.]

and he also - which is iconic of him - calls mrs cole a bitch here. "cat" is a slang term for a gossipy or meddling woman - and while it doesn't quite have the full heft of "bitch" [you find it used with impunity by middle-class women in pretty much every piece of literature written pre-1950...], it's incredibly rude for a child to say it to a stranger who he assumes is a doctor.

riddle does also use non-standard english - for example, when he says of dumbledore's wand:

“Where can I get one of them?”

[the correct form would be "one of those".]

it's this which really hammers home - beyond the ways in which it can be inferred from the context of the setting and the scansion of his [and mrs cole's, they speak fairly similarly] speech - that he has a london accent which would be understood, especially when combined with his second-hand possessions and his general rowdiness, as working-class by the sort of people who otherwise seem to end up in slytherin.

exactly what accent this would be depends on where we think the orphanage is. the closest we come to locating it in canon is that riddle buys [or, let's be real, steals] his diary from a shop on "vauxhall road". this isn't a real place, but vauxhall is an area of south london.

but most people - including me - usually place it in east london [i like, as i've said elsewhere, to put it on dorset street in spitalfields, which is the site of one of jack the ripper's most brutal murders]. this would have him born within the sound of bow bells, meaning he'd have every right to call himself a cockney and would undoubtedly speak with a cockney accent.

the south london and east london accents are recognisably distinct from one another [and from north and west london accents], but they would both be understood as common in the time period, when both anyone born into an upper-class or upper-middle-class background and anyone who aspired to be thought of as having done so would speak with [something as close as they could to] received pronunciation.

why do i think slughorn remains chill until after riddle refuses his job offers?

riddle's conversation with slughorn about horcruxes happens at some point in his sixth year - the academic year 1943-1944. we know this because he's a prefect - but not yet head boy, because he's killed his father [his second victim - the riddles are killed in the summer of 1943, after myrtle is killed at the end of the 1942-1943 school year], and because it just makes sense from a narrative standpoint for this pivotal moment in his life to take place at the same time harry's own life is transforming.

my presumption is that the chat happens during the first term, and that riddle doesn't actually create the diary horcrux until afterwards - so let's say the conversation happens c. november 1943 [when riddle would still be sixteen - the age the diary tells us he is]. slughorn then spends a full eighteen months continuing to support and favour him - advocating for him to be head boy, attempting to set him up in prestigious jobs, presumably being willing to support his application to teach defence against the dark arts - after he's aware that he's not opposed to a bit of splitting the soul.

i don't imagine for a second slughorn would ever have turned him in - he is, after all, fundamentally a coward, and he's clearly worried that he'd get in trouble himself for discussing horcruxes with a pupil - but if he were properly troubled by the discussion i think his behaviour would resemble how he treats harry while he's trying to collect the memory: unfailingly polite and unflappably jolly, but still mysteriously unable to be cornered alone.

and - actually - i think this is the specific source of slughorn's shame over the incident, and it's why i really don't like the memory acquisition scene - "you have no idea how frightening he was" - in the half-blood prince film. slughorn is clearly rattled by the conversation, but he then seems to manage to convince himself that everything's fine and riddle was just being a teen show-off with a morbid streak.

[and the adult voldemort - for his part - evidently has no suspicion at all that slughorn took the conversation seriously enough to waver in his cowardice and admit what he'd told him.]

but riddle refusing to accept his help in securing a job - and, therefore, refusing to enter into the sort of patron-client relationship slughorn canonically establishes with pupils from non-elite backgrounds - is riddle indicating that he refuses to be restrained by the norms of wizarding society.

it's a big "fuck you" to slughorn from the perspective of social convention notwithstanding the other context - a presumed-to-be-muggleborn orphan asserting that he can make it in the world on his own terms without tugging his forelock to the pureblood elite - but it's also evidence that he has no intention of finding himself in a situation where slughorn can control him personally.

it means that slughorn finds himself in a position in which he can't dangle the threat of reporting him to the aurors for [conspiracy to commit] murder/taking an interest in dark magic we can presume is illegal unless riddle does something he wants. and it makes it impossible for slughorn to continue convincing himself their conversation was purely macabre curiosity.

slughorn can convince himself that the eighteen-year-old riddle - the polite and brilliant head boy who undoubtedly continued to attend slug club meetings without incident in the period 1943-1945 [since him being barred from such occasions would have tipped him off that slughorn was worried] - can still be treated in a way which has served him well since he started teaching, and can have his... odder aspects constrained by the pressure of wizarding social convention.

the twenty-year-old riddle - on his own in his knockturn alley shop, with its dark reputation, and apparently uninterested in settling down nicely under the thumb of a respectable patron - cannot be.

and slughorn is terrified of this - and the repercussions it has the potential to bring upon him - but he's also going to be offended by it -and i think it's really interesting to skewer his canonical dislike of being associated with death eaters a little by playing with that offence: i.e. that he's not only unimpressed because lucius malfoy's in azkaban, but because of the whole bending-and-scraping-and-saying-my-lord act.

[matan4il]

Buddie 608 meta

Buck babysitting Jee Yun was adorable, but what gets to me is that it seemed to come with more question marks than when he was looking after Chris in 301. Does that imply something about how often he babysat Christopher without Eddie present even before that little “intervention”? In any case, it re-affirms that even relatively early on, Buck was very much a part of the Diaz family. ~~

It actually feels weird that in this entire ep, Buck is around kids, talks about kids, but doesn’t address the issue of him possibly fathering a biological kid of his own that he won’t get to raise. Is this a hint that he’s def in denial? It was especially loud because we saw him talking about Chris, while spending time with Jee Yun AND Denny. The former two make sense, but Denny? The only other time we saw Buck around Denny was in 310, when the scene was primarily about Eddie watching Chris with Buck. So it feels like it’s very pointed that he’s around more kids than usual, yet not addressing the biggest issue related to that taking place in his own life.

At the same time, to connect both of the above points, the difference between how we see Buck with Jee Yun, his actual family, in this ep, and how he’s with Denny (he’s in the same scene with him, but hardly interacts with the kid, they’re even physically separated by Hen) serves as a reminder that Chris isn’t like another colleague’s child to Buck. What they have is how Buck treats his own flesh and blood. ~~

Carla reminding Eddie that the fantasy is sometimes better than the reality, when she’s the person who, in 413, encouraged him to follow his heart… Is this the show building towards Eddie’s next step on his romantic journey? IDK, but with this continued theme of him watching Christopher maturing into his own person, leaving him to find out what makes him happy outside of being a dad, it would seem to fit. ~~

I loved Buck asking whether Chris isn’t too young to date, then being asked himself to reminisce about his first crush. Which was in fact way earlier (and a reminder that not every crush is about being old enough to date). It made me snicker a little, ‘coz it was such a good reminder that our boys are a bit oblivious about matters of the heart in general. And yes, it comes from an overprotective place of caring, much like Buck’s reaction to hearing that Chris is going to a summer camp in 318, but it def explains why they’re not very good at following their own heart or figuring out what it’s telling them.

At the same time, Buck asking whether Chris isn’t too young to date, followed almost immediately by Eddie saying he didn’t think his son was old enough to kiss others, screamed VOLUMES to me about how much these are both Christopher’s dads. They literally have the same reaction where no one else from the team does. This cannot be accidental or meaningless. Especially when paired up with the fact that it’s Buck who Eddie looks to first to sooth his apprehension over Chris kissing someone, and he only turns to the other teammates when his work husband is being a bit of a tease and refuses to give Eddie the reassurance he seeks... Flirting at your place of work on top of being obvious co-parents, seriously? ~~

I loved Buck’s comment about the song “It’s Raining Men.” It wasn’t just a funny comment on its own, it was also a nod to a gay anthem. One of the most well known as well as one of the earliest ganthems (that should be a word), in fact. So while it’s not a clear indication of anything about Buck’s sexual identity, it is an added hint in a long series of hints that he isn’t straight. And to add to that, when Buck makes that comment, it’s Eddie who’s there by his side to make one of his iconic faces at that. They’re not just battlefield boyfriends, they’re battlefield husbands, exasperated eye roll included. ~~

NGL, May and her crush Darius realizing where they’d rather be, or better yet with whom, after their ordeal with Erik very much reminded me of 414. Buck CHOSE to fully integrate himself into Eddie’s life and be by his side in every way that counts, while he literally saw Taylor and immediately started walking in the opposite direction, while Eddie broke up with Ana shortly after. It kills me that they still don’t get what stuff like that means. Literal bozos. ~~

Eddie threatening to only speak to Carla about stuff related to his son growing up might have been said in jest, but it also served as sort of a set up for her being the one to stay with Eddie and watch Chris outside the dance. And I adored that scene, with that soft look on Eddie’s face, his moving words! Yet, I can’t see either this arc, nor Buck’s with the sperm donation, being complete without the two of them having a real conversation about what’s going on with them and their respective parental journeys. Especially not after the Buddie stuff we got in 5b which locked them in as each other’s person forever. There’s no coming back from that stuff. So I can only assume that it is coming in 6b. And hopefully, it will be all the more emotionally effective for how long we have to wait for it. Hey, that’s the whole point of a slow burn to begin with, right? ;)

~~ Thank you to everyone liking, reblogging and especially those who consistently reblog these meta posts, you own a small piece of my heart. I wouldn’t be writing a meta post on a day when I’m sick AND working a double shift if it wasn’t my way of saying thank you. I really love and appreciate you all. Also mad love to @whosoldherout​ for once again slaying with her amazing gifs, and just for being so wonderful. xoxox

[themosleyreview]

The Mosley Review: Bad Boys: Ride or Die

There is an important lesson being taught here to filmmakers that step into a franchise they are fans of. Fans of a franchise can be the most devoted and best choice to continue on the franchise, but if they are not in service of the story, the characters or the identity of the franchise, then they aren't the right one to take it on. You cannot come in with your own biases, agendas or what your idea of what the franchise is. True fans of a franchise know this and take that lesson to heart and deliver an outstanding entry and that's what this directing duo has done yet again. The Bad Boys franchise has always been about the classic buddy cop relationship that keeps you engaged in between the amazing action. This franchise has a strong beating heart of love and fun at its core and this film keeps that heart pumping at a hardy pace. The previous film was a welcomed return that had its moments of flare, stylistic action and comedy, but it focused on the story and the humanity of the characters first. That same elegance of storytelling continues in this new entry and it may be a bit more kinetic, sometimes overwhelming, but it still lands strongly in the category of greatness.

Will Smith and Martin Lawrence return as our favorite dynamic duo Detective Lieutenant Mike Lowry and Detective Lieutenant Marcus Burnett and they haven't skipped a beat. The magnetic chemistry between them is what keeps you engaged and I loved that this film once again drives home that brotherly love they have for one another. Like the last film, they both deal with their mortality in a unique way as they are older now. Mike has an unexpected growth in personality and I loved that he isn't as perfect anymore. You see him deal with a personal disorder that he must overcome and it is pretty inspiring the way Will portrays it. Marcus gets a new lease on life and lets go of the whiney tone and actually has more pep in his step. In a sense, Mike and Marcus switched perspectives and role types as Marcus has become the more reckless and Mike has become the more cautious. I loved his spirituality which made for some great moments of comedy where Martin truly shined the brightest. Vanessa Hudgens and Alexander Ludwig return as AMMO teammates Kelly and Dorn and they were both fantastic yet again. They weren't an after thought and they both were a powerhouse in the action and held their own when on screen with Mike and Marcus. Paola Núñez was awesome yet again and now as Captain of the Miami PD, Rita Secada. I loved her strength in the film and her chemistry with Mike and Marcus is still strong. Its a mild spoiler, but I hated the fact that her and Mike didn't end up together. Ioan Gruffudd was good as Adam Lockwood and its always great to see him on screen. Joe Pantoliano is always a welcomed face and seeing him as Captain Howard one last time was heartwarming. Jacob Scipio returns as Mike's son, Armando Aretas and he was just as badass and deadly. I liked the strained avenue that Mike and Armando go down as their father and son relationship is slowly being built. Eric Dane enters the franchise as the new threat and I liked him as James McGrath. He was cunning, quick and brutal and wasn't about world domination. I liked the history behind the character even if his motivation was a bit boring. Dennis Greene returns as Reggie McDonald and he has always been the butt of the joke in the past films since his iconic entrance. I loved that in this film, he finally earns respect and he becomes the MVP of the film in an amazing scene.

Composer Lorne Balfe returns with an absolute knockout of a score. Not only does he have his unique touch of intensity, but he continued to incorporate, modulate and evolve the iconic Bad Boys score and themes by original composer Mark Mancina. It drives me up the wall when composers don't use the iconic themes of a franchise and I loved that Lorne kept it alive and flowing throughout the film in multiple variations. The action in this film was top of the line and felt classical in its practical execution. It was gritty, bloody fun that had me smiling from ear to ear. There is a bridge sequence that leads to the iconic Bad Boys shot, but that scene felt a little disjointed and dizzying in the placement of characters. There is a feeling of finality to the franchise as it sort of gives a loving look back at the past films with fun parallels and role reversals. Directing duo Adil & Bilall truly love Bad Boys and it shows in every inch of the screen from the action, the character development and comedy. They have done a magnificent job in delivering an even better entry than the last and I can't wait to own the 4K Bluray. This is definitely the best action film of the year so far! Let me know what you thought of the film or my review in the comments below. Thanks for reading!