#Bound for Glory 2017

[swiftsgirlfriend]

𝖿𝖺𝗍𝖾𝖽: 𝖺 𝖿𝗈𝗋𝖾𝗐𝗈𝗋𝖽.

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𝗇𝗈𝗍𝖾𝗌&𝗐𝖺𝗋𝗇𝗂𝗇𝗀𝗌.bradley bradshaw x unnamed, sad??

𝖽𝖾𝗌𝖼𝗋𝗂𝗉𝗍𝗂𝗈𝗇.bradley bradshaw. a tormented, grief-stricken, lovesick soul. this is the story, of the love of his life. how they began, the lessons she taught him and the tragic ending, that seemed as if it was fated by the Gods

𝗌𝖾𝗋𝗂𝖾𝗌 𝗆𝖺𝗌𝗍𝖾𝗋𝗅𝗂𝗌𝗍.

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AUGUST 13TH 2017.

My name is Bradley Bradshaw, and this is the story of the greatest love of my life. For the sake of privacy, she will remain nameless. Her name isn’t important anyway, as I do not believe our story is individual to us, or unique in any way. Our love was born from grief and pain, built to fall apart, crafted as a cruel lesson; allegorical. Our love was seemingly written in the stars, fated. The ending, also fated, but perhaps written by Shakespeare instead, as a great tragedy of the 17th century.

Yesterday, August 12th 2017, I attended the funeral of my sweet, darling girl. It was open invitation, and I am thankful it was, as I am certain not many people knew about us. Sometimes, it makes me angry to think that she did not want people to know of us. But most of the time, I am grateful. I am grateful because our love, was ours. In a world, where no-one owns anything, our love was truly ours, because no-one knew. It didn’t need to be shouted from the rooftops. People didn’t have to know about our love for it to be real. We knew, every morning that we awoke in each-other’s arms that it was real. Every laugh we shared, every time we danced together, every time we made love, every everything we ever did together made our love real. She taught me that.

Which is, coincidentally, the reason I am writing this. My love, was never one to succumb to unrealistic standards for herself. She knew who she was, she deeply understood herself, and she knew her place in life. She seemed to understand the universe’s darkest secrets. I wouldn’t have been surprised to find out, that God told them to her Himself.

My point is she knew a lot. She taught me a lot. And the older I become, I realise the more I am bound to forget. Over time my memory will fade, and the memories of the lessons she taught me, will become dusty books on the shelves of my mind. I cannot let it become that. I could remember her face until my dying day. But I know the day I forget the things she taught me, what we went through together, is the day I lose myself. So I will preserve these memories, cement them in my skull, the only way I know how; the written word.

I once promised her, that no matter what happened, no matter if she died, or I died, no matter if there was a nuclear war or if the sun swallowed the Earth, our souls would stay entwined, and I would never, ever forget the time we shared. I cannot break that promise.

I am a weak man. My life has shaped me into one. But I am strong-willed in one way. I am strong-willed in the sense that my promise to her will stay strong, above anything else.

That is what this is, for context, I suppose. A dying man’s last-ditch attempt, to keep a dead girl’s sacred promise. A dying man, reliving his glory days, the days when he was in love with the most spine-crushingly, beautiful soul, this planet has ever seen. A dying man, telling his love story. A love story that may be like every other one that has ever been fathomed, one that you may have heard a thousand times before. But I think I will write it anyway. And if you decide to read it, I’m certain you will end up like me. Inescapably, hopelessly, painfully, in love. With her.

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EEEK!! im so proud of myself for actually finishing something for once. i quite like how this turned out, although it is short. i just wanted to preface this by saying this series was inspired by: lolita by vladimir nabokov (not in a pedo way), norwegian wood by murakami, the fault in our stars by john green, 500 days of summer and a series of unfortunate events! playlist coming soon. also this is written in the chat font because it is supposed to be bradley writing on a typewriter!

tagging mutuals:

@mak-32 @waklman @cruelmissdior @sebsxphia @southpawbitch @roosterbruiser @roosterforme @hangmans-wingman @teacupsandtopgun @tongue-like-a-razor

#bradley bradshaw #bradley rooster bradshaw #rooster bradshaw #bradley bradshaw imagine #bradley bradshaw x reader #bradley rooster bradshaw x reader #rooster x reader #rooster x you #bradley bradshaw fanfiction #rooster fanfic #bradley bradshaw x female reader #bradley bradshaw x you #bradley bradshaw x oc #bradley bradshaw x y/n #bradley bradshaw fic #top gun #rooster series #rooster top gun #top gun maverick #tgm #tgm fic

[amrosenberg]

Taxonomies of Fandom

In the 19th century, taxonomies were a big deal. A hundred years after Linnaeus developed the system of binomial nomenclature, Darwinian natural philosophy emphasized that new and existing taxonomies should reflect the principle of common descent, giving rise to today’s system of evolutionary taxonomy. 

If you’ve read the Aubrey-Maturin series of nautical adventure novels, you might be familiar with Testudo aubreii, the majestic tortoise that Stephen Maturin named after his best friend Jack Aubrey. It is an honor not lightly to be given, a sort of taxonomy as immortality: “This is Testudo aubreii for all eternity; when the Hero of the Nile is forgotten, Captain Aubrey will live on in his tortoise. There’s glory for you.”  Putting a name to something makes it easier to understand and discuss; it can provide a starting point for study and for further investigation. 

I’ve been thinking a lot about taxonomy lately, thanks to a few conversations I’ve had this month with people looking for expertise on fans and fan studies for final projects. I’m always happy to chat about this stuff, but sometimes I’m unexpectedly run up against the limits of my expertise: to be honest, I don’t know a lot about sports fans, or the practices of fans of massive commercial domains like Disney.

I’m interested in transformative fandom, which is a relatively small (but impactful) slice of the pie, as well as digital platforms and the ways in which youth audiences in particular utilize affordances of those platforms to express enthusiasm. I suppose I’m a fan scholar in the same way that an expert in ants is an entomologist: it’s a useful bit of nomenclature, but don’t ask them about spiders. There’s obviously a lot of benefits to specialization: but for someone who has aspirations towards the public humanities, I’m increasingly aware of my own need to have a more comprehensive overview of the different types of fans. 

Over the 30 years of fan studies’ existence there have been numerous attempts to do just that: create a useful paradigm that neatly sections off fan practices into families and genii. The split between “transformational” and “affirmational” fandoms, first proposed by a pseudonymous fan in 2009 and later taken up by scholars like Henry Jenkins, is broadly handy, but problematic: it can lead to viewing “affirmational” fandom such as cosplaying, merchandise-buying, and information-collecting (such as in wikis) as purely mimetic and of lesser cultural value than “transformational” fan activities (see Hills, 2014). 

That binary also ignores the large swathes of people that perform both types of fandom, or whose fan practices exist somewhere in between, or not on that axis at all; it’s also slightly outdated. In 2009, transformational fans who wrote erotica about non-canonical ships could still be safely said to be “against” canon in some way, non-sanctioned and acting transgressively out of bounds. I would say that in many cases, that is far from the case today. 

Something I’m interested in is how fan practices develop and spread from one “genus” of fandom to another. (Presuming “species” is an individual fandom, and “genus” is a group of species connected by ancestry and shared practice). You see this in the phenomena in sports RPF, for example: slash fanfiction is a genre of practice developed by media fandom (TV/film fandom) in the 1970s and 80s, but it has been “adopted out” so to speak to form the nucleus of a sub-species of sports fans. 

This circulation of practice is especially notable in the field of transcultural fandom (see Morimoto, 2017). Fan practices developed in the context of East Asian pop music fandom, such as chart-boosting, have made their way over to Western fandoms and communities centering on non-music media objects. Digital platforms afford this circulation, which in turn results in a blurring of boundaries between fan species and increasing difficulty in parsing out which “type” of fan someone is. Practices are contagious and amoebic. The type of sparkly fancams intially made by K-pop idol fans were adopted by Succession stans. 

Like the animal kingdom, there’s just so much going on. To say nothing of what was going on. Which types of fans have gone extinct? Which modes of interacting with media are now archaeological artifacts, thanks to the shifting relationality of the apparatus of cultural production with respect to audiences? 

I think that especially in a time when many groups who might not explicitly consider themselves “fans” have freely taken up digital practices developed and popularized in fandom spaces, investigations into the origins and classifications of fans and fan culture has the potential to provide broader behavioral insights into online communities. 

#fan studies

[pakeithpsy]

Creativity: A Life Wasted

I think I know what my problem is now.

I don't actually enjoy art, or writing, or animating, or designing games, or ANY of the creative process.

What I ACTUALLY enjoy is just having ideas and then hyperfixating on them for ages, fantasizing about how cool they would be until I inevitably get bored with them.

I like coming up with new ideas and ruminating on their possibilities more than I do actually acting upon them because I'm a pathetic failure of an adult who was never once challenged or defied by his peers and now I'm completely unprepared to actually do the work because it no longer makes me happy.

I'm just a complete fucking joke. I don't deserve to call myself a creative. I'm no better than all those AI douchebags who want all the glory of being an artist with none of the effort, and even they have more fucking drive than I do. Goddamn Christian Weston Chandler has more balls than I do - at least they actually fucking MADE something.

In 2017 I applied to online art college, having spent my entire life drawing the wrong way. It was the wake up call I needed, because it made me realize I'm not an artist, I never have been, and I never will be and that I was completely unfit to live in the adult world. If I ever wanted to pass, I would need to completely unlearn everything I knew about art. Nobody ever taught or explained any of the elements of art or figure drawing to me - all my art teachers when I was in school never once explained any of this. I had spent my entire life drawing the wrong way and had it committed to muscle memory. All of this new information and the speed at which it was being fed to me was confusing, scary, overwhelming. Everything they said I had to do sounded extremely hard, tedious, exhausting, and just beyond any of my capabilities.

I ended up falling behind because the material was just so difficult and moving too fast I gave up on even trying because it just didn't seem possible or worth my time. I felt like I couldn't do it. I KNEW I couldn't do it. I had spent my whole life thinking I had a calling for art when in reality my peers were just coddling me to spare my feelings, never once asking me if I had a plan or helping me find the resources I needed or even just giving me the tiniest ounce of criticism that my dream was unrealistic. Everyone told me I'd grow up to be an artist or a writer or animator and I just believed them like a fucking idiot.

I nearly killed myself because I felt like such a burden on my family, wasting all their money on trying to help my incompetent ass when I was too far gone. I was holding them back from enjoying and enriching their own lives because all that time was wasted on trying to get me to make something of myself. All my life I had been a constant disappointment to them and to myself. I thought I was nothing but a bane on their existence - all their dreams, all their aspirations, their own chance at happiness, all gone because they had to give it up to take care of me, and I repaid them by being a lazy piece of shit who refused to change or grow up. I genuinely thought their lives would be better if I had never been born and they'd be happy to see me dead, no longer bound by the chains of my arrested development and constant failure. I was doing nothing but holding them back. "If I were dead, then Mom could find a job instead of having to stay home all day taking care of her incompetent adult son," I thought to myself. "Then my brother won't have to wait on me or put up with my crap, everyone will be able to afford nicer things now that they're not throwing all their money away on classes that I refuse to get anything out of."

Now I wish I had gone through with it, that way all the people whose time I've wasted would get those precious hours of their life back, and so I wouldn't have had to watch as the creative industry, the place I thought I belonged, get gutted and mutilated and stomped into nothing by corporate greed, leaving me no option but to go indie, an impossible task for trash like me. I have no following, no connections, crippling fear of socialization and failure, no money to hire help, no experience in running a production, no TALENT for any of this. No matter how much I try I simply cannot learn because I can't handle even the tiniest setback or hurdle. What a complete joke. What was I even thinking? The only way to get what I want is to change who I am, something I've been trying to do for years but every time I try I keep spiraling back and ending up back at square one.

A while back I took an animation class specifically for people with autism. I was far and away the best artist there (for what little that means). Everyone else's skill was on par with a third grader who just started using MS Paint. But did they care? NO! They were just happy to be there at all. They LOVED drawing, they were EXCITED to start using Animate and they dived right in. Meanwhile I was busy bawling my eyes out because I couldn't even draw a still image of someone throwing a simple punch. I couldn't do anything more complex than a simple bouncing ball because the thought of drawing anything more complicated overwhelmed me with fear. So even compared to other disabled people I'm a complete and utter embarrassment. Hell, just this week at another class I was frustrated because I couldn't even draw a fucking APPLE correctly, aka Basic Drawing 101. What was I thinking, trying to convince myself I belong here?

I haven't talked about it in a while, but I have a whole adult cartoon concept I've been working on since at least 2013, for the past decade of my life it's been my main goal to see it finished. I have a whole series bible, several episode outlines, a script for a full 30-minute episode, and a whole storyboard for a short pilot of sorts that I even got my friends to record voices for. I was hoping to pitch it to Adult Swim or another network and then work my way up from there. But I wasted so much time fantasizing about what it could lead to that I never stopped to think about what would happen if something changed. I didn't know TV and streaming would become so utterly fucked that pitching to them would become a losing game, especially for a lowly nobody like me who can't even crack a thousand views on YouTube anymore unless it's a vocoded Family Guy clip. And as for going indie, what's the point in that? It's an adult comedy conceived in 2013 with all the humor that would entail, and the minute people figure out the punchline of the short they're going to immediately decide that they hate it, it has no potential, and I'm a lazy hack without ever seeing everything else I have to show for it. I feel like the only way anybody would even give it a smidgen of a chance is if I were to spoil everything that happens later (i.e. the parts that aren't meant to be funny), but I don't want to have to ruin the surprise just to get people to care one iota about it. I want people to support it and care about these characters because they genuinely like what I've made and want to see more of their antics and stories, not because they check all the boxes in their list of requirements for what a "real" cartoon should be. Any passion I once had for the idea is gone because of factors out of my control, and what little passion I do still have is merely out of spite for shows that are pretentious and up their own ass with drama and lore and the mere thought of giving the middle finger to the mindset that animation only matters if it's angsty and unfun, not because I still believe in this world and its characters.

"WELL JUST MOVE ON TO A NEW PROJECT DIPSHIT." Okay. Fine. I have. I've got TONS of ideas for other things I'd like to make. But why should I when I have no faith in myself that I can even do it? Why put in the effort when my passion for art is dead in the water? Nothing I can do right now will get me any closer to fulfilling my dreams. I can't afford to hire a crew, I wouldn't know the first thing about directing, nobody's going to give me the money because nothing I can make with my current skillset would ever grab anyone's attention, let alone make them think it's worthy of financial support, and every attempt I've made at trying to improve myself so that I can make something more impressive always comes up stillborn because of my crippling anxiety and a lifetime of terrible habits.

Chris Wade, Pan-tastique, and Tracy Butler were all right about me, I just want success laid out in front of me without having to do any of the work and I'm an insult to creatives everywhere. A stupid, selfish square trying to shove himself into a round hole. A manchild who would rather fantasize about fame and admiration than spend a single fucking minute actually trying to fix himself because he knows he doesn't have what it takes. The literal definition of an AI chud who thinks all that matters is the idea and doesn't want to put in a single bit of effort, yet I continue to insist I'm better than them instead of just throwing in the towel already.

I'm sorry I ever wasted anybody's time trying to act like one of you. I'm not one of you. I never was. I'm just a mewling little wannabe who needs to go back to the mental hospital before he hurts himself or someone else, shielded from our deteriorating, rotted society where only scum succeed and good people suffer and basic survival becomes more and more unaffordable due to the ruling class never being happy with the billions of dollars they already have.

I just wish someone had the courage to tell me no as a kid. To discourage me, to shoot down my dreams, to tear my awful art and shitty stories to shreds figuratively and literally. Maybe then I could've saved myself before I crashed and burned with nothing else to fall back on. Maybe then I could've found a new passion, something that actually matters to me, something I can actually do and enjoy doing. Maybe then I'd be happy. I'd be someone surrounded with pride and accomplishment and a sense of meaning instead of a bunch of useless middle school-tier doodles and sculptures that I fantasize about destroying because I can't stand the sight of them and all the failure they represent. Someone who was proud of who he is and what he's done. Someone who could've found new idols to collaborate with instead of being constantly disappointed by a bunch of backstabbing Hollywood scumbags. Someone who didn't feel like a constant failure and can't even speak up to his own family or therapist because he's too fucking embarrassed by the idea of asking for help out of fear of judgment and everyone seeing how pathetic and vulnerable he is and would rather run to the arms of strangers who don't know or care about him since it feels less personal.

But no. It wasn't to be. Instead I'm a miserable loser who ruined his own life and will never make anything of himself unless he gets a complete personality transplant and should've just kicked the bucket 6 years ago when he had the chance.

#tw suicide #depression #creativity #art #writing #indie animation #imposter syndrome #anxiety #autism #suicidal #self-esteem #nobody's going to read this #nobody ever does

[skiplo-wave]

You know what I still have trouble with is back 12 years ago someone in my town (small town btw) was dressing up as a clown chasing people near a park. My friends and I - high school at the time - decided stupidly we was going to go to the park near 9pm real quick to see if we could spot anything. It was May and it was still light outside so it wasn't to dark yet. There are these trails you can hike through and we made another stupid decision to go through it. Well, behold. There the clown was just sitting there on a rock with his eyes closed. And we was being quiet as quiet can be and this motherfucker open his eyes letting out a creepy ass laugh and we took off. He chased us until we got out of the trails. 5 months later, it's October and it's Halloween. My friends and I went trick-or-treating because our neighborhood doesn't care how old you are they'll give out candy. We don't know how long it was following us but we happen to look back while we was on an empty street with houses that had no lights on and there the motherfucker is in all his glory. It's the same clown from the woods. It has this weird leather face, with blue hair and a pointy red nose. It wasn't one of those round squeaky ones, it was a red pointy nose and he had a black painted smile. What made it even spooky is because it was foggy too. We ran for our lives. We thought if we get back to where there was a bunch of people on the street he stopped chasing us. See you would think the clown is the weird part but no... suddenly, we don't see NO trick-or-treaters when the streets was filled. It's was 8pm at this point, trick-or-treating hours in my town go to 9pm and there's always tons of kids out. It was like everyone vanished. So we end up running home because at this point we think we got left behind and this is our punishment or this motherfucker killed everybody. He ended up following us to the house and we was able to make it in side and lock the door. My friend calls the cop and the clown smashes it's hand through the window before taking off. The cops never found who it was and there was no DNA on the shards of glass. You would think breaking glass with your hand you bound to get cut but no. It still terrifies me that it will come back. Ever year on Halloween since then there has been weird 'disturbances' as we like to call them. A year after that happened, it's 2011 I get weird phone call. 2012 I get a weird phone call followed by a voicemail that sounded like someone was crying. I did report these btw. 2013 my car tires got slashed. 2014 someone slashed up my jack-o-lanterns with a knife or something. 2015 I had cameras by this time and it got hit by a rock somewhere from a distance like possibly with a sling shot before my power got clipped. Luckily I wasn't home and it didn't look like someone tried to break in but like this is the shit I been dealing with. 2016 I got a random creepy Halloween card. 2017 I got fireworks blasted on top of my roof. 2018 my block's power got out because one of the transformers blew but it looked like it was hit with something. 2019 and 2020 my cameras got hit again. Somehow they found the hidden one and blasted that. By then I knew I was watched putting these cameras out. It being a small town I wouldn't be surprise if it's a neighbor. Last someone tried to torch the back of my house. This time a camera did slightly catch them and they ran through the house behind me that was abandon at the time. It was shadowing of someone but enough so I had to load my yard up with more cameras ALL AROUND. I don't even want to be here on Halloween this year.

.

#asks

[blowflyfag]

Pro Wrestling Illustrated: March 2024

HARD TO KILL? 

TRY IMPOSSIBLE!

The Shocking Return of TNA Wrestling

Since 2017, IMPACT has tried to distance itself from the worst days of a promotion with two decades of history to celebrate. Now, the stalwart company looks to reclaim the discarded moniker … and a top-tier position within the industry

TEXT BY JASON McVEIGH PHOTOS BY KEVIN McELVANEY

[Josh Alexander places the IMPACT World title belt around the waist of Alex Shelly, who’d just retained against him in Bound for Glory’s spectacular main event.]

IS TNA BACK? That was the question being asked by IMPACT Wrestling fans–and the industry as a whole–as Bound for Glory 2023 went off the air.

The Chicago fans in attendance that night and everyone else watching on pay-per-view had just been treated to a show full of quality action. But in the aftermath, those people weren’t just talking about Alex Shelley’s successful World title defense over Josh Alexander; nor the match of the year candidate between Mike Bailey and Will Ospreay. They were, instead, giddy over the video package they had just watched.

The video in question showed several IMPACT wrestlers making their way toward a lakeside area, from which they had retrieved a mysterious chest. Dramatic music andcinematography hinted to the sold-out crowd at Cicero Stadium that something massive was afoot, as each contracted IMPACT talent headed toward their eventual meeting place. Once they had all reached the fateful grounds, the gathered athletes spoke up about how wrestling needed a chance–and how “this” would be that chance. Then, came the big reveal. 

“You know, it was four and a half minutes long,” IMPACT Wrestling President Scott D’Amore says of the video. “And those four and a half minutes were among the most agonizingly stressful moments of my life. I never doubted that we were heading on the right course, and I felt good that it was going to be well received. But … to hear deafening silence for four and a half minutes, you wonder if it’s good silence.”

D’Amore’s anxiety, though understandable, was unnecessary. “The second in the video that Josh Alexander reached down to open that chest and you hear the whisper of ‘TNA Wrestling,’ the explosion in that building was unbelievable,” recalls the wrestler turned-executive. “It was truly special.”

As PWI catches up with D’Amore at the end of IMPACT’s well-received tour of the U.K., he is relaxed and optimistic.He is eager to see what the new year will bring for the promotion that he and many others have worked tirelessly to advance. These last few years have seen the company step backward and move away from what it once was … so that it could someday turn around and embrace itself again. 

[Fans in Chicago erupted at the Hard to Kill poster splayed across the big screen atop the entrance ramp. The event would be the first under the TNA name in more than six years.]

“It was difficult,” admits D’Amore, who memorably led Team Canada in TNA’s early years. “I left TNA Wrestling that was very healthy and booming. Then when I came back,after anthem acquired IMPACT Wrestling, it was a very different company. Talent were not excited about coming here, and the fan base was either depleted or defeated.”

D’Amore makes no secret of the fact that what IMPACT Wrestling has been doing for the past six years amounts to rebuilding goodwill with fans and wrestlers alike. Knowing that hollow promises and good intentions wouldn’t cut it, IMPACT focused on being a promotion that its wrestlers could be proud to say they worked for–and one that fans could feel was a worthy investment of their time and money. 

Indeed, speak to people who watch IMPACT Wrestling weekly and they will tell you that it is one of the most rewarding wrestling shows on television. These may not be another promotion as diverse as IMPACT; or one as willing to give opportunities to talent regardless of age, size, or gender. Before some later missteps by management, these were some of the things that made TNA Wrestling great, too.

[Deonna Purazzo attempts to fight out of the corner during a grappling exchange with Tasha Steelz. The Knockouts division has long been a signature of the once-and-again TNA, and “The Virtuosa” Purrazzo envisions good things for the year ahead.]

Though Deonna Purrazzo wasn’t around for the company’s original TNA run, she feels the same, vibrant spirit stuck around through the IMPACT Wrestling era. “The fans have always greeted us with TNA chants,” says Purrazzo. “After the announcement that TNA is back, everyone has been riding high and giving us encouraging words about what’s to come in 2024.”

As a three-time Knockouts World champion, Purrazzo is part of a division that, alongside the world-famous X division, stands as one of the most remarkable creations of a company that once attempted to compete directly with Monday Night Raw. Under the moniker of IMPACT Wrestling, those divisions continued to evolve with some of the more controversial elements (e.g., uninspired gimmicks, overly “edgy” storylines) being left behind. The company has continued to draw six figure TV ratings and put on solid wrestling shows, despite the challenges of having to rebar more than a decade into its existence.

This begs the question: Why is now the right time for the TNA name to return?

[Jordynne Grace refuses to flinch at any opponent: height, weight, and perceived leverage be damned! After softening up  Bully Ray with a series of backfists, the 5’3” powerhouse used her Grace Driver to pun him and win the Bound for Glory “Call Your Shot” Gauntlet.]

“I think wrestling is primed and ready now for a new product to emerge and rise,”  said Scott D’Amore. “And I think that’s us. I think when you look at our roster, there’s a special connection between fan and talent. I think we have a group that’s very closely bonded. And I think what we’re going to deliver on is growth and change. That’s what 2024 is for TNA Wrestling.” D’Amore words seem particularly relevant as WWE’s top domestic competitor, All Elite Wrestling has lost some ground in the marketplace with smaller live gates and inconsistent TV ratings. For those fans who’ve stuck by IMPACT Wrestling, the return of the “TNA” name is a signal that the company is ready to reclaim its place as top-shelf TV wrestling promotion. 

“It’s a celebration,” said D’Amore, citing the “We’re Back” slogan that has accompanied news of the rebrand. “But it’s not just that we’re back. We’re back and we’re growing, and we’re going places.”

Though the move to rebrand is a bold one, it has been almost unanimously well received, with wrestlers and fans taking to social media to praise the change and share their memories of what TNA Wrestling meant to them. It seems there is little left of whatever stigma the name may have once carried.

[Eric Young, seen here extending a hand to fellow TNA original Frankie Kazarian, is grateful to be with the promotion as it prepares to reinvent itself once again.]

Former IMPACT World champion Eric Young–who, like D’Amore was part of TNA the first time around–feels the collective response has made the long journey worthwhile. “The reaction to the name change was very special,” Young told PWI. “It was something visceral, something real, and massively positive. I am so excited to be part of this company. These are special times. But now, the real work begins.”

To a wrestling organization that has been written off so often, real work” is not something that rankles the wrestlers and staff of IMPACT/TNA Wrestling. For his part, Scott D’Amore is visibly grateful to have reached this point. 

“For years, I felt like I was constantly frickin’ apologizing for previous management’s decisions and performance,” he says with a smile. “But I think that was important. Because in order to move forward, you have to acknowledge the mistakes of the past. I think we’ve done that, and I think we’ve moved past them. And that’s why, respectfully, as we sit here, heading into 2024 and heading into a new era of TNA Wrestling … we’re done apologizing. We’ve earned the right to say we’re TNA Wrestling. We know we’re heading to great places, and we want the fans along for the ride.”

[Will Ospreay and Josh Alexander traded brutal strikes, throws, and anything else they could muster during their first-ever in-ring meeting. Once the TV Cameras stopped rolling, the two former world champions hinted at a future rematch beneath the TNA banner.]

#tna impact #tna #total nonstop action #magazine scan #magazine transcript #PWI #pro wrestling illustrated

[anuragyam]

SUCCESS STORY OF NIDHI BAKSHI IN LITRO FASHIONATE MAGAZINE JANUARY 2024

A Journey of Grace, Success, and Empowerment -

In the tapestry of achievements and aspirations, some individuals stand out, not just for their accolades but for the essence they bring to their endeavors. One such luminary is Nidhi Bakshi, a name synonymous with elegance, resilience, and empowerment. From her early days as a beacon of beauty to her current stature as a multifaceted personality, Nidhi Bakshi’s journey is nothing short of inspirational.

Crowning Glory:

Nidhi Bakshi’s journey to success began with a crown atop her head. She clinched prestigious titles such as “Ms. Pride of Delhi,” marking her as a beacon of grace and poise in the capital city. But her aspirations didn’t stop there; she broke barriers by becoming the First Social Indian Beauty Queen in 2017, a testament to her commitment to using her platform for social good. The accolades kept pouring in, with her coronation as “Ms. Grahlaxmi,” solidifying her status as a trailblazer in the world of beauty pageants.

Awards Galore:

Nidhi Bakshi’s shelf gleams with numerous awards, each a testament to her charisma, talent, and dedication. From the “Ms. Charismatic Award” in 2018 to the “Bal Dev Raj Kalra Smriti Award” in 2023, she has consistently been recognized for her contributions to society, entrepreneurship, and excellence in her endeavors. Her journey is not just about personal triumphs but also about uplifting others and making a difference in the world around her.

Beyond the Runway:

While Nidhi Bakshi dazzled on the ramp, her journey transcended the confines of the fashion world. She became the face of Banjara Works, a sterling silver and oxidized jewelry brand, embodying elegance and sophistication. Simultaneously, she lent her star power to the NGO Ehsaas Charitable Trust, using her influence to advocate for social causes close to her heart. Nidhi Bakshi’s versatility shone through as she graced the screens for brands like Sakarni Cement, Vedhana Creations, and Vardhaman Jewelers, showcasing her talent as a model and ambassador.

Artistic Ventures:

Nidhi Bakshi’s creative spirit knows no bounds. She explored the realms of music and acting, captivating audiences with her performances. From cover songs to short movies, from documentaries to OTT projects, she left an indelible mark with her emotive portrayals and captivating presence. Her role as an astrologer in the Astro Talk app and her lead performance in the OTT platform’s “Chahat” exemplify her versatility and commitment to her craft.

Empowering Narratives:

But perhaps, amidst the glitz and glamour, Nidhi Bakshi’s most significant triumph lies in her ability to inspire others. Her journey is not just a narrative of personal success but a beacon of hope for aspiring individuals everywhere. Through her work, she embodies the spirit of empowerment, encouraging others to chase their dreams relentlessly and break societal norms with grace and determination.

The Legacy Continues:

As Nidhi Bakshi continues to chart new territories and inspire generations, her journey serves as a testament to the power of passion, perseverance, and purpose. With each accolade, each project, and each endeavor, she leaves an indelible mark on the world, reminding us all that true success lies not just in the destination but in the journey itself. Nidhi Bakshi: a name etched in the annals of success, an epitome of grace, and a beacon of empowerment for generations to come.

#anuragyam #Litro Fashionate #magazine #Anuragyam #sachin chaturvedi #Nidhi Bakshi

[605speaks]

#Lection at OLLI at USD

Great #Lection event at OLLI today! 

Thank you to all who joined us. We hope to see you on Sunday, 1pm at Lection at Full Circle Book Co-op

Today's readings included:

The Best American Science and Nature Writing 2017 Book by Hope Jahren and Tim Folger

Bound for Glory Book by Woody Guthrie

The Giver Novel by Lois Lowry   *** Note: The Giver has been both a Newbery Award winner AND a Banned Book. ***

Sweet Promised Land Book by Robert Laxalt

The Whistling Season Book by Ivan Doig

The Best American Nonrequired Reading 2017

[rockzone]

Tracklist: 8 Feb 2023

Featured Album: "Something Wicked This Way Comes" by Ten.

7pm Joanne Shaw Taylor - Feels Like Home (2014) Bad Luck Friday - Rebel With A Cause (2023) Issa - I Give My Heart (2023) Black Star Riders - Bound For Glory (2013) Mike Ross - The Preacher (2023) Ten - Something Wicked This Way Comes (2023) The Hollywood Stars - Still Around (2023) Heroes & Monsters - Angels Never Sleep (2023) Kris Barras Band - She's More Than Enough (2018) Coldplay - X&Y (2005) Green Day - X-Kid (2013) Blondie - X Offender (1976)

8pm Black Country Communion - The Last Song For My Resting Place (2017) Big City - Silver Line (2023) Arielle - 73 (2023) Ten - Parabellum (2032) Dream Theater - Out Of Reach (2019) Khymera - Hear Me Calling (2023) Sabaton - The First Soldier (2023) Dokken - In My Dreams (1985) Rush - Xanadu (1977)

* Recent shows can be heard On Demand and via Google Podcasts

#Tracklist

[daggerzine]

The Welcome Wagon- Esther (Asthmatic Kitty Records)

A pastor and his wife are back with their fourth album filled with gentle songs sharing their faith in God. It’s been a long time since Vito and Monique Aiuto put out a full-length album, 2017, in fact. After taking a sabbatical, the pandemic hit, and this album is what came about. This couple continues to create songs that help all look inward.  

The first track, and first single, is “Isaiah, California.” It begins with a mysterious reading by Monique’s grandmother, Esther, from the Bible’s Matthew 11:28-30: "Come to me, all you who are weary and burdened, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. For my yoke is easy and my burden is light.” This sets the tone of this song, as well as the rest of the album. “California, siamo amati (we are loved), a summer home.” A song with gentle, flickering guitars that just makes you want to stop and reflect on life. https://www.youtube.com/watch?v=q9Hks5F3JIY

The next song, “Bethlehem, a Noble City,” penned as a Christmas song, is a shimmering, bouncing, highly orchestrated melody complete with horns. Lyrics come courtesy of Venantius Honorius Clementianus Fortunatus, a Latin poet from around 566AD. It really comes off as a royal hymn somehow. The beginning reminds me of Sufjan’s “Chicago;” I know they have collaborated with him before.

Track three, “Knocking on the Door of Love” is a jazzy track with Monique’s high-pitched singing. Again, the message is clear, whatever you’re going through, you should “knock on the door of love.” “I’ve found a friend in Jesus, He’s everything to me.” These lyrics confirm their faith in God. The next song, “Have Mercy On Us,” is another soft, beautiful song filled acoustic guitar and keyboards. This time the song ‘s lyrics express the pleading for God’s help.

“Consolation Blues” is a soothing melody that includes lyrics like: “Fire in the east and fire in the west. You’re bound to fall in the wilderness. Jordan River is the river to cross. Lower your sail and go across. And I know the other world is not like this.” More reflective lyrics tucked away in a beautiful melody once again.

The second single, “Matthew 7:7,” is a reminder of what Christians believe. The verse states “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you.” Daniel Smith (of Danielson) helped out a lot on this album with recording, mixing, etc. You can really feel his presence on this track, especially. It’s a whistling melody along with lyrics that state, “God gives you love.” Esther’s scripture reading ends the song. Check out the video here: https://www.youtube.com/watch?v=WkzuYvSfBEg

“I Know You Know” is my favorite on the album. A beautiful melody that you just hope won’t end. “How does it feel to wake up lonely? How does it feel to bite your tongue?... I never ask you how it feels to have a broken heart, I never ask, I know you know.” Again, contemplative lyrics that ask for self-reflection. The next song, “Noble Tree,” is another song filled with Venantius Fortunatus’ lyrics. But it’s the repetitive beauty of the music that stands out. Circular guitar picking, sparkling orchestral keys, throbbing bass, tightly mic’d snare, complete with slide guitar. And the couple’s harmonies melt your heart. “Praise and love and glory and honor to the Father.” Again, Esther adds her scripture reading at the end.

The next song, “Lebanon,” is the most upbeat of the album with its pounding drumbeat and blasting guitar. It definitely creates a stir from the previous songs. Complete with piano and guitar solos, it easily adds to the variety of their songwriting.

The album’s closer, “Nunc Dimittis,” is Latin for “now lettest thou depart.” Back to acoustic guitars, bells, and horns that build and build. It’s a wonderful way to close the album.

Esther is a welcome return for today’s contemporary Christian music. It’s no wonder the album is dedicated to Monique’s grandmother. Esther’s scripture recordings are used throughout the album. Vito and Monique are once again boldly sharing their faith with intricate, creative music. I think we can agree that their sabbatical is just what they needed. In case you missed their record release stream, well, here it is: https://www.youtube.com/watch?v=O3bmNQN6ODo https://thewelcomewagon.bandcamp.com/album/esther

https://asthmatickitty.com/artists/the-welcome-wagon/ REVIEW BY ERIC EGGLESON 

[molloyborg3]

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#replica burberry belt #fake burberry belt #cheap burberry belt #replica burberry belt mens #replica burberry belt womens

[machomanwrestlinghistory]

05/11/2017 - Bound for Glory XIII: Ohio Versus Everything (Dave Crist & Jake Crist) (c) def. The Latin American Xchange (Ortiz & Santana) (w/ Konnan) in a 5150 Street Fight to retain the Impact World Tag Team Championship

Sami Callihan debuted helping Ohio Versus Everything win their match and also joined the group.

#Ohio Versus Everything #Dave Crist #Jake Crist #The Latin American Xchange #Ortiz #Santana #Konnan Impact Wrestling #Sami Callihan #Bound for Glory XIII #Bound for Glory 2017 #Bound for Glory #Impact Wrestling #Impact Wrestling GIFS #5150 Street Fight Match

[nerdcorp]

Bound for Glory 2017 Review

#BFG 2017 #Bound for Glory #Bound for Glory 2017 #impact wrestling #Jimmy Jacobs #Sami Callihan #TNA #TNA Impact #tna wrestling

[flaurrari]

F1 champions - Eurovision winners

Years 2018 - 2021

2008-2012 2013-2017

2018

Netta (Israel) - Lewis Hamilton

Netta makes a song about Toys and Lewis just plays with his opponents. Lets them win a few races to have them believe they have a chance. But then he takes back everybody's toys and keep the glory for himself. (as he should, glorious man)

"I'm not your toy You stupid boy I'll take you down now, make you watch me Dancing with my dolls on the motha-bucka beat"

2019

Duncan Laurence (Netherlands) - Lewis Hamilton

Arcade is an incredible song that can compete with how incredible Lewis' season was. Duncan is technically the longest reigning Eurovision champion because 2020 was cancelled. Very appropriate for a Lewis title.

"I'm afraid of all I am My mind feels like a foreign land Silence ringing inside my head Please, carry me, carry me, carry me home"

2020

Daði & Gagnamagnið (Iceland) - Lewis Hamilton

So I know there wasn't any winner in 2020, but my friends and I organised our own competition, and Daði was the winner so here it is. Think about things is just a very awesome song that transpires joy and happiness, jsut like what we felt when Lewis got his seventh title.

"We were bound together, then and forever And I could never let you go"

2021

Måneskin (Italy) - Max Verstappen

Måneskin was very fun and Zitti E Buoni is a fantastic song, but the really fun part about the 2021 Eurovision was the Cocaine Gate. That makes two championship that were won with controversy. But Måneskin was also a breath of fresh air. Something new won the Eurovision and someone new won the WDC.

"I have written pages over pages, I've seen salt and then tears, These men on their cars Unable to climb against the rapids. Carved on a gravestone: "There's no God in my home", But if you understand the meaning of time You'll rise back up from your oblivion. And no wind can stop natural power."

[english translation]

#lewis hamilton #max verstappen #f1 #formula 1 #eurovision

[mercurygray]

So, I Hear You Liked: 1917

More World War One Films

I was very excited about 1917 when it first came out because it almost perfectly coincided with the 100th anniversary of the First World War, a conflict that I love to read about, write about, and watch movies about. This period is my JAM, and there's such a lot of good content for when you're done with Sam Mendes's film.

Obviously there are a lot of movies and TV shows out there - this is just a selection that I enjoyed, and wish more people knew about.

Note: Everyone enjoys a show or movie for different reasons. These shows are on this list because of the time period they depict, not because of the quality of their writing, the accuracy of their history or the political nature of their content. Where I’m able to, I’ve mentioned if a book is available if you’d like to read more.

I'd like to start the list with a movie that isn't a fiction piece at all - Peter Jackson's They Shall Not Grow Old (2019) is a beautifully produced film that allows the soldiers and archival images themselves, lovingly retimed and tinted into living color, to tell their own story. It is a must watch for anyone interested in the period.

Wings (1927), All Quiet on the Western Front (1930), A Farewell to Arms (1932, 1957), The Dawn Patrol (1938), Sergeant York (1941), and Paths of Glory (1957) are all classics with a couple of Oscars between them, and it's sort of fun to watch how the war gets changed and interpreted as the years pass. (The Dawn Patrol, for instance, might as just as easily be about the RAF in World War 2.)

All Quiet is based on a famous memoir, and A Farewell to Arms on a Hemingway novel; both have several adaptations and they're all a little different. Speaking of iconic novels, Doctor Zhivago (1965) based on the Pasternak novel of the same title, examines life of its protagonist between 1905 and the start of the second World War.

I think one thing historians agree on is that the start of World War One is worth discussing - and that there's a lot of backstory. Fall of Eagles (1974), a 13 part BBC miniseries, details the relationships between the great houses of Europe, starting in the 1860s; it's long but good, and I think might be on YouTube. The Last Czars (2019) takes a dramatized look at the Romanovs and how their reactions to the war lead to their eventual demise.

As far as the war itself, Sarajevo (2014) and 37 Days (2014) both discuss the outbreak of hostilities and the slow roll into actual battle.

The Passing Bells (2014) follows the whole war through the eyes of two soldiers, one German and one British, beginning in peacetime.

Joyeux Noel ( 2005) is a cute story - it takes place early in the war during the Christmas Peace and approaches the event from a multinational perspective.

War Horse (2011) is, of course, a name you'll recognize. Based on the breakout West End play, which is itself based on a YA novel by Michael Morpurgo, the story follows a horse who's requisitioned for cavalry service and the young man who owns him. Private Peaceful (2012) is also based on a Morpurgo novel, but I didn't think it was quite as good as War Horse.

The Wipers Times (2013) is one of my all-time favorites; it's about a short lived trench paper written and produced by soldiers near Ypres, often called Wipers by the average foot soldier. The miniseries, like the paper, is laugh out loud funny in a dark humor way.

My Boy Jack (2007) is another miniseries based on a play, this one about Rudyard Kipling and his son, Jack, who served in the Irish Guards and died at Loos. Kipling later wrote a poem about the death of his son, and helped select the phrase that appears on all commonwealth gravestones of the First World War.

Gallipoli (1981) is stunning in a way only a Peter Weir movie can be; this is a classic and a must-see.

Gallipoli is a big story that's been told and retold a lot. I still haven't seen Deadline Gallipoli (2015) an Australian miniseries about the men who wrote about the battle for the folks back home and were subject to censorship about how bad things really were. For a slightly different perspective, the Turkish director Yesim Sezgin made Çanakkale 1915 in 2012, detailing the Turkish side of the battle. Although most of The Water Diviner (2014) takes place after the war is over, it also covers parts of Gallipoli and while it didn't get great reviews, I enjoy it enough to own it on DVD.

I don't know why all of my favorite WWI films tend to be Australian; Beneath Hill 60 (2010) is another one of my favorites, talking about the 1st Australian Tunneling Company at the Ypres Salient. The War Below (2021) promises to tell a similar story about the Pioneer companies at Messines, responsible for building the huge network of mines there.

Passchendaele (2008) is a Canadian production about the battle of the same name. I'd forgotten I've seen this film, which might not say very much for the story.

Journey's End (2017) is an adaptation of an RC Sheriff play that takes place towards the end of the war in a dugout amongst British officers.

No look at the Great War is complete without a nod to developing military technologies, and this is the war that pioneers the aviation battle for us. I really wish Flyboys (2006) was better than it is, but The Red Baron (2008) makes up for it from the German perspective.

One of the reasons I like reading about the First World War is that everyone is having a revolution. Technology is growing by leaps and bounds, women are fighting for the right to vote, and a lot of colonial possessions are coming into their own, including (but not limited to) Ireland. Rebellion (2016) was a multi-season miniseries that went into the Easter Rising, as well as the role the war played there. Michael Collins (1996) spends more time with the Anglo-Irish war in the 1920s but is still worth watching (or wincing through Julia Roberts' bad accent, you decide.) The Wind that Shakes the Barley covers the same conflict and is excellent.

The centennial of the war meant that in addition to talking about the war, people were also interested in talking about the Armenian Genocide. The Promise (2016) and The Ottoman Lieutenant (2017) came out around the same time and two different looks at the situation in Armenia.

This is a war of poets and writers, of whom we have already mentioned a few. Hedd Wynn ( 1992) which is almost entirely in Welsh, and tells the story of Ellis Evans, a Welsh language poet who was killed on the first day of the Battle of Passchendaele. I think Ioan Gruffudd has read some of his poetry online somewhere, it's very pretty. A Bear Named Winnie (2004) follows the life of the bear who'd become the inspiration for Winnie the Pooh. Tolkien (2019) expands a little on the author's early life and his service during the war. Benediction (2021) will tell the story of Siegfried Sassoon and his time at Craiglockhart Hospital. Craiglockhart is also represented in Regeneration (1997) based on a novel by Pat Barker.

Anzac Girls (2014) is probably my favorite mini-series in the history of EVER; it follows the lives of a group of Australian and New Zealand nurses from hospital duty in Egypt to the lines of the Western Front. I love this series not only because it portrays women (ALWAYS a plus) but gives a sense of the scope of the many theatres of the war that most movies don't. It's based on a book by Peter Rees, which is similarly excellent.

On a similar note, The Crimson Field (2014) explores the lives of members of a Voluntary Aid Detachment, or VADs, lady volunteers without formal nursing training who were sent to help with menial work in hospitals. It only ran for a season but had a lot of potential. Testament of Youth (2014) is based on the celebrated memoirs of Vera Brittain, who served as a VAD for part of the war and lead her to become a dedicated pacifist.

Also, while we're on the subject of women, though these aren't war movies specifically, I feel like the additional color to the early 20th century female experience offered by Suffragette (2015) and Iron-Jawed Angels (2004) is worth the time.

As a general rule, Americans don't talk about World War One, and we sure don't make movies about it, either. The Lost Battalion (2001) tells the story of Major Charles Whittlesey and the 9 companies of the 77th Infantry division who were trapped behind enemy lines during the battle of the Meuse Argonne.

I should add that this list is curtailed a little bit by what's available for broadcast or stream on American television, so it's missing a lot of dramas in other languages. The Road to Calvary (2017) was a Russian drama based on the novels of Alexei Tolstoy. Kurt Seyit ve Şura (2014) is based on a novel and follows a love story between a Crimean officer (a Muslim) and the Russian woman he loves. The show is primarily in Turkish, and Kıvanç Tatlıtuğ, who plays the lead, is *very* attractive.

Finally, although it might seem silly to mention them, Upstairs Downstairs (1971-1975 ) Downton Abbey (2010-2015) and Peaky Blinders (2013-present) are worth a mention and a watch. All of them are large ensemble TV shows that take place over a much longer period than just the Great War, but the characters in each are shaped tremendously by the war.

#so i hear you liked #preaching the period drama gospel i am #world war one #period drama #period drama trash #1917

[colethewolf]

Tf even is the Teen Wolf movie? Every once in a while theres like spike of informations bc people are upset about sth or meme abt Something, but other than that I always forget its even a Thing that exists until Im forcefully reminded. Like tf. A son?? Is there a time jump then? Wtf even is the Plot?

It's an attempt for Jeff to get himself back in the public eye, obviously, because the show ended in 2017 & Jeff hasn't been able to do anything worth paying attention since then. So now he wants his TW glory back.

The film is bound to just be a nostalgia trip, but like.....Jeff's idea of what is "nostalgic" to fans is veryyyyy different from what fans actually think is nostalgic. Like, I'm pretty sure Jeff thinks that rainy slow-mo fight scenes in the hospital parking lot will be nostalgic.

Also Dylan isn't even coming back??? So really what's the point???

[elysian-entries]

One film, two visions; The Justice League

It’s 2017; the highly anticipated “Justice League” film, directed by Zack Snyder, is set to be released later in the year as a continuation of the DCEU.

A blockbuster movie showcasing the biggest DC characters uniting. Taking down the ultimate super villain; bound to fulfil millions of past and present children’s, as well as current adults and elderly dreams.

Then a fork in the road appears, Snyder and his wife, Deborah, step down from the colossal project due to the incredibly woeful loss of their daughter, Autumn. News hits the fans like a brick. Resulting in Joss Whedon and the Warner Bros. Studio stepping up to the mantle. Or at least attempting to.

Whedon's theatrical cut lost Warner Bros. Pictures approximately $60 million dollars. With overall painfully negative reviews and reception. Breaking the hearts of DC fans everywhere.

4 years, campaigns, hashtags, sky banners, petitions, and billboards later; I can’t say how many of us would have predicted receiving the holy gift that is the “Snyder Cut”, in its full 4 hour running time glory (in a 4:3 ratio, which somehow adds to the grandeur). 4 years of dedicated, passionate and determined people helping in any way they can for the cause. It was a journey to behold.

A large section in Snyder’s 4 hour venture is used to build dimension and depth in the characters. Making an absolute world of a difference. Something that was sorely lacking in Whedon's cut. The film had a completely different feel and atmosphere instantly.

There's no better example of increased depth in characters than Cyborg's (Ray Fisher's) narrative. I was engaged, and intrigued by his story. In Whedon’s cut, he isn't even given a second thought. His entire backstory was cut as well as his father's important role also being stripped. His scene where he sacrificed himself in order for them to find the mother box was gone. And it took away such an important, integral part in Cyborgs story, and in the film in general I believe and also realised having seen the two movies; the complicated but delicately developing relationship between father and son. And just the whole story in general made such a difference in Snyder's cut, it really is almost indescribable the difference it made. It just felt so much more genuine and heartfelt. Like a real developed and executed narrative.

In Snyder's cut we were shown detailed flashbacks that fully fleshed out his character, his morals and his relationships. Creating a much needed deeper connection with the audience. We experience his conflicting journey to accepting his responsibility, accepting the past, the "gift he has", and his purpose in the league. Leading into receiving closure. He was given great and meaningful importance and purpose in this cut.

Similarly, Ezra Miller's Flash was too given a largely more meaningful and impactful role that left quite the impression on me. His character was light-hearted and charming but still had those important, emotionally impactful scenes. Which were painfully lacking in Whedon's cut. I was left loving Barry Allen a lot more than I already did. Barry's scenes with his wrongly convicted father were hard hitting for me. They also play a large part in making later scenes more impactful. Like his detrimental importance during the final fight. In Whedon's cut his big hero moment was saving a Russian family. The overall the inclusion of the family was superfluous and extraneous, along with the robber at the start and many other things. Not only that but Whedon's cut gave the Flash a silly, attempted comical relief role. To be fair he attempted to give everybody a comical relief role. Which hardly worked because none of the attempts were actually funny and were at time agonizing. It ultimately lacked substance and came across as almost immature. The scene where Barry went on about brunch was painful. Leading me to ask, why? Why was this so important to film Whedon?

After re-watching Whedon’s version, I had gained a new found appreciation for Snyder's representation of Barry. '"Make your own future, make your own past"; he echoes his father’s words. "Your son really was one of them, the best of the best," as his theme "At the Speed of Force" plays in the background of this pivotal moment. A powerful scene reflecting Barry's ulterior motive, doing his father proud. Which invoked many tears. And still does whenever I re-watch the scene or listen to the song. As if it were the first time experiencing it. Thomas Holkenborg's soundtrack truly amplified emotion and made the scenes much more powerful, It makes for one of the absolute best scenes in the movie; I'd say one of, if not my absolute favourite.

His job in charging up Victor was completely removed and I have to wonder why. Instead Barry was left to participate in "bug duty" (bugs being one of his fears also). Barry's role in Snyder's cut, and that one incredible scene where he broke the rule was arguably better than Whedon's Justice League as a whole.

I think the only scene in Whedon's cut involving Barry that I thought was actually meaningful was where he was faced with his first real mission. And he was confronted with his fears of "obnoxiously tall" beings. He appeared anxious and frantic. Fearful. Communicating to us his inexperience. And Batman simply told him to just "save one". To which he then, without struggle, saved them all. And was also able to participate in the final battle. The "save one" scene made those achievements more meaningful.

The scene after they won the battle, showcases the victorious team standing proud; and Barry with a sweet, goofy, golden retriever-esque smile plastered on his face. What a loveable smile.

An interesting contrast is the scene in where Barry reveals to his father his new position at an “actual job”. In Snyder’s cut the father was absolutely over the moon, shouting at the top of his lungs, "his foot is in the door!" repeatedly in excitement. It tugged at my heart strings; his shameless pride in his son. Making me wonder how he would have shown his pride if he found out Barry saved the whole Earth and humanity. We can assume Barry had that unequivocally powerful underlying thought too. Contributing to his saccharine reaction. In Whedon’s cut the reaction was softer and more timid but nonetheless a sweet moment. Barry becoming bashful.

It was a sweet touch to have Cyborg and Flash finally fist bump during that victorious scene after Victor rejected Barry's initial advance in Whedon's cut. Ezra Miller improvising that “racially charged” line, acknowledging the possible racism attached to a fist bump I assume. The whole fist bumping being "racially charged" was not included in Snyder's cut. The grave digging scene was entirely different. Which I far more preferred. It was a group excursion. With a little positive interaction between the Atlantean and the Amazonian. And funnier, more light-hearted dialogue between Barry and Victor.

Aquaman’s contrast was interesting. In Whedon’s cut he actually sought out to obtain the trident to help the league (although he was always disagreeing with them). Compared to Snyder; where he was apprehensive and had to be hesitantly persuaded by Willem Dafoe’s character Vulko (who was completely absent from Whedon’s cut). This was also an importantly established relationship by Snyder. Arthur first makes his desire to help the the team known saving them from the water rushing from Gotham Harbour. He isn't acknowledged in the theatrical cut but in Snyder's cut Diana notices and takes a moment to take in his presence (I assume?). Then Barry asks who that guy is. And of course we all know, it's Aquaman.

I particularly liked how Snyder chose to include Barry asking for Arthur's opinion on military hats. It's an odd, minimalistic thing to include - the reasoning as to why I like it. I also thought it was quite charming.

A scene I think deserves a mention is when Aquaman is first introduced, and then rejects Bruce's offer, he then makes his way back into the ocean. A farewell song is performed. This was quite early in the film and I think the voices being hauntingly beautiful, yet slightly eerie/poignant set the perfect atmosphere. A well done scene.

His overall character was also contrasting. He became a genuine hero who was proved capable of more than water powers and silly moments. Including that god-awful lasso of truth scene. In the theatrical cut he was bitter, a bit of a joke, not caring too much about the events that were unfolding. He had more of a heroes’ sense of purpose within Snyder’s cut.

Gal Gadot did not gain too much from the extra scenes. Though different to the theatrical cut, Snyder had paired her with a repetitive character establishing theme. It could be referred to as ancient lamentation music. Hauntingly beautiful. Something I could only assume would be the battle cries of the Amazonian warriors and the Amazonian warrior inside Diana. In some ways possibly over used, though I thought it was brilliant. It has a special place in my heart because I love that type of soundtrack. The almost eerie, maybe poignant but overall emotion provoking type. Especially her introduction scene where she faces off against the terrorists )which was overall better in Snyder's cut) The haunting warrior moans fade into her classic theme to create an incredible atmosphere. And that atmosphere was definitely missing in Whedon's cut, in more than just that one scene. It was also sorely lacking the lamentation music. We also didn't get that sweet interaction between Diana and the little girl.

When Diana began detailing Steppenwolf and the mother boxes past to Bruce, the cuts were very strange and abrupt/awkward in some way. And it felt silly and rushed; and I think that perfectly describes the whole film.

Whedon's cut also included uncomfortable scenes. Almost forcing characters to be funny where it was just completely out of place and character. Or just downright inappropriate. To be fair, Whedon is known for the Marvel movies in which fourth wall dimension breaking and odd self ware/ironic jokes are heavily used. One of the main reasons I don't particularly enjoy them, but rather enjoy the darker, more meaningful DC movies. I say meaningful in the way in which we are completely transported into this universe; where it's taken seriously and has obvious effects and meaning to the characters. Compared to Whedon's Marvel films in which the threat is joked about and the characters make fun at their expense.

Another negative contrast is the colour grading and overall shots. A good example is the conversation between Lois Lane and Martha Kent. In Whedon's version the colour is poppy, reminiscent of Buffy the Vampire Slayer, or The Office. As if it were an empty shell of a TV show. Lacking any artistic or symbolic aspects. Whereas Snyder's conversation between Martha Kent (who was actually Martian Manhunter) and Lois Lane was beautiful. The lighting was dim, with steam from their hot coffee creating a brilliant shot and conveying the perfect mood. Almost a piece of art. A lot of Snyder's cut looked as if it were ripped straight out of an incredible graphic novel. His talent when it comes to filmmaking is grandiloquent. Compared to Whedon's over saturated and flat scenes as if it were from a cliché sitcom.

Whedon also made the Justice League a lot more dysfunctional than it needed to be.

The scene where the team unanimously come up with the plan to revive Superman seemed really silly and lackluster in Whedon's cut. In Snyder's cut it was a genuine moment. A "wow" moment where the penny dropped. It gave me goose-bumps. The way it was implied, the explanation/analogy with the house, and then Cyborg creating a Superman visual as the team, standing around the table, stared at it in awe. All thinking the same thing. Without even having to say it (as Barry pointed out) It was a uniting moment. Whedon's version was just, disappointing. Lacking any impact at all. And it made the team seem disconnected in a way. Whereas in Snyder's scene the league's thoughts were in unison.

There was also an agonizing amount of Wonder Woman praise. I think praise is a...well...nicer way of putting it. It was more so adolescent boy humour, immature if you will; with her being the butt of the joke. To the point where it was little uncomfortable and borderline unnecessary. And to another point where Gal Gadot refused to do a scene, (the one where Flash lands on her) and Whedon insisted so much on still including it - that they used a body double. A scene so stupid and pointless it actually hurts. Why, Whedon?

Superman's main feature in this film is his moustache. Or, lack thereof. At the beginning of the theatrical cut, we witness the infamous Superman film scene, where we are introduced to his CGI moustache…then “Everybody Knows” by Sigrid plays as we see the aftermath of his death. I really enjoyed this scene, the song and the atmosphere. I think it was a strong start, setting the poignant mood. But of course it all goes out the window and downhill from here.

The biggest difference between the two Superman’s was the elimination of the godforsaken CGI removed moustache and the introduction to the “Recovery Suit” in Snyder's cut, which was a brilliant touch. We actually see Clark stumble upon the suit. A scene where various voices from his past, echo in his mind. An equally important and impactful scene; where he flied up into the universe, overlooking the Earth he is to protect.

I also really liked the whole, "Lois Lane is key" setup, with the eerie premonitions and glimpses into the “Knightmare”. Adding yet another deeper layer to the narrative. Setting the scene for Snyder's envisioned sequel.

In Whedon's cut during the first confrontation where Clark is confused immediately after his resurrection - the previous BvS battle is implemented more. With the "Do you bleed?" question being revisited. Giving us an unwanted closer look at the strange looking $3 million dollar CGI.

I liked Snyder's first confrontation better. It included more action and participation of all parties. And it was just a longer scene, making it seem more plausible and less silly. Before Clark reached Bruce he went through every member. Resulting in a little appreciated interaction between Arthur and Barry. I also thought Whedon’s scene showing Superman throwing Batman away like a ragdoll added to the ridiculous nature.

During the final battle. (Not mentioning how uncomfortable the colour grading was causing an unlikable atmosphere. Especially when it became daylight, taking away the exciting and intense atmosphere.) Whedon's Superman's entry was a little plain. Maybe cliché. Banging on about "truth" and "justice". Which isn't necessarily bad. It's just, maybe, too Superman? We then see the relieved faces of all the members. Batman's giddy smile was by far the best. It was nice to see genuine happiness and I think that played an important role in communicating to us Bruce's character arc. From lowest of lows, and his conflicting attitude towards Superman in BvS, to Superman giving him incredible hope. Though it slightly made me uncomfortable.

Snyder's entry of Superman was brutal in the best way. Appearing just before Cyborg was chopped to bits. Giving us that epic moment of 'He came.” Superman mercilessly rips into Steppenwolf for the next minute or two. No breakaways. Which was a great choice. It perfectly showcased his abilities. Though in the theatrical cut he was shown to be the only capable one of saving the world and being the real “hero”, in Snyder’s cut, especially The Flash, they were all shown to be powerful with meaningful parts to play.

Bruce Wayne appeared more guilty and conflicted about what happened in BvS in Whedon's cut. Though he was overshadowed in terms of writing by Superman and Wonder Woman. He also was the one who brought in the "big guns" a.k.a Lois Lane as a contingency plan in case the Superman resurrection went awry. In which it did. In Snyder's cut it was coincidence, or the doing of Man Hunter in that mysterious scene. Bruce was also quite tense and wasn’t too much a bright beacon of hope as he was in the Snyder cut. Even despite Snyder's vision of him being reminiscent and heavily inspired by Frank Millers version; darker, older, broken and violent in a way (which is brilliant) he still had this character arc. The lover’s tiff he suffered with Diana was irritating and what I thought was superfluous. Creating an unnecessary disconnect with the group. It wasn't an interesting sub-plot/complication at all .

Bruce's character arc (from the dark BvS time, to the hopeful present) was more thoroughly shown in Snyder’s cut compared to Whedon's. I briefly mentioned Bruce's schoolgirl grin when Superman arrived right on time. Though Snyder more effectively showcased this positive rise through his obviously increased in optimistic attitude. When the team are off the defeat Steppenwolf once and for all Alfred asks Bruce how he can be so sure of the Man of Steel’s arrival. And Bruce replies full of vigour, “Faith, Alfred, faith!” And in another instance Barry questions their strength against Steppenwolf due to the amount of demons he has won against. Bruce declares that, “He’s never fought us. Not us united.” It was a powerful statement that heavily elevated excitement for the final fight.

During this final fight, Batman basically goes out on a suicide mission. Then the rest of the league join him for a family reunion. The Snyder cut better represented this with an astounding freeze-frame, slow motion shot of the team. It nicely established the power of unity in this case.

The way in which Steppenwolf was defeated was vastly altered. Changed completely. Mostly due to Darkseid’s absence in the theatrical cut. Darkseid added an important extra layer of looming fear, and even gave Steppenwolf more depth. It gave him an important reason as to why he was doing what he wasy doing. As we saw his utter dedication to Darkseid. It alerted us of the larger dangers that were present. Steppenwolf’s death in Whedon’s cut was ultimately debilitated after seeing Snyder’s version. Instead of being anti-climactically eaten alive by his bug minions as the sun rose; (maybe it’s a personal preference but I heavily dislike the daylight, especially for action scenes) his head was chopped off, first horn by horn, then from the neck. His decapitated head thrusted back through the portal into his own world, landing at the horrifying Darkseid's feet, along with the terrifying parademons. Engulfed by a fiery hellscape. The horror that Earth could have faced. But still could face. It reveals the deeper and darker enemy, beyong Steppenwolf looming just beneath the surface.

A sinister tune plays, as we see the victorious Justice League looking back at them. The portal then closes. Although a victory, we can’t help but wonder what the demonic and powerful entities, far more powerful than Steppenwolf, have in store for Earth’s future.

The Knightmare vision being apart of that future. It's set up from BvS to the very end of Justice League. It's a very intriguing part of Snyder’s vision. The moment where you can link up and see the connections between all the post-credit scenes and the “premonitions” is an epiphanic moment. It’s a whole other narrative on its own that you can analyse, hypothesize and discuss. It’s a very intriguing/exciting concept to think of what would have been Snyder’s future movie where Barry (as we saw previously reverse time) goes back to warn Bruce that “Lois Lane is the key”, to avoid the whole disastrous scenario. We can gather that he is referencing what we see at the end of Snyder's cut, Superman turned evil. The death of Lois Lane, whose skeleton we saw Superman cradle previously, we can assume had a hand in that, and possibly the Anti-Life equation too. It's an incredible narrative, and there are few things I would love more than seeing the Snyderverse come to life on this epic scale again.

We also finally get a glimpse of Snyder’s joker. A very exciting moment for me. Seeing any new iteration of the Joker is an exciting moment. Could Jared Leto somehow redeem himself?

Well, it sure was infinitely times better than the Suicide Squad rendition. This Joker was actually eerie and unsettling. I felt almost uneasy watching these scenes, and his odd laugh caused shivers to form down my spine. Jokers comments about “boy wonder”, whom we find out was indeed Bruce’s adoptive son, were heartbreaking (I believe he was actually referring to Dick instead of Jason surprisingly as his grave was once seen in a previous movie) Leaving me holding my breath, wondering what Bruce would say next, or what other wretched thing Joker could say. Of course the "reach around" comment was a bit off, but I’ll just brush over that.

We also learnt of Arthur Curry’s death, Harley Quinn’s death. Proving that Snyder had such a colossal plans for all the characters, dead and alive.

It’s a poignant feeling; to see this incredible, vast narrative, just beneath the surface, unfold. Knowing that we won’t be able to see it fully developed. As of now.

While watching these two completely different cuts of the same movie; it occurred to me and I am sure many other people, that attempting to produce such an in depth narrative intensive movie on the small scale that Whedon attempted, will commonly end in a painful, empty and superficial representation. Or maybe that really was just Whedon's vision.

As the epilogue ended, the credits rolled. Hallelujah began playing, sung by Allison Crowe. And as they rolled, in big letters the words; "For Autumn" took center focus. White against black. Clear as day. Like a bus, it hit hard. The reason I was sitting on that couch finally having the great honour to watch such a film. The courage it must have taken to continue and finish such a project is beyond admirable, it's heroic. Also non-profit. It only further proves what we already knew, that the intentions were pure, as no one ever doubted.

Also acknowledging the giant billboard on one of the buildings promoting the American Foundation for Suicide Prevention. A very important cause, especially to the Snyder’s. To date fans have raised over half a million dollars to the AFSP in honour of Autumn. A truly incredible feat.

When looking at the two movies side by side, it blows my mind to see the difference that I do. The emotion, meaning, the depth. It all just made sense in Snyder's cut. The emotion was palpable, absolutley unmistakable. Things mattered more. The people mattered more. There were reasons, and purpose. It was a genuine journey for every one of the characters, and I felt it. There were so many little scenes that made so much difference that added depth and meaning, emotion.

And I cannot say such words for Whedon, though I won’t put all the blame on him. Warner Bros. is about equally responsible. .

The true, original and intended Justice League; expatiated heroes, people, stories and journeys coming together on a grandiose scale, executed with passion and care. But also giving us a bittersweet taste of Snyder’s epic trilogy that could have been.

The end of the saga; and the rest of Snyder’s visions, are left unfulfilled; as of now. But regardless, remains as one of the things I hope to see come to life. Watching this movie, and the feeling I had during and afterward is indescribable. I want to say a massive congratulations to Zack Snyder. The film was beyond breathtaking. It really is so special and it will forever have an important place in my heart.

Though I think the most important thing to take away from the Snyder's incredible work is Autumn's story.

Thank you Zack Snyder.

For Autumn.

www.imdb.com/title/tt12361974/

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