#dystopian future warfare

[artapir]

TOP: Detailed scale model of a mid-Flea-War-era weevil tank BOTTOM: Urban beetlesuit wreckage, mid-late Flea War

Midjourney 6

[sci-fi-space]

“Three Body Problem” by Derek Tsang (S1 E4)

“Step into the unknown with Episode 4 of ‘Three Body Problem’ - ‘Our Lord.’ Uncover the secrets of the San-Ti civilization and the Oxford Four’s struggle against an impending invasion. #ThreeBodyProblem #SciFiSeries #Episode4Summary”

S01 E04 “Our Lord” The episode opens with the aftermath of Jack Rooney’s death, leaving the Oxford Five now the Oxford Four. The group is struggling to cope with the loss and the realization that the virtual reality game they’ve been playing is far more than just a game. It’s a recruitment tool sent by the San-Ti, a civilization on the brink of destruction, looking for Earth’s brightest minds to…

[librababe99]

Moments Between Time: Part One

CW: angst, hurt, dystopian, Mutant!Reader, mental anguish, existential despair, suggestive emotional and physical intimacy

Word Count: 2436

A/N: Hey loves! So I' m back with the first part of this new series featuring DOFP! Logan---Definitely one of my favorite x-men films that I went to see in theaters a few years back. I really hope y'all enjoy it--As always comments and feedback are highly appreciated! - Libra * .♡ *:･ﾟ✧ ⋆ ࣪.* ࣪.⋆

(Part Two)

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The world had become a graveyard of memories, littered with the remnants of a civilization that once thrived. The skies, once a brilliant blue, were now a perpetually overcast gray, the sun a distant and pale shadow of its former self. Buildings stood as crumbling sentinels, their facades scorched and broken by years of unrelenting warfare. The air was thick with ash and the scent of burning, a constant reminder of the lives that had been lost and the battles yet to be fought.

The war had waged for years, perhaps decades—time had lost its meaning in the endless cycle of violence and survival. The Sentinels, monstrous machines designed to hunt and exterminate mutants, had decimated the population. Humanity, too, had been nearly eradicated in the crossfire, caught between the relentless advance of the Sentinels and the desperate resistance of the mutants. Those who remained were either in hiding or dead. The world was a barren wasteland, devoid of hope and teetering on the edge of oblivion.

You stood on the precipice of what was once a thriving city, now reduced to ruins. The wind howled through the skeletal remains of skyscrapers, carrying with it the echoes of a world that no longer existed. Your heart was heavy with the weight of all you had seen, all you had lost. But you were still standing, still fighting. You had no other choice.

Your powers had been both a blessing and a curse in this war. The ability to manipulate time was a formidable weapon, allowing you to slow it, speed it up, or even rewind it in brief bursts. But every use took a toll, draining your energy, leaving you weaker with each passing day. It was a power that came with a price—a price you had paid over and over again, watching friends and allies fall only to rewind their deaths, knowing that it would only delay the inevitable.

And yet, despite everything, you had survived. You were one of the last remaining members of the X-Men, a shadow of the team that had once stood as a beacon of hope in a world that feared and hated them. But hope was a luxury none of you could afford anymore. Survival was all that mattered, and even that seemed like a losing battle.

Beside you, Logan Howlett—Wolverine—surveyed the desolate landscape with a grim expression. His once fierce eyes were hardened by the years of combat, yet there was a depth of sorrow in them that matched your own. His presence was a constant, a rock in the storm that raged around you both. You had fought together through countless battles, each one more desperate than the last, and had watched the world crumble piece by piece.

Logan’s wounds healed quickly, his regenerative abilities keeping him alive when others would have perished. But even he was not immune to the emotional toll of this endless war. The loss of friends, of family, of a future worth fighting for—it all weighed heavily on him, carving deep lines into his face, turning his hair to gray.

For years, you and Logan had been comrades in arms, partners on the battlefield. But there was more between you than just the bond forged in blood and fire. There was something unspoken, a connection that ran deeper than either of you dared to acknowledge. It was a thread that had woven itself through the fabric of your shared experiences, pulling you closer even as the world around you fell apart.

The quiet moments between skirmishes had become precious, stolen time where the chaos of the world seemed to fade, if only for a brief while. It was in those moments that you would catch Logan’s gaze, his eyes searching yours as if seeking solace in the only place it could be found. There were times when your hands would brush, a fleeting touch that sent a spark through your entire being, a reminder that you were still alive, still capable of feeling something other than pain and despair.

But there was no room for love in a world like this. No room for the vulnerability that came with it. To love was to risk losing everything, and neither of you could afford that. So, you kept your feelings buried deep, hidden beneath layers of resolve and determination. There were more pressing matters at hand—survival, resistance, the slim chance of victory.

As the days passed and the future grew increasingly bleak, a plan began to take shape among the remaining X-Men. It was a desperate, last-ditch effort to change the course of history, to prevent the events that had led to this catastrophic timeline. The idea was to send someone back in time, to a point before the Sentinels were created, before the war had begun. It was a long shot, but it was the only chance you had left.

The choice of who to send was obvious. Logan was the only one who could survive the journey. His healing factor would protect him from the physical strain, and his mind was strong enough to endure the temporal displacement. But even with his abilities, the mission was fraught with danger. If it failed, if something went wrong, there would be no coming back.

Your role in the plan was just as crucial. Your powers would be used to anchor Logan’s consciousness in the past, to guide him and keep him connected to the present. It was a task that required immense concentration and would drain you of almost all your energy. You knew the risks, knew that there was a very real possibility that you wouldn’t survive the attempt. But that didn’t matter. What mattered was giving Logan a chance to succeed, to change the future, to save the world.

The night before the mission, you found yourself unable to sleep. The weight of what was to come pressed down on you, a heavy burden that you carried alone. You had always been strong, resilient, but the thought of what lay ahead filled you with a sense of dread that you couldn’t shake.

You sat alone in the darkness, the cold air seeping into your bones, your thoughts a tangled mess of fear and determination. The reality of the situation was sinking in—this could be the last night you ever spent in this world. The last night you would see Logan, hear his voice, feel his presence beside you.

The sound of footsteps drew you from your thoughts, and you looked up to see Logan approaching. His face was set in a somber expression, the lines of worry etched deep into his features. He said nothing as he sat down beside you, the silence between you heavy with the weight of all that was left unsaid.

For a long while, neither of you spoke. There was nothing that needed to be said, no words that could capture the magnitude of what was about to happen. But the silence wasn’t empty—it was filled with the unspoken emotions that had been building between you for years. The tension that had simmered beneath the surface, always there but never acknowledged, was now impossible to ignore.

Finally, it was Logan who broke the silence. His voice was rough, low, like gravel underfoot. “Tomorrow’s gonna be hell,” he muttered, his eyes fixed on the horizon where the first light of dawn was just beginning to break.

You nodded, your throat tight with emotion. “Yeah. It is.”

He turned to look at you then, his gaze intense, searching. “You ready for this?”

You met his eyes, seeing the concern there, the fear that he was trying so hard to hide. You managed a small, sad smile. “As ready as I’ll ever be.”

Logan’s hand reached out, hesitating for just a moment before he rested it on yours. The warmth of his touch was a stark contrast to the cold that surrounded you, a lifeline in the darkness. You looked down at your joined hands, your heart pounding in your chest.

“This could be it,” he said quietly, his voice barely above a whisper. “If things go wrong… I just… I don’t want you to—”

You shook your head, cutting him off before he could finish. “Don’t,” you said, your voice trembling slightly. “Don’t say it. We can’t afford to think like that.”

But even as you said the words, you knew it was too late. The reality of the situation hung between you like a shadow, impossible to ignore. Logan squeezed your hand, the pressure grounding you, pulling you back from the edge of despair.

“You’re strong,” he said, his voice steady, reassuring. “Stronger than anyone I’ve ever known. You’ll get through this. You have to.”

The intensity of his gaze, the way he looked at you as if you were the only thing in the world that mattered, took your breath away. For a moment, you felt like the world had stopped, that there was nothing but the two of you in that cold, desolate night.

Without thinking, you reached up and cupped his face in your hand, your thumb brushing lightly over the rough stubble on his cheek. “And you,” you whispered, your voice thick with emotion. “You have to come back. You have to make it right.”

Logan’s eyes softened, the hardness in them giving way to something deeper, more vulnerable. “I’ll do whatever it takes,” he vowed, his voice fierce, filled with a determination that sent a shiver down your spine. “I swear, I’ll make it right.”

The moment hung between you, heavy and charged, the tension that had been building for years finally coming to a head. It was as if all the barriers you had both put up, all the walls you had built around your hearts, were crumbling in the face of what was to come.

Before you could second-guess yourself, before the fear could take hold, you leaned in and pressed your lips to his. The kiss was fierce, desperate, a collision of pent-up emotions that neither of you could contain any longer. Logan responded immediately, his hand coming up to tangle in your hair, pulling you closer as if he could merge your bodies, your souls, into one.

There was no room for hesitation, no time for doubt. The kiss deepened, becoming more urgent, more intense, as if you were both trying to pour everything you felt into this one moment. It was a kiss born of desperation, of the fear that this might be your last chance to feel something real, something good, before the darkness swallowed you whole.

Logan’s other hand slid to your waist, pulling you into his lap as he kissed you with a fervor that left you breathless. You could feel the raw power in him, the barely-contained rage and pain that he carried with him every day, and in that moment, you wanted nothing more than to take it all away, to make him feel something other than the constant ache of loss and regret.

The world around you seemed to fade into nothingness, leaving only the two of you, wrapped up in each other, clinging to this one moment of passion and vulnerability. It was as if time itself had stopped, holding you in a suspended reality where nothing else mattered.

But time, as always, was cruel. The kiss slowed, the intensity gradually ebbing away, leaving behind a bittersweet longing that settled deep in your chest. You pulled back slightly, your forehead resting against his, your breaths mingling in the cold air.

“Logan,” you whispered, your voice trembling with the weight of all the things you couldn’t bring yourself to say.

He opened his eyes, and the raw emotion you saw there nearly brought you to your knees. There was so much in his gaze—love, fear, desperation, hope. It was almost too much to bear.

“Whatever happens tomorrow,” you said, your voice barely audible, “I need you to know… I—”

But before you could finish, Logan captured your lips again, silencing you with a kiss that was somehow even more tender, more meaningful than the last. It was a kiss that spoke of promises unmade, of words left unsaid, of a future that might never come.

When he finally pulled back, his hand still cradling your face, his expression was one of fierce determination. “You don’t have to say it,” he said, his voice rough but steady. “I know. I’ve always known.”

Tears stung at the corners of your eyes, but you blinked them away, nodding as you leaned into his touch, savoring the warmth of his hand on your skin. The dawn was fast approaching, the light slowly creeping over the horizon, casting long shadows over the ruined city.

The reality of what was to come settled over you both like a dark cloud, but in this moment, with Logan’s arms around you, you felt a sense of peace that had eluded you for so long. You knew that this could be the last time you ever saw him, the last time you felt his touch, his kiss. But you also knew that if anyone could change the future, it was Logan.

As the first rays of sunlight pierced the gloom, you pulled back, reluctantly breaking the embrace. Logan’s eyes searched yours, and you could see the same mixture of hope and fear reflected in them.

“It’s time,” you said, your voice steady despite the turmoil in your heart.

Logan nodded, his expression hardening as he prepared himself for what lay ahead. But before he could step away, you reached out and grabbed his hand, squeezing it tightly.

“Promise me,” you whispered, your voice trembling with the weight of the words. “Promise me you’ll come back.”

Logan’s eyes softened, and for a moment, the hardness in his expression melted away, replaced by something tender, something achingly vulnerable. He squeezed your hand in return, his grip strong and reassuring.

“I promise,” he said, his voice filled with a quiet intensity that sent a shiver down your spine. “I’ll come back. I’ll find you.”

With one last lingering look, Logan turned and walked away, his figure disappearing into the shadows as he prepared to embark on the most dangerous mission of his life.

And as you watched him go, your heart heavy with a mixture of fear and hope, you whispered a silent prayer to whatever gods might still be listening, begging them to bring him back to you.

Because in this world of darkness and despair, Logan was your only light, your only hope.

And you weren’t ready to let that go.

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Taglist: @hughverine @itzyahgirllkita1 @nonamevenus

(If you'd like to be added to the tag list for this series moving forward just comment below <3 )

[reality-detective]

NASA’s Darkest Secret: The Shocking Truth Behind the Planned Mass Extinction Event in 2025

Official NASA papers, now in the public domain, suggest a dark and dystopian future. These documents reveal that NASA has been secretly preparing for a cataclysmic event slated for 2025—a mass extinction event that threatens the very fabric of civilization.

The implications of this revelation are staggering. It suggests that a powerful institution, trusted by millions, is actively involved in a plan that could lead to the depopulation of Earth. This article delves deep into the details, exposing the potential reality of this impending catastrophe. If you’re reading this, you have the right to know the truth and prepare for what’s coming.

NASA’s Role in a Global Catastrophe. For decades, NASA has been viewed as the beacon of space exploration, innovation, and scientific advancement. However, the recently uncovered documents paint a different picture—a picture of a NASA that is complicit in a plot so nefarious that it defies belief. The documents, which include a PowerPoint presentation by NASA’s Chief Scientist Dennis Bushnell, outline a series of events set to unfold in 2025. These events are designed not just to disrupt but to annihilate civilization as we know it.

The most alarming aspect of this revelation is the precision with which these plans have been laid out. The documents detail a series of inside job terror attacks, combined with biological warfare, to be unleashed on U.S. soil. These attacks are not the result of foreign adversaries but are orchestrated from within, with the intent of causing maximum destruction and societal collapse.

The Timeline of Terror: A Prelude to Extinction. The plans for this mass extinction event are not new. The documents suggest that NASA has been preparing for this scenario for decades. This timeline of terror began long before the documents were made public. It is a methodical and calculated approach to reducing the global population, ensuring that those in power maintain control over the remaining resources.

What makes this revelation even more terrifying is the fact that many of the events outlined in the documents have already occurred. This indicates that the wheels of this deadly plan are already in motion. The global pandemic, widespread civil unrest, and increasing geopolitical tensions are all signs that the countdown to 2025 has begun.

- Julian Assange

NASA is NOT what you think it is, they are evil liars like the rest of the deep state and they have duped millions if not billions of people about the earth, the Sun and Moon and space itself. If you löök at their emblem it has a serpent tongue in plain sight. Their budget is around 63 million a day of taxpayer money. 🤔

[victoriadallonfan]

Lets Talk: The Predator Franchise

About two months ago, I put my thoughts into my feelings on the Alien Franchise, and why I felt that they've been faltering so much.

It felt only fitting that I do the same for the Predator franchise, but I ran into a very curious thing... there's only one bad Predator movie.

A shocking statement, I know, but I'm not counting the AVP movie series (that's it's own separate thing). The Predator (film) is easily the only bad film in the entire series, but I'll get to that later.

First things first: lets talk about Predator (1987).

It's an all time classic, a great deconstruction of the 80's action film, with insanely quotable dialogue and memorable characters - not just the Predator itself, but all the human characters are easily recognizable.

Unlike the Alien (1979) and Aliens (1986), Predator is not predominantly a horror film, nor is it emphasizing a tough topic such as sexual assault. It does HAVE horror aspects (the first time they find the skinned corpses is intensely unnerving, especially when they realize that this group of marines apparently lost all self-control and fired in all directions), and it does touch a bit on how the US government is using its own soldiers as cannon fodder to destabilize third-world countries.

But it's not really built to scare the viewer so much as to present a simple idea: what if these action heroes met a bigger, stronger, more advanced version of themselves? And the result is a near total party wipe.

Watching the original film, you realize that the Predator is depicted as incredibly unfair. The majority of its kills are it sniping someone from afar, rushing them when they aren't even looking (while cloaked), and doing a combination of the above. It would have killed Arnold while his back was turned, if the net trap hadn't been set in place.

Hell, it even kills a wounded soldier that Arnold is carrying, after Billy's "last stand" (that lasted mere moments at best, implying the Predator didn't give him the time of day).

(Also, speaking of Billy... he's psychic? Apparently?)

But yeah, the Predator depicted is not the honor clad warrior that some fans may stan (and some writers believe) but more like the equivalent of Counter-Strike hacker. The fact that it takes Arnold untold amounts of traps, ingenuity, and willpower for the Predator to finally face him man to man, no tech, no weapons is meant to be a testament to how impressive Arnold is.

Likewise, the Predator decides to blow himself the fuck up while cackling manically like a supervillain as he tries to finally kill Dutch, also opens him to showing that as alien as it is, it's remarkably human. A spite filled asshole of a human, but humanish nonetheless (amplified by him copying human speech on prior occasions).

It's a really great film about how alien life, if more advanced than our own, might see us as lesser people or outright livestock to hunt (keep a pin in that).

Predator 2 (1990) is often divided amongst fans.

Some hate the fact that it takes place in the "modern day" LA, instead of sticking to the blazing heat of the jungle (as the lore of the first movie implies that the Predator or a Predator visits at the hottest time of the season to create the local bogeyman figure), but this film does a fine job justifying the LA heatwave and honestly... the idea of keeping the Predator to one type of biome is pretty limiting. So I don't mind that.

As one can tell already, I don't think this movie is bad. As good as the first? No, it rehashes a bit too much for that. But it's still a fun and good movie.

And, notably, scarier.

But for context, Predator 2 is set in the far future of... uh, 1997 LA, where there has been open warfare between the LAPD and the Jamaican and Colombian Cartels. Like, not drug busts or stings, but actual warfare with armies of gangs and shit.

The late 80's and early 90's loved to depict LA as a dystopian hellscape where "law and order" was the only defense from total anarchy (as anyone who has ever lived in LA can tell you, racial tensions, especially between the public and police have not been good to say the least).

This entire setup is like a D.A.R.E nightmare or wet dream depending on who's asking.

(Also the Jamaican drug leader, King Willy, might also be psychic? This is the last time it's brought up, but man, I sort of wish we could see future plot lines where people are randomly psychic in these films.)

Anyways, the situation is certainly perfect for this Predator (named City Hunter to differentiate between Jungle Hunter), who takes to the city with a gusto. The difference in how the Predator is portrayed is fascinating, because the bare bones remain the same: he hunts people who are deemed as sport with alien technology.

Fitting with the ultra-violent theme of this film however, this Predator feels like a legitimately horror movie monster. Unlike the Jungle Hunter, City Hunter doesn't prefer to attack from afar, but rather ripping and tearing in close quarters combat, and when he does use ranged weaponry, it's stuff like spears, bladed discs, and nets that shred people into bloody messes.

And he's 110% a bigger asshole that Jungle Hunter: when the City Hunter decides to focus on our lead man, Danny Glover, he doesn't just hunt the man but psychologically torture him. He murders his partner - who is probably the least threatening human in the entire series - just so he can taunt Glover with his necklace at his own grave. He then copies the innocent words of a child just so he can use it as a creepy catchphrase when he decides to hunt Glover's other partners.

The iconic subway massacre perfectly exemplifies both aspects of the City Hunter. He interrupts a massive stand-off between armed civilians, gang members, and the police, just wading in and killing everyone indiscriminately as people frantically scream and claw over each other trying to escape.

(Speaking of, this film does have a LOT of fun having the Predator on modern sets. The above subway scene, City Hunter investigating a meat locker, and him performing emergency surgery in an apartment bathroom are all really cool).

Also, for being so divisive, this film creates a lot of Predator lore: the Predator won't kill (unarmed) children, he won't kill pregnant women, and he WILL kill the elderly if they are packing heat.

And this includes the trophy wall (with xenomorph skull - actually funny because we never see a Predator collect a xenomorph skull in the AVP films) and that the Predator tribe will honor and respect those who defeat their kind with a reward.

It does include that the government is aware of the Predator existence and tries to capture them, but this won't be a major plot line again until The Predator (2018) though it gets some tongue in cheek reference in Predators (2010).

Anyways solid film, lots of cheesey scenes and very tropey stuff that hasn't aged well (or aged in a way that makes it amusing). It's also that last movie that actually tries to be true horror, in my opinion. The rest of the films stick to Action with Gore, but Predator 2 is truly the last film where you feel like this was written to be a horror film.

Also, this film will be the last to really play into the world as being an overly dramatic action movie earth. It's all realism from here.

And then the film franchise will go quiet until 2004 and 2008 for the AVP films (that I won't cover here).

Finally, we get to Predators (2010), and obvious title call back to Aliens (1986) and I have to say, a pretty good trio of ideas: The human targets are actually kidnapped and dropped on a safari planet, there are multiple Predators with their own unique designs and gimmicks, and there is a internal war between the Bad Bloods (aka the Predators who break the "honor code") and the 'normal' Predator clans.

(It should be noted that Bad Bloods have been a thing for years in comics and books, but not really in the mainstream until this film introduced it to movie audiences)

I have to say, despite having a fondness for the film and loving the new ideas, this film is not as enjoyable as Predator or Predator 2. It unfortunately suffers from what I call 2010ism, where there's a lot of CGI blood/gore, a lot of lighting/shadows aren't natural in a horror sense, and the dialogue isn't memorable because it wanted to ditch the action movie dialogue.

The last part isn't necessarily too bad, and it even works with how Adrian Brody is portrayed as a cynical asshole who is purposely meant to be the opposite of Arnold in every way. But the most memorable dialogue is definitely from Walter Goggins (including his highly disturbing "bitch raping time" speech).

Also, it really wastes Topher Grace, Laurence Fishbourne, and Danny Trejo, along with the whole idea of a gang of multinational killers/soldiers/enforcers forced to work together. Not nearly enough time is given to them to bond as a team and have a moment where they show off how cool they are like Predator and Predator 2 did.

Coupled with the safari world being just... a jungle, it feels like a lot of good ideas with "safe" execution.

I don't mean to rag on the film, it's still very fun, and a lot of that is due to the Bad Bloods.

The idea of a particular group of Predators being so evil that they are even warring with their (smaller) counterparts is a great idea, imo, and these Bad Bloods are memorable for their gimmicks.

You had one who used drones as "falcons" to scan and scout out large tracks of terrain, another who employed alien "hounds" to harass humans like a fox hunt, and the leader who had a rapid-fire plasma caster that was overpowered as hell. They also employed other tech like alien bear traps, net traps, and voice decoys.

This movie definitely had the most advanced Predator tech seen on film at the time, making the Jungle Hunter and City Hunter look low tech by comparison, and I think also served to try and force the idea of the Bad Bloods being really "unfair" compared to others.

And of course, we get our first Predator vs Predator fight, which was suitably graphic and badass. Also, I liked that one Predator died by a human pulling a suicide vest attack. Idk, I thought it was pretty ironic considering that's what predators do when they are about to lose, and thought it was neat.

Ultimately, there isn't much else to say about Predators (2010), even though the film ends on a cliffhanger with more people (and aliens) being dropped on the planet. I enjoyed it, it had a lot of cool ideas, cool tech, and cool lore... but if the prior films could be compared to novels, this one felt more like a guidebook.

And now... eight years pass and we get The Predator (2018)

Where do I begin with this movie.

I guess I start with the obvious: it's bad. It's a genuinely awful movie with few redeeming qualities. I'd say it's on the tier of Alien: Resurrection, except this movie is actually offensive because of autism ableism (turns out that autism is actually the next step of human evolution and makes you naturally predisposed to using Predator technology).

And don't get me started on the sex offender controversy.

Sorry, I'm getting ahead of myself. It's just that this movie... jesus christ, I rewatched it for this post, and it feels like a fever dream.

The Predator (2018) ultimately, is a film that looked at everything that came before it and said, "What if we did it all on a grander scale? And make it bad?" The plot is that a Predator is being hunted by an even larger, more powerful Predator, because it plans on harvesting humanity. You see, in this movie, some Predators use the genes of animals they hunt to improve themselves. The Super Predator as he is called, is a massive 10 foot tall monster that has turned his body into a super weapon, with technology built directly into his biology.

The Good Predator arrives on Earth to warn humanity and deliver a "Predator Killer" suit of Iron Man armor that will help humanity defend the Earth from the oncoming invasion force. The Super Predator wants humanity harvested because... autism makes them super geniuses.... and he declares that a 12 year old boy with autism to be the greatest Predator he's ever met... just because he has autism...

Look, I don't know how the fuck I'm supposed to describe the plot of this movie. It's just bad. It's stupid. At one point they turn a Predator hound good by giving it a bullet lobotomy.

It feels like this movie hates everyone. It hates the Predators, literally killing off the Good Predator not even halfway through the film. It hates the cast, because all of them are forgettable except for Olivia Munn and Super Predator, and it kills the mystique of the Predators because it has Super Predator monologue like an actual supervillain.

The dialogue is genuinely awful, the actors have no chemistry, and the comedy (oh yes, this film acts like a comedy on several occasions) is the definition of cringe. I would call it "ChatGPT writes Predator" but honestly, ChatGPT could do it better.

Let it be known that my words do not do how awful this movie is justice. You can only understand how bad it is by watching it, but it's absolutely NOT worth the time.

Is there anything good about this movie? Besides the Holiday Special on home release?

The effects are pretty good. We see a lot of high tech Predator stuff and that's always cool. I think this had the highest budget of any of the films and it shows.

There's an action set-piece where Good Predator escapes from a government facility and uses an M4-Assault Rifle which is badass. One of the best action scenes in the movie and a neat tie-back to the government investigating them.

The Super Predator is a cool concept and I actually enjoyed him for a large part of the film. I liked that he could just pick up a human like a toy and gut him like a fish before tossing him aside. I love the idea of a Predator that isn't a hunter, but rather a soldier sent in to fuck shit up, showing off the different tech. Really gives the impression that their society has different roles and tech for Predators beyond hunting.

I wish they gave him a helmet and didn't let him monologue like a supervillain.

And that's it. That's the good stuff. Nothing else matters. It says a lot that I don't think Super Predator or the autism plot has been accepted into lore in comics or books.

It's even been argued that this film was deemed non-canon because of how abysmal the reception was.

Suffice to say, after this awful film, fans were pretty low spirit. Which made it all the more surprising when Prey (2022) was released 4 years later.

There was a lot of drama about this film: the franchise is dead, why is the film so woke for including woman and minorities, how can any human expect to beat a Predator with a bow?

This drama is stupid and should rightfully be mocked.

Prey (2022) was a breath of fresh air for the franchise and I'd argue the best film in terms of quality.

It quite literally goes back to the roots of the series and does something that really elevated the film: it made the Predator symbolise something!

This film takes place in the 18th century on the Great Plains, following Naru the Commanche healer who dreams of being a hunter. Meanwhile, a young Predator - known as the Feral Predator for his aggression - is dropped on the planet for his first ever hunt.

Obviously, you can see the parallels between the two as Naru learns to use tricks and tools to handle her weaknesses, while Feral uses brute-force and high tech equipment to slaughter the animals and humans of the planet. The Bear hunt scene, where Naru is forced to flee from a bear and helplessly watch Feral kill the creature with it's bare hands (haha), thus condemning her in his eyes as not a threat is perfect character foil.

Also, he's such a piece of shit, cheating the moment he feels like his prey has the better of him. But in a good way that makes sense for his character.

But on the grander scale, the Predator represents colonialism. A secondary antagonist of the film are the French fur trappers, who have been skinning wild buffalo and depriving the commanche of their food source, openly compared to the Predator skinning animals/humans for trophies instead of resources.

It's actually a lesson Naru has to learn from her brother and mother, that to become a true hunter is about doing so to support a community, not just for ego and idolization.

Its no accident that the Fur Trapper leader dies when Naru sabotages his gun and Feral dies when Naru does the same to his gun as well, with both of them trapped and crippled without any means of escaping their demise.

This film finally moves to make the Predators feel like evil villains who are supremely selfish, much like the first 2 films emphasized (and the third film did to a lesser extent).

But talk of how amazing Naru is as a protagonist and how great the Feral predator is as an antagonist, the film is just good. The cinematography is gorgeous, the actors are great, the Predator effects and costume are terrifying, and lore wise, it does a lot to show that the Predator society is not stagnant.

They evolve over the years and it shows.

And my god are the action scenes incredible. The Predator vs Fur Trapper fight is probably one of the most iconic scenes in the entire franchise now, and for good reason.

Or Naru's knife fight massacre

All in all, this film really shows that the Predator films can be more that action films and... whatever the fuck The Predator (2018) was trying to be.

These films can be used to explore the history of humanity and symbolize concepts that deal with oppression, bigotry, and dehumanization.

The title of Prey - the focus on making the protagonists human - versus the Predator title is incredibly fitting.

While a sequel is left up in the air, we do have confirmation that a new standalone film - titled merely Badlands - is set to come out soon.

I can only hope they learned the right lessons from Prey and we can leave the horrid past of The Predator (2018) behind us for good.

[hayatheauthor]

Hello! 😊 Do you have any advice on word-building? I can imagine multiple scenarios in my head, but I can't seem to put them into words. 🥹

First off hi sorry I took forever to write this blog! I hope it helps you get your ideas onto paper <3

Worldbuilding is the backbone of any compelling story, especially in genres like fantasy, science fiction, and historical fiction. Crafting a believable, immersive world can captivate your readers and provide a solid foundation for your narrative. In this guide, I’ll walk you through the essential steps to create a vivid and engaging world for your story.

Understanding Worldbuilding

Worldbuilding involves creating a complete, fictional universe that serves as the setting for your story. This process includes developing geography, cultures, history, politics, and even the rules of nature and magic (if applicable). The goal is to make your world feel as real and intricate as the characters who inhabit it.

Starting with the Basics

Define the Genre and Tone

Consider the genre of your story. A high-fantasy world will have different requirements than a dystopian future or a historical setting. The tone—whether it's dark and gritty or light and whimsical—will also influence your worldbuilding decisions.

Establish the Setting

Start with the physical world. Sketch out maps, outline the geography, and decide on key locations where your story will unfold. Think about the climate, natural resources, and the flora and fauna that inhabit this world.

Develop a History

Create a backstory for your world. Major events, wars, discoveries, and cultural shifts shape the present-day setting. A rich history can add depth and realism, influencing characters’ beliefs and motivations.

Building Cultures and Societies

Craft Unique Cultures

Think about the various cultures in your world. What are their customs, traditions, and social norms? How do they dress, what languages do they speak, and what religions do they follow? Diverse and well-thought-out cultures can add layers to your narrative.

Political Systems and Power Structures

Define the political landscape. Who holds power, and how is it distributed? Are there monarchies, democracies, or tribal councils? Consider the relationships between different nations or groups and the potential for conflict.

Economics and Resources

Understand the economy of your world. What resources are abundant or scarce? How do people trade, and what currencies do they use? The distribution of resources can drive plot points and character motivations.

Crafting Magic and Technology

Magic Systems

If your world includes magic, establish clear rules and limitations. What are the sources of magic? Who can use it, and how? Consistent magic systems prevent plot holes and maintain suspension of disbelief.

Technology Levels

Consider the technological advancements in your world. Are they using medieval weapons, steampunk machinery, or advanced futuristic gadgets? The level of technology can influence daily life, warfare, and exploration.

Time and Place

Historical Context

Establish the timeline of your world. Is it set in the past, present, or future? Consider historical events that have shaped the current state of the world. How have these events influenced societal development and cultural evolution?

Daily Life and Schedules

Describe the daily routines of your characters. What does a typical day look like for different social classes or cultures? Consider work hours, leisure activities, and societal expectations. The pace of life can vary greatly depending on technological advancements and cultural norms.

Timekeeping and Calendars

Develop a system of timekeeping and calendars. Are there specific seasons, festivals, or holidays that are significant? How do people measure time—by the sun, moon, or a mechanical clock? Unique timekeeping methods can add depth and authenticity to your world.

Clothing and Fashion

Cultural Significance

Explore how clothing reflects cultural identity, status, and occupation. Different regions and social groups might have distinct styles, fabrics, and accessories. What materials are commonly used, and how are garments crafted?

Fashion Trends

Consider the evolution of fashion in your world. What are the current trends, and how do they vary across different societies? Fashion can be influenced by historical events, climate, and interactions with other cultures.

Practicality and Symbolism

Think about the practicality of clothing in your world’s environment. How does the climate affect what people wear? Additionally, consider any symbolic meanings attached to certain garments or accessories. For instance, specific colors or patterns might denote rank or allegiance.

Religion and Beliefs

Pantheon and Deities

Create a pantheon of gods or a single deity, depending on your world’s religious structure. What are their characteristics, domains, and myths? How do they interact with mortals, if at all?

Rituals and Practices

Detail the religious rituals and daily practices of your world’s inhabitants. Consider ceremonies, festivals, and rites of passage. How do these practices influence daily life and societal norms?

Religious Institutions

Define the structure and influence of religious institutions. Are there temples, churches, or shrines? What roles do priests, shamans, or other religious figures play in society? The power dynamics between religious and secular authorities can add layers to your worldbuilding.

Languages and Communication

Linguistic Diversity

Develop the languages spoken in your world. Are there multiple languages or dialects? Consider the history of these languages and how they evolved. Language can be a powerful tool to convey cultural diversity and conflict.

Writing Systems

Design writing systems and scripts used for communication. Are there ancient texts or runes with special significance? How do literacy rates vary among different social classes and regions?

Non-Verbal Communication

Explore other forms of communication, such as body language, sign language, or symbolic gestures. How do people convey messages in situations where spoken language is impractical? These non-verbal methods can add depth and realism to your interactions.

Integrating Worldbuilding into Your Story

Show, Don’t Tell

Instead of dumping information on your readers, reveal your world organically through the narrative. Use dialogue, actions, and descriptions to weave worldbuilding details seamlessly into the story.

Character Perspectives

Different characters will experience and interpret your world in unique ways. Use their perspectives to highlight various aspects of your world, making it richer and more complex.

Consistency and Continuity

Maintain consistency in your world’s rules and details. Keep track of your worldbuilding elements to avoid contradictions and ensure a cohesive narrative.

Worldbuilding Tools and Resources

Maps and Diagrams

Create visual aids like maps, family trees, and diagrams to help you keep track of your world’s layout and relationships. Tools like Inkarnate or Wonderdraft can be helpful for map-making.

Worldbuilding Bibles

Maintain a worldbuilding bible—a document where you compile all your world’s details. This can include notes on geography, history, cultures, and more. It’s a valuable reference as you write and develop your story.

Inspiration from Real World and Fiction

Draw inspiration from real-world cultures, histories, and landscapes. Similarly, reading widely in your genre can provide insights into effective worldbuilding techniques.

Final Thoughts

Worldbuilding is a rewarding yet challenging aspect of storytelling. It requires imagination, attention to detail, and a deep understanding of your narrative’s needs. By following this comprehensive guide, you can create a vibrant, believable world that will captivate your readers and enhance your storytelling.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[snugspheal]

Doctor Who 'Boom' paints a sci-fi dystopian future where capitalism sets an "acceptable casualty rate" in warfare. An algorithm to determine how many people are allowed to die. That uses faith to distract an army from questioning whether there even is an enemy at all.

If only it were fictional.

[aceduchessdragoness]

Because of Tumblr limitations, I can only add 1 video from the original Instagram post, but you can still go to the website and look at the second.

(Because of Tumblr limitations, the next video cannot be placed here)

Posted on Instagram by (@)zirafamedia on September 17, 2024.

[Description] 🚨 Act Of War? Israel has allegedly orchestrated a series of explosions targeting Hezbollah’s communication devices across Lebanon, potentially through sophisticated hacking or planted explosives. ⤵️

This unprecedented attack has resulted in over 1,200 injuries, with many civilians caught in the crossfire as the blasts caused widespread damage.

According to the WSJ, the exploding pagers were part of a new shipment recently acquired by Hezbollah, and a Hezbollah official speculates that malware may have caused the devices to overheat and detonate. Some members reportedly felt their pagers heating up and discarded them just in time.

This incident marks a chilling evolution in modern warfare, where technology is weaponized in disturbingly dystopian ways. 👉 Israel’s actions suggest a desperate push towards an all-out conflict with Lebanon, raising profound concerns about the future of warfare and the lengths Israel will go to achieve their objectives.

[comment by zirafamedia] FYI: Hundreds of these pager devices exploded *simultaneously* — this was a CLEAR SHOW OF FORCE. If they are willing to reveal this hand, imagine what they aren’t revealing.

------------------------------------------------------------------------------

[id: image and video descriptions

1st image:

Israel just injured dozens in Lebanon by remotely exploding their pagers

The Israeli army used advanced technology to detonate handheld pagers belonging to Hebollah members in multiple locatoins within Beirut's southern suburbs.

2nd section is a video:

[caption] Hezbollah's radio devices used for 'off network comms' were remotely detonated by Israel in southern Lebanon, injuring hundreds and killing at least 70. Other explosions in Beirut and Dahiyeh have led to mass-casualty classifications.

Video shows a supermarket. There are at least 10 people, men, women, and children. There is a man looking through fruit, then suddenly, his bag explodes. He falls to the ground as the people around run away from him to a safe distance. Seconds later, he's crying out in pain, and the people try to figure out what to do in the chaos.

3rd image:

[an image of a hand holding a mangled pager]

Mossad via their commentary X account has just published an acknowledgement of the recent attack.

[screenshot of Mossad's account]

Mossad Commentary (@)MOSSADil (September 17, 2014)

More than 700 wounded and dead, across all of Lebanon [this is a reply to their other post]

Hezbollah's pagers were jammed and exploded in the hands of Hezbollah members in different parts of Lebanon.

4th section is a video that cannot be shown because of Tumblr restrictions. But it's 2 separate videos of people looking at the aftermath of the explosions.

5th image:

Opinion: This incident showcases Israel's unparalleled tech savviness, with their military leading the world in advanced surveillance and cyber capabilities.

Their recent hacking and remote detonation of Hezbollah's communication devices underscore Israel's dominance in military technology.

This proves Israel is lying about their limitations in Gaza, as their advanced capabilities suggest they could locate hostages if they chose to.

6th image:

[an image of the American University of Beiruit]

American University of Beirut hospital replaced pagers of staff days before explosions

The American University of Beirut Hospital reportedly took all pagers from its nurses and doctors about 10 days ago and 'replaced them,' according to hospital employees.

source: middle east spectator. /id]

[grigori77]

Movies of 2024 - My Summer Rundown (Part 2)

10.  BOY KILLS WORLD – Turns out this was a really GREAT SUMMER for action cinema, and the first genre entry here is EXACTLY what you’d expect from the true master of anarchic movie mayhem, Sam Raimi, here producing the feature debut of ambitious young German visual effects artist-turned writer-director Moritz Mohr.  The newcomer’s crazy PERFECTLY compliments our veteran’s crazy, because this is like if The Raid movies had been made by Don Coscarelli (see John Dies At the End for reference) – basically a geeky love letter to classic 90s 16-bit beat-‘em-up video games, it follows the bizarre misadventures of Bill Skarsgard’s “the Boy”, a traumatised deaf-mute orphan raised and trained to become a lethal living weapon by a mysterious (and genuinely WEIRD) jungle shaman (The Raid’s own Yayan Ruhian) in order to avenge his family’s brutal murder at the hands of the Van Der Kroys, the bloodthirsty organised crime family holding their dystopian city under a cruel thumb of violent oppression.  The film has been described as a “fever dream”, and honestly that’s a pretty accurate assessment – this is a COMPLETELY FUCKING MENTAL film, frequently spiralling off on surreal flights of fancy as its already pretty bonkers plot starts to unravel in truly WEIRD directions, but thankfully this adds to the unique charm a lot more than it ever threatens to alienate the viewer, sticking to JUST the right side of satirical parody while delivering a consistently winning line of jet black comedy.  Besides, the MAIN attraction here is EXACTLY what most viewers come to this kind of film for, and Mohr EASILY delivers in this venue – the action sequences are INCREDIBLE, flawlessly executed even as they frequently become as downright INSANE as every other aspect of the film, and without pulling ANY punches to deliver some of the year’s most gratuitously GRAPHIC blood-and-guts.  Skarsgard is, like always, thoroughly BRILLIANT throughout, effortlessly proving what an incredibly expressive physical actor he can be since he never speaks a word throughout the entire film … but that doesn’t mean the Boy doesn’t get his point across just fine, the film delivering a pretty ingenious conceit by having him speak to us through his “inner monologue”, using the announcer voice from his favourite arcade game when he was a child (voice actor extraordinaire H. Jon Benjamin, star of Archer, Bob’s Burgers and Dr Katz, Professional Therapist).  Then there’s the top-notch supporting cast, featuring the likes of Michelle Dockery, Stranger Things’ Brett Gelman, Sharlto Copley and Famke Jansen as the uniformly despicable Van Der Kroys, Jessica Rothe (Happy Death Day and its sequel) as their lethal enforcer June 27, and Andrew Koji (Warrior, Snake Eyes, Bullet Train) as Basho, the affable oddball resistance fighter the Boy befriends and enlists into his crusade along with Benny (the Old Spice Man himself, Isaiah Mustafa), a mighty warrior with a thick beard and moustache who provides some of the film’s biggest belly-laughs (for reasons it’s best for you to find out for yourselves, trust me).  Relentlessly ridiculous, unflinchingly messy and frequently laugh-out-loud hilarious, this is definitely one of the year’s most unapologetically ODD films, but also definitely one of the most FUN too, as well as a spectacular showcase for the talents of a VERY fresh new filmmaking talent who is doubtless destined for great things in the future.  Just be forewarned, it definitely AIN’T one for the faint-of-heart or weak-of-stomach …

9.  THE MINISTRY OF UNGENTLEMANLY WARFARE – Once again Hollywood is making it ABUNDANTLY clear they just DON’T LIKE Guy Ritchie any more, and I have NO IDEA WHY … despite 2020’s The Gentleman becoming a modest box office hit and signifying what many considered a triumphant return to form for the man who brought us the likes of Snatch, RocknRolla and the Sherlock Holmes movies (although personally I never thought he actually really fell off, despite what Swept Away and Aladdin might have made us think), his subsequent releases all got largely BURIED online – granted, some of it was down to COVID, but even after everything started to get back to normal the inexplicably disrespectful treatment continued, with Wrath of Man and The Covenant, both impressively well-executed and evocative cinematic features in their own rights, getting released straight to streaming with frustratingly little fanfare to drum up the attention they clearly deserved.  At least this one made it into theatres, but with a lacklustre advertising campaign and stiff competition from much more high profile fare it sank like a stone, almost like Lionsgate didn’t even WANT IT to succeed.  Even worse, for some unbelievably stupid reason it didn’t even RELEASE

in the UK, meaning I had to wait until it subsequently hit Amazon for me to finally get to check it out.  The most frustrating part, though, is that the critics CLEARLY feel the same as I do about the film we actually received – this is a TOP DRAWER piece of work, further proof that Ritchie never actually LOST a step, another genuine belter of a flick which takes a brilliant premise and crafts an offbeat and deliciously entertaining cinematic caper than really deserved to be seen by a really big audience on a proper big screen.  Taken from Winston Churchill’s declassified WWII files, it follows the true life exploits of special forces commando Gus March-Phillips (Henry Cavill) as he put together a covert team in order to execute a highly classified raid on a German U-boat outfitting operation in the hopes of crippling the subs long enough to help bring the Americans into the War.  The only problem?  March-Phillips was a disgraced loose-cannon, a fiercely independent troublemaker with a reputation for going off-mission and a major dislike of authority figures … he was also the original inspiration for James Bond, then mid-ranking SOE-officer Ian Fleming using him as the basis for the mercurial protagonist of his best-selling spy novels (and the rest, of course, is history).  Needless to say, it looks like this will be the closest Cavill’s ever gonna get to actually playing Bond, and he really sank his teeth into this opportunity, clearly having the time of his life investing the character with his trademark twinkle and roguish charm (as well as an amusing appreciation for fine men’s fashions); he’s the ironclad backbone of the film, driving the action and story with typical aplomb, and is ably supported by a winningly motley collection of misanthropes, the gang of miscreants March-Phillips put together to execute Operation Postmaster brought to life in pitch-perfect performances from Alan Ritchson (Reacher), Alex Pettyfer, Eiza Gonzalez, Henry Golding and more, while there’s an enjoyably NASTY turn from Inglourious Basterds’ Til Schweiger as the film’s dastardly big bad, SS Commandant Heinrich Luhr, and Ritchie regular Cary Elwes brings his classic stiff-upper-lip to bear as the operation’s top CO, Brigadier Colin Gubbins, while an all-but-unrecognisable Rory Kinnear portrays a suitably gruff Winston Churchill.  Ultimately, Ritchie delivers an enjoyably fiendish heist movie masquerading as a war flick, the plot snaking with crafty glee through a series of expertly executed set-pieces and ingenious little twists before finally landing a brilliantly cathartic climax which pays winning respect to the real life heroes that inspired the film, along with one of the greatest espionage thriller franchises OF ALL TIME.  That alone should have won this movie some respect, at least enough to raise its profile, and it’s a criminal shame it’s been treated with SUCH glaring disrespect.  Here’s hoping it earns the cult classic status it deserves, that might redress SOME of the balance …

8.  THE FALL GUY – Stuntman-turned-director David Leitch’s latest film (following on from well-deserved previous successes co-helming the first John Wick film before striking out on his own with Atomic Blonde, Deadpool 2, Hobbs & Shaw and Bullet Train) is not only a genuinely EXTRAORDINARY big screen adaptation of one of the classic old school action adventure TV shows I grew up watching (alongside Knight Rider, The A-Team and Airwolf), but also raises one of the great unanswered questions of cinema – why isn’t there an Academy Award for stunts?  Anyway … turns out that Ken, in last-year’s runaway hit Barbie, wasn’t the only role that Ryan Gosling was born to play – he’s equally perfect for the role of Colt Seavers, the seasoned “unsung hero” who makes all those action hero movie stars look so awesome, at least until an on-set accident left him with a near career-ending back injury which forced him into semi-retirement.  He’s brought back into the game, however, when the action movie star he used to double for, Tom Ryder (Aaron Taylor-Johnson), disappears midway through the production of the debut directorial feature of his former lover, camera-operator Jody Moreno (Emily Blunt).  On paper he’s here to fill in for Ryder, but he’s really been brought in to find the missing star before the studio gets wise and shuts down production, but as he delves into what turns out to be a pretty tangled mystery it becomes clear that Colt might not really be the right man for the job … unfortunately he’s all they got … Gosling may be a master of understated performance, but as I’ve learned over the years (particularly from the criminally underappreciated The Nice Guys) he’s ALSO a master of comedic acting, and he’s really firing on all cylinders for this one, frequently damn near stealing the show from a high class cast who are nonetheless all equal to the task.  Blunt is, as always, as flawlessly charming as she is STUNNINGLY beautiful, while Taylor-Johnson is clearly really enjoying playing a supreme douchebag of a preening self-promoting prima donna, Ted Lasso’s Hannah Waddington frequently walks off with her scenes as supremely oily producer Gail Meyer, and Everything Everywhere All At Once’s Stephanie Hsu and the great Winston Duke both hold their own admirably as Ryder’s put-upon personal assistant Alma and Colt’s long-suffering best friend, stunt coordinator Dan Tucker.  Needless to say, Leitch has long since proven that he is a MASTER of on-screen mayhem, effortlessly ushering in some of the very best action sequences we’re going to see in the cinema this year, but he also once again proves he’s ALSO a master of big screen comedy, bringing the pitch perfect screenplay from Drew Pearce (who previously wrote Hobbs & Shaw, as well as Iron Man 3 and his own directorial debut Hotel Artemis) to effervescent primary-coloured life as a gleefully anarchic and thoroughly irreverent celebration of action cinema excess and the gruelling hard work that it takes to actually make it all possible, all done with barely ANY digital trickery at all.  All round, then, this was some of the most fun I’ve had at the cinema this year (so far), and once again, it really does raise that all-time great question – why isn’t there an Oscar for stunt work?  Gods know this one would definitely have been a shoe-in next Awards season …

7.  MARS EXPRESS – My animated feature of the summer is a pretty singular work which came out of leftfield and really took me by surprise, a science fiction murder mystery thriller of rare vision, inventiveness and beauty which is tempered with a fascinating and more than a little troubling thematic message which raises far more questions than it answers.  Marking the feature debut of French writer-director Jeremie Perin (Crisis Jung, Lastman), it chronicles the investigation of two very unusual private investigators – world weary former soldiers Aline Ruby (Lea Drucker of Fox’s War of the Worlds TV series) and Carlos Rivera (The Crimson Rivers’ Daniel Njo Lobe), the latter of whom is now a kind of simulant android whose recorded consciousness was uploaded into an robotic body after he was killed in action – on a colonised Mars as they hunt for the cause of a supposedly harmless robot’s sudden malfunction and subsequent violent rampage.  As they tumble deeper down an alarmingly perilous rabbit hole, they uncover a terrifying clandestine conspiracy involving corporate malfeasance which may include their sometimes employer, tech billionaire Chris Royjacker (the great Mathieu Almaric), rogue AI and a looming technological revolution which could spell disaster for the Red Planet … this is a genuinely INTRIGUING film, Perin and co-writer Laurent Sarfati (who previously worked with him on Lastman) weaving a seductively labyrinthine detective story which works magnificently well as an ingenious sci-fi take on the classic Noir formula, but also delivers an equally fascinating Philip K. Dick-esque treatise on the potential dangers of the unchecked development of artificial intelligence and far more fundamentally challenging questions about what it really means to be alive, and to be human.  It’s also genuinely THRILLING, propelling the story at a furious pace generously peppered with a string of intensely full-blooded action sequences, as well as a genuinely GORGEOUS work of animated art, the exquisite mixture of 2D and digital animation (looking like a slicker version of Titmouse’s work on Scavengers Reign) rivalling some of the best anime I’ve seen but nonetheless somehow carrying a conspicuously FRENCH vibe.  Altogether this is a magnificent achievement for an up-and-coming filmmaking talent whose work I will DEFINITELY be keeping an eye out for the future, as well as a BREATHTAKING masterpiece of this cinematic artform.  I highly recommend hunting it down.

6.  TWISTERS – Back in 1996, Jan de Bont’s man-against-nature action thriller Twister turned out to be one of the most undeniably enjoyable summer blockbusters of the 90s, and it’s one of those rare CGI-heavy features from the fledgling digital days that STILL holds up impressively well today.  It also DEFINITELY worked perfectly well on its own merits, with no need for a sequel and CERTAINLY not a remake … so when it was announced that there was going to be one after all, like many I was suitably dubious.  I mean the story was told perfectly well in the original, there’s nothing new that could really be said in a follow-up, right?  Turns out there actually IS, though, and I’m pleased to report that Minari director Lee Isaac Chung’s new film lives up to its predecessor in fine style, thanks in no small part to him and screenwriter Mark L Smith (The Revenant, Overlord and The Midnight Sky) clearly taking the lessons of the 1996 film very much to heart and bringing us a fresh serving of everything that worked so well last time round while carving impressive fresh ground for a genuinely rewarding original story moving forward.  That being said, the greatest strength of the original wasn’t the effects anyway – it was the wonderfully well-rounded, fully-realised characters we followed into the film’s myriad dangers, and this one definitely pulls off the same feat, introducing a new generation of tornado chasers out to pioneer new scientific tech and hopefully save the lives of people living in the strife-torn environs of America’s Tornado Alley.  Glen Powell (hot off major career-making turns in Top Gun: Maverick and Hit Man) may be the heavyweight star power in this particular cast, and he’s definitely great, scene-stealing fun as Tyler Owens, the self-proclaimed “Tornado Wrangler” of YouTube, but the true heart of the film is Daisy Edgar-Jones (Fresh, Where the Crawdads Sing, Normal People) as meteorologist Kate Carter, who’s looking for redemption for past mistakes which led to the deaths of most of her old storm-chasing team, while Anthony Ramos (Hamilton and In the Heights) is certainly the soul as Javi, Kate’s former colleague who’s looking to help her realise her goal through his new tech venture Storm Par; there’s also hefty support from the likes of Brandon Perea (Nope), Sasha Lane (American Honey, Daniel Isn’t Real), David Corenswet (soon to be the new Superman in James Gunn’s DCU reboot) and even my girl Katy O’Brian (Love Lies Bleeding, Z Nation, The Mandalorian)!  They’re all just as fleshed out as Bill Paxton and Helen Hunt’s crew were back in the day, a compelling collection of lovable misfits we’re happy to go on this crazy death-defying adventure with, which of course does SO MUCH of the heavy lifting with regards to the tension-building because we get so deeply invested in them all.  That being said, the film definitely doesn’t scrimp on spectacle, the visual effects work having improved SIGNIFICANTLY on what was already impressively high quality work back in ’96, leading to some truly TERRIFYING set-pieces that would definitely surprise anyone who only knows Chung for his critically acclaimed and award-winning dramatic work (but less for anyone familiar with his work on The Mandalorian), which means I am VERY curious to see what he’ll deliver this Christmas on the highly anticipated Star Wars-based Skeleton Crew TV series.  This is a far cry from just pure by-the-numbers summer blockbuster fare, then, a heavyweight event pic with a surprising amount of substance and a hefty dose of proper FEELS to go with all that adrenaline and eye candy, and it’s MORE THAN worthy successor to an already rightly beloved classic.

5.  FURIOSA – 2015’s Mad Max: Fury Road was not only one of the greatest films of the last decade, but was also the undeniable MASTERPIECE of director George Miller’s career, even managing to (almost) eclipse his classic FIRST sequel, The Road Warrior.  It was a triumph of visual storytelling, two hours of furious all-action mayhem with barely any digital trickery in evidence, and brought us one of the greatest female protagonists of all time in the irrepressible warrior woman who managed to overshadow Max Rockatansky himself – Imperator Furiosa, perfectly brought to life by an ON FIRE Charlize Theron.  It was, quite simply, A PERFECT FILM.  So did it really NEED a prequel, chronicling the story of what led such a badass lady to undertake the gruelling crusade of that most exceptional of cinematic extravaganzas?  Honestly?  Not really.  But does that matter?  No, not at all.  As soon as Miller started touting this as a project those of us who flipped out SO HARD over Fury Road IMMEDIATELY started frothing at the mouth at the possibilities … it was just that the more pragmatic among us were also a little worried that he might not be able to capture lightning in a bottle all over again.  Well, we never should have doubted him, Miller was definitely equal to the task – Furiosa may not be QUITE as good as the film it chronologically precedes, but as an origin story it is MAGNIFICENT, a sprawling, gruelling, exhausting post-apocalyptic action epic that definitely does flawless justice to such an incredibly strong character.  I don’t want to give too much away plot-wise, it’s better to just jump in and ABSORB it all, suffice to say that this does indeed reveal how the child Furiosa was stolen from her seemingly idyllic life in an oasis in the middle of the radioactive Australian wasteland, dragged out into the middle of a brutally hostile desert filled with warfare, insanity and SERIOUSLY POWERFUL VEHICLES and forced to forge herself into an indomitable, merciless and uncompromising living weapon in order to survive, thrive and find her way back to her long lost Green Place.   Anya Taylor-Joy is a fine choice indeed for a more youthful Furiosa, subtly nuanced and filled with simmering intensity buried under a haughty mask of righteous untouchability,

but she doesn’t even TURN UP until the midway point of the film, the lion’s share of the work to establish her unbreakable character through her lost childhood ultimately going to The Lost Flowers of Alice Hart’s Ayla Browne (who previously performed for Miller on Three Thousand Years of Longing), and she is nothing less than a TOTAL FUCKING REVELATION in the role.  Chris Hemsworth frequently steals the film as the best villain the franchise has EVER HAD (and that says a lot in a series that includes Hugh Keys-Byrne’s Toecutter), self-aggrandising preening peacock Dementus, who gleefully tips from adorably camp to chillingly monstrous to pompously flamboyant at the drop of a hat, effortlessly holding court over the likes of Nathan Jones’ spectacularly ridiculous Rictus Erectus and Romper Stomper’s Lachy Hulme as a more youthful incarnation of his tyrannical father Immortan Joe, while The Musketeers’ Tom Burke is equal parts heroic and stoic as Praetorian Jack, the doughty War Rig commander who takes Furiosa on as his protégé, and model-turned actress Charlee Fraser (Anyone But You) rules over the opening scenes as her ferociously protective mother, Mary Jabassa.  Miller delivers in fine style on the action like always, the War Rig chase in particular sure to go down as the year’s most memorable action sequence, and once again there’s a pleasing reliance on physical stunt-work, practical sets and good old fashioned elbow grease over CGI throughout that does its predecessor proud.  That being said, this one is NOT a breakneck movie-long chase, its more leisurely, sometime quite introspective pace instead going a long way to let the story breathe and the peerless world-building develop, although there is still a characteristic relentlessness to the tale which means that, despite its two-and-a-half-hour runtime it never feels overlong or outstays its welcome.  Then again, it once again deploys Fury Road’s secret weapon – another throbbing, propulsively atmospheric score from Tom Holkenborg – to create another very pleasurable ride through the irradiated hellscape of Miller’s Outback.  I for one would be very pleased to return to it someday …

4.  KINGDOM OF THE PLANET OF THE APES – Matt Reeves is a tough act to follow, even before The Batman he was already blowing us away with his star-making directorial breakthrough helming Dawn of the Planet of the Apes and its follow-up War For the Planet of the Apes.  The conclusion of that latter film put a very definitive exclamation point on the franchise as a whole, making ANY attempts to continue the saga a tough prospect indeed, and something that even a seasoned filmmaker might balk at.  But when I heard the proposed new trilogy, set hundreds of years after the events of War, would be directed by Wes Ball, I breathed a big sigh of relief – he did an INCREDIBLE job with the sci-fi trilogy adapting YA novelist James Dashner’s popular Maze Runner series, so I knew the saga was in very good hands indeed.  Having come up in visual effects, Ball’s always maintained a very strong balance between physical and digital filmmaking, so he was certainly up to the challenge of bringing a new generation of photorealistic, vitally ALIVE super-intelligent talking apes to the big screen, as well as putting his flesh-and-blood actors through their paces with similar skill and flair.  Most important, though, this film introduces a new lead protagonist who’s definitely got what it takes to succeed Andy Serkis’ mesmerizing Caesar in a new story, Owen Teague (It, I See You, Inherit the Viper, Black Mirror) thoroughly impressing in his first lead role as Noa, an uncertain young chimpanzee from an isolated tribal clan forced to grow up fast when his people are stolen in one terrifying night by masked ape raiders, leaving him to follow their trail with only intellectual orangutan Raka (The Orville’s Peter Macon) and an unusually smart “echo” (basically what humans have become since they lost their speech and intelligence) named Mae (The Witcher’s Freya Allan) to count as allies.  Macon is a thoroughly endearing presence throughout, while Allan delivers a fascinatingly complex performance that fuels many of the film’s most interesting twists (although I’m sure you can spot one or two coming ahead of time); and then there’s Kevin Durand, who’s clearly having a whale of a time getting his teeth into a rewardingly robust screen villain in the form of Proximus Caesar, an ambitious bonobo warlord who’s using a corrupted version of his namesake’s teachings to build a tyrannical empire of oppressed apes – he’s not quite as compelling an antagonist as Toby Kebbell’s Koba, but he serves most admirably indeed here.  Altogether, this film definitely had A LOT of heavy lifting to do to even APPROACH the heights of Reeves’ tenure on the franchise, and Ball and screenwriter Josh Friedman (War of the Wolds, Terminator: Dark Fate, Avatar: The Way of Water) have risen to the task in fine style, delivering a thrilling, affecting and inventive epic action adventure which skilfully builds on the framework provided by the previous trilogy while courageously forging ahead into the future, leaving room to venture forward into exciting further instalments.  Ultimately this isn’t QUITE as good as Dawn or even War, but with this the saga remains as rewarding, compelling and majestic as ever before, and I see great things indeed in its future.  I can’t wait for whatever comes next …

3.  A QUIET PLACE: DAY ONE – It’s interesting, most of the time when you get a really great movie that becomes a big hit and spawns a franchise, THE LAST THING it needs is a prequel, and oftentimes when it DOES happen it feels like a shoehorned mess or even a total disrespectful retcon (they can’t ALL be Furiosa, after all).  A Quiet Place was never one of those – right from the start it was clear that how it all began was going to be JUST as interesting as where the original story was going, a fact which was DEFINITELY reinforced when Part Two dropped that TERRIFYING flashback cold open.  So when this finally arrived I was FIRST in my local queue, raring to go and so unswervingly excited that anything less than amazing was liable to be a disappointment.  Thankfully it turned out to be EVERYTHING I was hoping for – this is a super trim 99 minutes of knuckle-whitening terror with a (by now, not really all that) surprising amount of emotional power packed in, one of those films that brings you to tears when it’s not scaring the living bejeezuz out of you, just like the first two.  Lupita Nyong’o is a breath of fresh air as our new lead protagonist, Samira, a world-weary young New Yorker who’s been beaten down by a life of tragedy and chronic pain from the very same kind of advanced cancer that killed her beloved father, only to find a reason to stay alive (at least for a few more days) when the sound-seeking murder-beasts crash-land in the middle of the loudest city in the world and instantly go apeshit from all the noise.  Stranger Things’ Joseph Quinn, meanwhile, puts us through the emotional wringer right from his entrance as Eric, a timid Brit law student whose anxiety is going THROUGH THE ROOF as this all goes off around him, forced to find inner reserves of courage he never knew he had after he latches onto Sam as she makes her way across the city in search of the last slice she’ll ever be able to get from her favourite Harlem pizzeria.  There are equally heartfelt turns from Alex Wolff (Hereditary, Jumanji, Pig) as Reuben, Sam’s put-upon hospice nurse, and Djimon Hounsou, showing how his character started his own apocalyptic struggle as Part Two’s Henri, but perhaps the biggest stars of this film are, unsurprisingly, Nico and Schnitzel, a pair of tuxedo cats who perfectly portrayed the role of Frodo, Sam’s service cat, who’s probably THE MOST CHILLED-OUT feline I have EVER SEEN in a movie, and definitely one of the cutest.  Ultimately this is an absolute TRIUMPH for its breakout writer-director, Michael Sarnoski, whose INSANELY impressive feature debut Pig already made him one to watch back in 2021, and he definitely did the original property justice while carving his own equally impressive path in the franchise.  The end result, then, is a welcome addition to an already INCREDIBLE horror movie series, and definitely a strong contender for the genre’s movie of the year.

2.  DEADPOOL & WOLVERINE – Damn … if ever there was a movie that I really can’t say much of ANYTHING about for fear of dropping spoilers, even if most of the fandom has already gone to see it … this is an IMPORTANT MOVIE, maybe the most important of the year, because the MCU has been on the rocks of late, despite Guardians of the Galaxy Vol. 3 going a long way to setting its fortunes back on the right track (but then that one has very much been considered a BLIP, really), and this one looks to have SINGLEHANDEDLY knocked the whole mess back on the right track while simultaneously mercilessly ripping the piss out of the whole debacle.  No, I mean IT REALLY DOES, there isn’t A SINGLE STONE that the Merc With a Mouth leaves unturned in his quest for meta-fuelled irreverence here (except maybe that dead Celestial poking out of the Pacific that nobody seems to be talking about after Eternals … or maybe I missed a joke somewhere).  Anyway, this is EVERY BIT as good as James Gunn’s third and final feature for the franchise, as well as another SUPER-solid entry in what was already Fox’s now expired X-Verse’s most popular series, but most importantly it’s also an EXTREMELY successful bridging film between that and the flagging Marvel Cinematic Universe, the perfect way to bring Mutantkind into the franchise with the least amount of fuss.  That being said, the BIG attraction here is, of course, getting to see two of Marvel’s biggest heavyweights going head-to-head in one movie, and of course beating seven shades of shit out of each other while they’re at it.  If you will … yeah, if you haven’t seen it yet and don’t want to get spoiled, you really should jump off at this point and just GO SEE IT while they’re still milking it for every cent they can in theatres, safe in the knowledge that it’s a fucking AWESOME movie and you won’t be disappointed.  Now SHOO!!!  Be off with you … okay, still here?  Right, then, watch me try to be as spoiler-light as I can moving forward … as much as Wade Wilson and Logan may be the very EPITOME of chalk-and-cheese onscreen, behind the scenes Ryan Reynolds and Hugh Jackman have got on like a house on fire for a while now, ever since the former started lovingly teasing the latter in the first Deadpool movie and started his long-running campaign to lure the original Marvel Movie superstar into a big screen team-up, so it comes as NO SURPRISE that they’re both clearly having the time of their lives working together now.  Their chemistry in this is OFF THE CHARTS, the pair trading razor sharp quips, dirty looks and well-deserved face-punches with gleeful abandon from their first scene together RIGHT to the end, while the incredibly strong screenplay from Reynolds, series regulars Rhett Reese and Paul Wernick, Robot Chicken’s Zeb Wells and the film’s director Shawn Levy (who previously worked with Reynolds on Free Guy and The Adam Project, as well as Jackman on Real Steel) definitely gives them a really big Multiversal playground to let loose in, all while doing a really beautiful job of taking the baggage that the current condition of the MCU property’s left the franchise in and stuffing it all into what’s always been a much more stable if also far less RESPECTFUL cinematic sandbox.  There are easter eggs galore, both overt and a whole lot more subtle

throughout, especially during an extended sojourn into the Void (the TVA’s pruning dumping ground) which not only introduces a few fun new faces (including at least one X-Men franchise missed opportunity AS WELL as the VERY welcome return of my very favourite Marvel mutant of them all – so nice to see you back, Laura!  Sure hope you get to stick around for more) but also a bunch of fan favourites from across Fox’s Marvel pantheon, and as far as I’m concerned there ain’t a single bum note in the entire symphony here!  Certainly this is BY FAR the funniest Deadpool movie so far (which is saying something), but that’s not really surprising since Shawn Levy has consistently proven to be one of the VERY BEST cinematic comedy directors out there (especially with his consistently high quality Night At the Museum series), so this is just another day at the office for him, and he definitely delivered something TRULY SPECIAL here.  This is THE MOST I have laughed at the cinema so far this year, but thankfully like its predecessors it’s also got plenty of feels on offer too, meaning that it definitely fits in JUST FINE with the best that its new peers in the MCU have to offer.  Topping this off with a selection of genuinely BRILLIANT inspired soundtrack needle-drops (particularly in the thoroughly irreverent and MASSIVELY disrespectful opening title sequence which sees Wade mercilessly desecrating one of Marvel’s most sacred cows) and a genuinely moving closing credits farewell homage to Fox’s Marvel legacy, the filmmakers have done their material so very proud as well as opened the door to so much fresh possibility in the Marvel Cinematic Universe going forward, and I for one hope this is a sign that things really are FINALLY back on the right track for the series.  Now if they could just get that Blade reboot out of Development Hell (wink wink) …

1.  ALIEN: ROMULUS – Ultimately landing JUST BEHIND a certain other major genre heavyweight entry on my list for the year so far, my (current) number TWO science-fiction film of the year is also easily one of the SCARIEST movies I’ve seen so far this year.  It’s also a very interesting and IMPORTANT film in that it goes A LONG WAY to knocking yet another major cinematic franchise back on track after spending a long while spiralling further and further out of true alignment.  Okay, I admit it, I LIKE Prometheus a whole lot as an actual FILM, but even I can admit that IN UNIVERSE its attempts to connect with Ridley Scott’s own original masterpiece and James Cameron’s (even better) follow-up were clunky at best and downright EMBARRASSING at worst (and in the end, the less said about Alien: Covenant the better, really).  So I guess it’s actually A GOOD THING that Scott took a step back into more of a producing role to allow somebody else to take the reins of this sort-of soft reboot, and it turns out that Fede Alvarez, writer-director of the first Evil Dead remake and Don’t Breathe (as well as the CRIMINALLY underrated The Girl In the Spider’s Web), was the PERFECT CHOICE for this job.  Fitting in somewhere between the events of Alien and Aliens, Romulus sees the dastardly Weyland Yutani Corporation find the blasted remains of the Nostromo floating in deep space, as well as traces of the original xenomorph itself, which they then transport to the film’s eponymous space station, in the orbit of the colony world of Jackson’s Star, in the hopes of exploiting the organism’s unique properties for their own gains.  Something clearly goes HORRIBLY WRONG in the interim, because when a gang of opportunistic young colonists, looking for a chance to jump ship to a freer life in another system outside of Corporate control, sneak onto the station in the hopes of scavenging some cryogenic resources for the journey, they find it derelict and ravaged by some kind of horrific disaster.  Then their poking around sets loose some of the fruits of the scientists’ biological labours, and before they know it they’re neck-deep in facehuggers and more than a few of their bigger brethren too …

Cailee Spaeny (Priscilla, Civil War, Bad Times At the El Royale) makes for a surprisingly robust action heroine in the classic Ripley mould as Rain, her diminutive size belying her character’s feisty determination and wily resourcefulness; Archie Renaux (Shadow & Bone) and Isabel Merced (Sicario: Day of the Soldado, Dora & the City of Gold, Turtles All the Way Down) are both extremely likeable as Tyler and Kay, respectively Rain’s ex-boyfriend and best friend, while Spike Fearn (Tell Me Everything) is kind of a prick as their cocky cousin Bjorn, and newcomer Aileen Wu is standoffish but precocious as talented young pilot Navarro.  The real breakout star of the piece, however, has to be Rye Lane’s David Jonsson, who delivers a spectacularly complex, multifaceted turn as Rain’s adopted brother Andy, a former Weyland-Yutani android dug out of a scrapheap and reprogrammed to protect her by her late father.  They’re all put through hell by the events that unfold within the faltering station, Alvarez turning the screws and fraying our nerves with his characteristic masterful skill as their situations progressively go from bad to worse to truly fucked, all while paying loving homage to the first two movies while also creating something new and fresh for the series if they do decide to move forward from here.  Best of all, though, as he’s always done in the past he largely eschews digital effects, preferring to do as much as he possibly can with physical effects, which makes the impressively icky creature work and seriously NASTY gore all the more delightfully gnarly throughout, with the film’s ONLY bum note being a particularly problematic “resurrection” choice which has already had a great deal made of it in the press, but which I, ultimately, found was actually handled surprisingly well in the end, so that it really didn’t detract very much from my personal enjoyment of the film as a whole.  Rounded off with an evocative and enjoyably old school score from Benjamin Wallfisch (who clearly had a great time channelling both Jerry Goldsmith and James Horner here), this is a rousing success for me, a phenomenal return to form for one of my very favourite sci-fi cinematic franchises and yet another standout offering from one of the very best fresh talents working in horror cinema today.  If he does indeed choose to stick with the property, I think Alvarez could well keep this series fresh and exciting for a fair few years yet.

[deletedaccd]

politics

disclamer: i am not american. this does not affect me, at least for now. this perhaps may decrease my following but my friends are in danger, and im drinking a beer, i dont give a shit at the moment

"Project 2025 is a strategic initiative aimed at transforming the US Army into a more lethal, agile, and adaptable fighting force by the year 2025. This ambitious plan encompasses a wide range of modernization efforts across all aspects of the Army, from its personnel and training to its equipment and technology. A key element of Project 2025 is the development and integration of advanced technology, such as artificial intelligence, robotics, and autonomous systems. These technologies are intended to enhance the Army's ability to collect and analyze information, conduct operations in complex environments, and engage adversaries effectively. The project also emphasizes the importance of network modernization and cyber security, recognizing the growing role of cyber warfare and the need for resilient and secure communication systems. In addition to technological advancements, Project 2025 prioritizes the development of human capital by focusing on training, education, and recruitment. The goal is to cultivate a workforce that is skilled, adaptable, and capable of operating effectively in a rapidly changing world. By combining these technological and human elements, Project 2025 aspires to create an Army that is prepared to meet the challenges of future conflicts and maintain its position as the premier military force in the world. " - Unknown name

I am not american. I will not say my views, whether republican, liberal, democrat or whatever views and titles there are

But i will simply say what i have heard and what i have read

Project 2025, a nefarious agenda cloaked in a veil of progress, looms over society, threatening to erode fundamental freedoms and plunge us into a dystopian nightmare. At its core is a sinister plot to restrict access to reproductive healthcare, stripping women of their control over their own bodies. Abortion, a fundamental human right, is deemed a heinous crime, with draconian punishments meted out to those who dare to seek or provide it. I do not doubt they will be going after birth control as well, which is also a human right.

Furthermore, Project 2025 viciously targets the LGBTQ+ community, attempting to erase their very existence. Marriage equality is revoked, and same-sex couples are denied the right to love, raise families, or live their lives openly. Hateful rhetoric spews from the highest offices, fostering an atmosphere of fear and persecution.

Education is also under attack, with curricula twisted to promote a narrow, intolerant worldview. Critical thinking and open discussion are stifled, replaced with indoctrination and propaganda. Young minds are poisoned with messages of hate and exclusion, shaping a generation destined for ignorance and intolerance.

The arts, once a bastion of free expression, are now subject to censorship. Artists who dare to challenge the status quo are silenced, their works banned or destroyed. Culture is homogenized and controlled, leaving no room for diversity or dissent.

Trump's tax cuts, primarily benefiting wealthy individuals and corporations, have been criticized for increasing the national debt and widening income inequality. Trump's administration has rolled back environmental regulations, including those addressing climate change and pollution control, drawing criticism from scientists and environmentalists.

Trump's immigration policies, such as the border wall and family separations, have been condemned as inhumane and ineffective, exacerbating tensions at the U.S.-Mexico border.

Trump's attempts to repeal and replace the Affordable Care Act, known as Obamacare, were unsuccessful. However, his administration's actions, such as weakening the mandate and Medicaid expansion, have led to concerns about reduced healthcare access.

Trump's rhetoric and policies have been criticized for fueling racial tensions and promoting gender discrimination. The travel ban targeting majority-Muslim countries and the separation of families at the border have drawn accusations of racism and xenophobia.

Trump's presidency and the Republican Party's support of his policies have contributed to deep political polarization in the United States. His divisive rhetoric and inflammatory tweets have exacerbated existing divisions and made it harder to find common ground. Trump's attacks on the media, the judiciary, and law enforcement have raised concerns about the erosion of democratic institutions. His refusal to concede defeat in the 2020 election and his supporters' storming of the Capitol on January 6, 2021, have further undermined public trust in the electoral process.

This is what i have heard

I have women friends, gay friends, trans friends that live in america

I suggest not voting for trump, but lets be honest, thats been said a dozen timew, doesnt make it any less hwlpful of advice

your all off your heads (or perhaps faces) if ye think project 2025 is good

[usagirotten]

Top 20 Cyberpunk Anime to Watch: Dive into Futuristic Worlds and Captivating Narratives

Hey there, cyberpunk enthusiasts! Are you ready to dive headfirst into a mesmerizing world of high-tech wonders and dystopian futures? Look no further because we've curated a list of the top 20 cyberpunk anime series that will transport you to neon-lit cities, challenge your perceptions, and ignite your imagination. Get ready to explore captivating narratives, complex characters, and mind-bending themes. Let's embark on this thrilling journey together!

- "Ghost in the Shell" - Step into a world where humans and machines coexist, as Major Motoko Kusanagi tackles cybercrime and questions the nature of consciousness.

- "Akira" - Witness the explosive tale of Kaneda and Tetsuo in Neo-Tokyo, a city plagued by government conspiracies and powerful psychic abilities.

- "Psycho-Pass" - Enter a future society where crime can be predicted, and join Inspector Akane Tsunemori as she fights against a corrupt system.

- "Serial Experiments Lain" - Delve into the enigmatic world of the Wired alongside Lain, a young girl who becomes entangled in a web of technology and identity.

- "Cowboy Bebop" - Join the crew of the Bebop spaceship as they embark on thrilling bounty-hunting adventures set to a captivating jazz soundtrack.

- "Ergo Proxy" - Explore a post-apocalyptic world where Re-l Mayer uncovers the secrets behind her existence, blurring the lines between human and android. - "Steins;Gate" - Experience a mind-bending time travel adventure as a group of friends accidentally stumble upon the ability to change the past. - "No. 6" - Follow the journey of Shion as he unravels the truth behind a seemingly perfect utopian city and joins the fight against its oppressive regime. "Texhnolyze" - Immerse yourself in the gritty underworld of Lux, a city torn apart by gang warfare and the merging of humans and machines.

- "Bubblegum Crisis" - Travel back to the '80s and join the Knight Sabers as they protect the city from rogue robots and corporate greed. - "Neon Genesis Evangelion" - Witness the intense battles of teenage pilots as they defend humanity against mysterious creatures known as Angels. - "Blade Runner: Black Lotus" - Based on the iconic film, this series follows a young woman who becomes embroiled in a dangerous conspiracy. - "Darker than Black" - Enter a world where contractors with supernatural abilities carry out covert missions in the shadows of society.

- "Armitage III" - Join detective Ross Sylibus as he investigates a series of murders involving robots with human-like emotions. - "A.I.C.O. -Incarnation-" - Follow Aiko, a high school student with a mysterious past, as she uncovers the truth about a devastating phenomenon. - "Mardock Scramble" - Dive into a dark and gritty world where a young woman, Balot, seeks revenge against those who have wronged her. - "Bubblegum Crisis Tokyo 2040" - Experience a reimagining of the original series, following a group of women who don powered suits to fight against rogue robots. - "Arise: Ghost in the Shell" - Explore the origins of Section 9 and witness Major Motoko Kusanagi's early days as a cyborg detective. - "Megazone 23" - Join Shogo Yahagi as he uncovers the truth about his city and the secrets hidden within a virtual reality game. - "Cyber City Oedo 808" - Enter the crime-ridden streets of Oedo City, where three criminals are given a chance at redemption by working as cyber cops. There you have it—a comprehensive list of the top 20 cyberpunk anime series that will transport you to immersive worlds, challenge your perception of reality, and leave you craving for more. Join our community of cyberpunk enthusiasts, share your favorite moments, and dive into the electrifying conversations that blur the lines between humanity and technology. Together, let's embrace the future and explore the endless possibilities of this captivating genre. Read the full article

[ghostoftheyear]

You know, on the face of it, DMMd is patently ridiculous. You have this vague near-future semi-dystopian cyberpunk-ish setting on an island of Japan where an enormous themepark has been built to take over half the place, it’s gaudy and caters to only the richest clientele while the rest of the island has been forced into poverty because of it. Everyone wears weird colorful outfits and has a Theme. Half the kids are into gang warfare and the other half play online battles in their heads. Everyone has cute robot animal assistants and uses the equivalent of apple watches to communicate, only they can be customized to look like anything and also project holograms. It doesn’t really make sense and it doesn’t hold up to a lot of external scrutiny, but you know what? It’s pretty and colorful and the story is interesting enough that after a while you stop questioning. I think this is why I love it. It doesn’t have to make sense.

[cyberpunkonline]

The Role of The Moon in Cyberpunk Fiction

In the neon-lit, tech-infused universe of cyberpunk fiction, the urban sprawls and AI overlords often steal the spotlight. Yet, there's a celestial body that has quietly played a pivotal role in shaping many cyberpunk narratives – the Moon. Though it might not be immediately apparent, the moon's presence or absence in these dystopian futures offers a reflection on our society's advancements, fears, and hopes. Let's take a fascinating journey through the moonlit alleys of cyberpunk fiction and explore the various fates that await our lone satellite.

1. The Moon as a New Frontier:

In a world dominated by mega-corporations and cutting-edge technology, it's only logical that humanity would look beyond Earth for expansion. Many cyberpunk tales envision the Moon as the next outpost for human civilization. Be it for mining rare minerals, establishing colonies, or just as a transit hub, the Moon represents untapped potential and opportunity.

Examples:

In the game "Deliver Us The Moon," the satellite becomes humanity's primary source of energy after Earth's resources are depleted.

"Moon," a film by Duncan Jones, explores the life of a man working alone on a lunar base, only to uncover a dark corporate secret.

2. Abandoned or Ravaged Moon:

Sometimes, the Moon in cyberpunk fiction is depicted as a testament to human ambition gone awry. Whether due to warfare, experiments, or mining gone wrong, this once-pristine celestial body becomes a scarred, desolate land.

Examples:

The anime "Cowboy Bebop" has an Earth with a shattered moon, causing meteor showers and making much of the planet uninhabitable.

"Hard Reset," a video game, features a world where a failed experiment on the Moon led to a catastrophic event, forever changing the trajectory of human civilization.

3. The Moon as Symbolism:

In some cyberpunk stories, the Moon serves less as a physical location and more as a symbolic entity. It might represent the untouched purity in contrast to a polluted Earth or serve as a reminder of a past where nature and technology coexisted harmoniously.

Examples:

The movie "Blade Runner" uses the Moon as a backdrop in certain scenes, evoking a sense of nostalgia and longing amidst the high-tech chaos.

In "Neuromancer" by William Gibson, the Moon often appears in the background, symbolizing the vastness and mysteries of the universe amidst a digital-dominated world.

4. The Moon as a Tool:

In the ruthless corporate-dominated landscapes of cyberpunk, nothing is sacred. The Moon, in some narratives, is used or weaponized for power and control.

Examples:

"Akira," the cult-classic anime, hints at a weapon powerful enough to destroy the Moon.

The game "Deus Ex" introduces orbital stations around the Moon that can launch devastating attacks on Earth.

In conclusion, while skyscrapers, neon signs, and rogue hackers often dominate the visual palette of cyberpunk, the Moon remains an integral part of its narrative fabric. It serves as a reflection of humanity's ambition, folly, hope, and despair in a world where technology can either be our savior or downfall.

- REV1

[local-redhead-bookworm]

The thing to remember about dystopian fiction is, it’s not a prediction of the future. It is a commentary on the social issues and fears of the time. So when George Orwell wrote about authoritarian states, when Ray Bradbury wrote about media control and book banning to sway public thought, when Suzanne Collins wrote about class divisions and the media’s abuse of children, when James Dashner wrote about experimenting on people in the name of saving the human race … none of them were saying “this is what could happen if we did x.” They were saying “this is a possibility given where our world is now.” Every world made unlivable by environmental destruction or nuclear warfare, every surveillance state, every abuse of technology to invade human rights… is a commentary on issues we already faced. We just weren’t listening.

[anniekoh]

From the Arab Film Institute, a virtual film festival

PALESTINIAN VOICES will run until the end of the year. You can watch most of the films in this series online and from anywhere in the world. A few titles are limited to viewers in the United States and some films will also screen in person in select cities.

At the Arab Film and Media Institute (AFMI) we seek to continually change the narrative, share our stories, and foster understanding of our common humanity through art and storytelling.  In this dire time, we want to share a selection of films that showcase the history, culture and people of Palestine.

Our hope is that this free program, entitled PALESTINIAN VOICES, can be a resource to provide insight into the current situation unfolding in Gaza and the people being affected.

A few of the available films

Palestinian Voices: PEOPLE OF THE LAND

Palestinian Voices: FROM UNDER THE RUBBLE

Palestinian Voices: Between Two Crossings

Palestinian Voices: Unspoken

I'm especially interested in viewing this

Palestinian Voices: Larissa Sansour’s Sci-Fi Trilogy

Under the common themes of loss, belonging, heritage and national identity, the three films A Space Exodus (2008), Nation Estate (2012) and In the Future They Ate from the Finest Porcelain (2015) each explore different aspects of the political turmoil the Middle East.

While A Space Exodus envisions the final uprootedness of the Palestinian experience and takes the current political predicament to its extra-terrestrial extreme by landing the first Palestinian on the moon, Nation Estate reveals a sinister account of an entire population restricted to a single skyscraper, with each Palestinian city confined to a single floor. In the trilogy’s final installment, In the Future They Ate from the Finest Porcelain, a narrative resistance leader engages in archaeological warfare in a desperate attempt to secure the future of her people. Using the language of sci-fi and glossy production, Sansour’s trilogy presents a dystopian vision of a Middle East on the brink of the apocalypse.

A Space Exodus quirkily sets up an adapted stretch of Stanley Kubrick's Space Odyssey in a Middle Eastern political context. The recognisable music scores of the 1968 science fiction film are changed to arabesque chords matching the surreal visuals of Sansour's film.

The film follows the artist herself onto a phantasmagoric journey through the universe echoing Stanley Kubrick's thematic concerns for human evolution, progress and technology. However, in her film, Sansour posits the idea of a first Palestinian into space, and, referencing Armstrong's moon landing, she interprets this theoretical gesture as "a small step for a Palestinian, a giant leap for mankind".'

[thegreatfrogdungeons]

Hey remember when I used to post my fakemon in my fakemon region? Remember when I used to post?

Yea I'll get back to that in a bit, in a meanwhile have a gjinka of Iron Boulder I made a while ago, back when I lacked shading knowledge (i still don't but I have like, slightly more at least).

I ain't going to write an entire world around her (I've done that too many times), but in the little bit that I do have, her and the other paradox swords of justice come from a dystopian cyberpunk future where they were originally revolutionaries, criminals, and test subjects before dying in action (thus the scars and missing limbs, died in gang warfare and was desecrated after death to serve as an example). Dragged out of various dumpsters, they were all resuscitated by the government to serve as mercenaries and additional test subject; all indentured, of course. After years of unwillingly committing atrocities, they were sent to the present via time portal misuse/forceful acquisition and subsequent trashing, and now spend their time taking part in official competitions (partly for fame, partly for money, mostly because they have no memory of how to do anything else). They greatly appreciate the change of pace.

This was also inspired by a post a saw on r/stunfisk that said like, "add an ag after the v in mighty cleave, it will be funny" lol