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insanityclause · 6 months

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Zoe Saldana stars in "Guardians of the Galaxy Vol. 3"SOURCE: MARVEL

That’s not to say Marvel — along with all studios and streamers — doesn’t face some hurdles going forward. But the nature of those obstacles for Marvel are frankly pretty obvious; it’s mostly things Marvel has overcome before; and regardless of those issues and the need to address them, Marvel is still actually doing pretty good right now even amid the problems they’ve had.

So let’s just unpack what’s really going wrong, and what it means for Marvel Studios.

The situation with actor Jonathan Majors — the star of several Marvel films and streaming shows, as the MCU’s time-traveling villain Kang the Conqueror — is that he faces multiple accusations of abuse, and is scheduled to stand trial for one recent case. After that case was initially reported, other accusations surfaced, as did previous public statements from years ago by performers who asserted accusations of abuse were already circulating about Majors.

So yes, Marvel will almost certainly recast Kang. Lucky for Marvel, the character literally exists across a near-infinite number of alternate realities where he takes different forms and changes appearance. Likewise, Marvel has had to recast characters in the past, just like lots of other franchise or TV/streaming series. This isn’t brain surgery, and the framing of this issue as something that could sink Marvel’s whole future plans is frankly nonsense.

Just one great example, Marvel could offer the role to John Boyega (who I’d argue should’ve been the top candidate for the role in the first place). Or maybe Denzel Washington as an iteration of Kang who sat out the in-fighting and collective efforts of the rest of the Kangs and grew older and wiser as he made his plans to take over. Or maybe Ray Fisher could be offered the role, if Marvel wants to poke DC and WBD while scoring a great casting option.

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Or perhaps Marvel could offer the role to Leslie Odom Jr., Lakeith Stanfield, O'Shea Jackson Jr., Daveed Diggs, Stephan James, or any number of other fantastic casting choices to take over the role of Kang in the MCU.

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The point is, the worst part of the situation with John Majors is if the allegations are true and women suffered this abuse while Hollywood ignored it. The casting “problem” is small potatoes by comparison, and is easy to solve.

So let’s look at the financials now, since a central claim to the “Marvel is in trouble” narrative is that the studio is struggling at the box office while streaming is an unpopular mess.

At the box office, it’s true Marvel hit a high point with their back to back releases of the two-part Avengers conclusion to the Infinity Saga. The $2.79 billion from Endgame and $2 billion from Infinity War elevated the final global gross for all 22 films in that saga to more than $20 billion, for a per-film average of around $935 million.

In 2018 and 2019, the MCU put up the following numbers: Black Panther hit $1.34 billion, then Infinity War topped $2 billion, then Captain Marvel scored $1.1 billion, and then Endgame took $2.79 billion. Ant-Man and the Wasp at $622 is the only MCU film in those 24 months that failed to top $1 billion.

Since the Infinity Saga ended, Marvel’s releases have taken north of $8.1 billion across 10 movies so far, with a Multiverse Saga per film average of about $815 million. The difference between $815 million and $935 million is not insignificant, but nor is it disastrous, and it’s certainly not hard to understand why it’s happening.

The 2018 and 2019 slates for the Infinity Saga benefited from a decade of build-up, and it was those last four (out of five total) blockbusters topping $1-2 billion each that provided the final heft and resulted in an even higher per film average. We are only in the first half of the Multiverse Saga to date, and so far we haven’t had a single Avengers movie in this new saga, while as noted the Infinity Saga ended with a one-two Avengers punch good for more than $2 million per film.

And then the fact of the Covid pandemic alone accounts for most of the rest of the downturn in Marvel Studios’ average box office performance. Even during the Covid pandemic, when films were flopping or going straight to streaming/PVOD, Marvel’s three releases that performed “badly” due to the global health crisis still managed to finish between $379.7 million on the lowest end and $432 million. That’s better than the DCEU can perform even after theaters reopened and box office started its climb back toward something resembling “normal” — at least for the right films, since 2023 has been a roller coaster ride for theatrical.

Ant-Man and the Wasp: Quantumania underperformed earlier this year and wound up the weakest performer of that franchise at $476 million, but Guardians of the Galaxy Vol. 3 scored blockbuster results with $845.5 million.

Indeed, Vol. 3 is currently the fourth-highest grossing movie of 2023, both domestically and worldwide. And for the record, as disappointing as its box office was, 2023 has been so cruel to theatrical releases that Quantumania is still a top-10 box office performer.

We’ve seen one would-be blockbuster tentpole after another face-plant or otherwise disappoint, and often when a tentpole has managed a healthy box office performance it’s at a more moderate level than expected or typically enjoyed by the given franchise and/or its prior financial trajectory.

Other than Barbie, The Super Mario Bros. Movie, Oppenheimer, and Guardians of the Galaxy Vol. 3, nothing else truly put up top-tier results this year. Fast X topped $700 million, but is fourth film in a row from the series to suffer a decline from its predecessor’s box office gross, and the lowest box office for the franchise since 2011’s Fast Five, so it’s a mixed bag there.

Besides that, 2023 saw three films in the $500-600 millions range, four in $400 millions territory, and a couple of $300 millions.

The makeup of the top 10 this year looks like this: Barbie, The Super Mario Bros. Movie, Oppenheimer, Guardians of the Galaxy Vol. 3, Fast X, Spider-Man: Across the Spider-Verse, The Little Mermaid, Mission: Impossible - Dead Reckoning Part One, Elemental, Ant-Man and the Wasp: Quantumania.

Notice, there are three Marvel superhero movies in the top 10. Yes, one of them underperformed, but the point is that it seems silly to talk as if audience are in any widespread or large scale way turning away from superhero cinema, or that Marvel is somehow reeling from a downfall and have lost control.

The Marvels is currently tracking toward a shockingly low debut this weekend, with most projections pointing to a $130-$150 million global opening. Without at least average holds, the film could struggle to get past $300-400 million. On the other hand, I think tracking has proven pretty unreliable these days, and I believe a significant part of these disappointing numbers is the fact a lot of people are confusing this film with being another new Disney+ Marvel show, or think it is coming to Disney+ as a film soon. There’s also the general 2023 ongoing curse to consider.

But regardless, The Marvels should’ve been a home run sequel. While we can point to the unethical shenanigans and toxic behavior of fans and of certain organized hateful online voices obsessed with attacking women-driven movies or shows, if this film flops or underperforms rather than merely suffering a downward adjustment consistent with the genre overall (which would mean a box office for The Marvels in the $700 million range, I’d say), then it’s entirely fair to call it a big stumble for the studio.

The large-scale tainting of superhero cinema by the DCEU’s overarching failure the past several years (eight films in a row across five years, all failing to reach $400 million and averaging in the roughly $250 million range) coinciding with the Covid pandemic and theatrical downturn, coupled with a leveling off — not uncontrolled free-fall or any other hyperbolic situation — of Marvel’s must-see “event” status in the aftermath of their 11-year Infinity Saga’s conclusion (and lack of any Avengers team-ups for four years and counting) has no doubt reduced the dominance of the superhero genre and audience’s previous high-level anticipation.

But that sort of heightened “event” status is impossible for any franchise or genre to maintain, and no serious person expected the genre or any one studio’s piece of it to be some perpetual ever-increasing profit machine

Neither Marvel nor the genre in general need to treat the usual ebb and flow of primacy in entertainment as if it’s some major crisis threatening the existence and profitability of the studio or genre. That’s just the natural clickbait mentality driving entertainment journalism. We should be able to report on and assess such situations without resort to exaggerated portrayals for melodramatic purposes, nor parrot claims from those with obvious incentives and ulterior motives behind any of that sort of hyperbolic claims. We know better, but that doesn’t mean the profession behaves better, and so we get clickbait and studio drama delivered up like silly reality TV, and everyone pretends not to recognize it as the nonsense it usually is.

Marvel has to recast a major lead actor, something we’ve seen plenty of times by studios and projects, including literally by Marvel themselves on more than one occasion. Marvel’s first two films of 2023 grossed a combined $1.3 billion in box office. Even if The Marvels only does about half the box office of Captain Marvel — a vastly bigger drop than the Ant-Man franchise experienced, but let’s just use a 50% dramatic decrease to make the larger point — the MCU will have grossed a total of about $2.45 billion for 2023, an average of $815 million per film.

If that figure sounds familiar, it’s because I mentioned it earlier since it’s the per-film average for the MCU ever since the end of the Infinity Saga. Marvel settled back a bit from the high per-film average of $935 million, and for four years we’ve consistently seen this same new average level of performance for their films. Again, not insignificant as a drop, but in context it’s easier to understand and recognize as not a sudden emergency situation, and I suspect most studios would be happy if they could average north of $800 million per film on average every year.

And let’s face it, once the latest Avengers movies hit the radar, we’ll see the average per film gross go up during those years, just like always, and in the long run if the two scheduled Avengers movies play at the $2 billion level, that will actually result in an increase in the final average per-film gross for the Multiverse Saga, just as those huge Avengers box office grosses at the end of Infinity Saga seriously raised the saga’s per-film average.

This is all fairly predictable, within an obvious margin of error but not frankly too far of deviation. Which doesn’t negate the fact of the downturn in average performances, but rather puts it into less histrionic perspective as solvable problems for a still overwhelmingly successful studio that’s seeing per film averages still far superior to what any other studio can claim.

On streaming, where audience trends and preferences have likewise evolved during the Covid era, Marvel

First we got the ABC broadcast series: Agents of S.H.I.E.L.D., Agent Carter, and Inhumans. Want to take a moment to recall how did those all fair with audiences and critics?

Then came Netflix's slate, with Daredevil, Jessica Jones, Luke Cage, Iron Fist, The Defenders, and The Punisher — half of those got mostly good or great reviews, a couple got mixed to negative reviews, and along the way different seasons of a given show had their ups and downs. Many fans and reviewers bemoaned the general lack of tie-in to the cinematic releases, a point that's amusing in light of how the same reviewers and fans completely reversed course a few years later to bemoan the fact the newer MCU shows often try to tie in to the MCU.

So next up are The Runaways and Cloak and Dagger, shows with younger casts and less direct connection to the rest of the MCU, but both were short lived and appeared on two different streaming services.

Which brings us to the MCU shows on Disney+, overseen by Marvel Studios itself and consisting of WandaVision, The Falcon and the Winter Soldier, Loki, What If...?, Hawkeye, Moon Knight, Ms. Marvel, She-Hulk: Attorney at Law, and Secret Invasion.

While The Falcon and the Winter Soldier and What If...? received mixed reactions, WandaVision and Loki got generally good to great reviews, as did Hawkeye and Moon Knight.

Ms. Marvel likewise received strong positive reviews, aside from resentful fans mostly motivated by racism or sexism who bashed the show (the same way angry bigoted fans harassed Brie Larson and tried to manipulate online reviews for Captain Marvel, and to this day engage in bizarre conspiracy theories pretending movies with women leads are secretly propped up by studios buying up tickets), and the same mob of boys and men perpetually upset that everything isn’t just a mirror reflecting themselves were incensed that She-Hulk dared make fun of them for being immature, bigoted, and all-around goofy.

Granted, She-Hulk did often have what looked like rushed and unfinished CGI, but it was also still miles ahead of most TV CGI and it didn’t detract from the entertainment value of the show and was generally fine. (Yes, plenty of folks just didn’t enjoy these shows, and I’m sure it’s entirely a coincidence that for many of them it always happens to be women-led shows that bother them or are declared “meh”).

Secret Wars is the most recent new MCU show (besides a new season of Loki), and it got mixed reviews that lean mostly positive but still point to trouble in the decision-making to develop the series, questions about

The point of all of this is, Marvel’s had a lot of superhero shows for a long time during the reign of the MCU, and the shows have tended to mostly get good or great reviews, while often suffering complaints of inconsistency in tie-ins vs stand-alone abilities, or iffy VFX, or questions about who is in charge and why certain decisions were made. Sound familiar? It should, because it’s a broken record of reality at this point, the sort that gets mentioned as if it’s a new development any time someone is pushing the latest version of the “sky is falling” narrative.

Not that there aren’t issues needing solutions. The budgets are too high, and Marvel — like many streamers — is discovering it’s simply not sustainable to spend $20 million or more per episode with rushed production schedules and increasingly unreasonable demands on VFX workers.

But the shows themselves are so far working and working pretty well, if you aren’t focused entirely on social media debates and media exaggerations. Most every MCU show on Disney+ has enjoyed positive reception from critics and viewers, enjoying good (and sometimes record-setting) viewership. Fixing the problems for the Marvel streaming plans is not really any more difficult than fixing the theatrical issues, because it’s easy to identify the problems, easy to see where the problems arose, and easy to see what is necessary to end those problems.

Nobody foresaw the Covid pandemic (or at least the extent of it) or the utterly shameful, failed public health response it elicited from governments and organizations that are paid and entrusted to prevent or deal with such crises. Marvel was caught off guard like every studio, Marvel suffered the same box office downturn as every studio, Marvel leaned into streaming like every studio, and Marvel is now having to make adjustments to adapt to the still-evolving environment theatrically and in streaming.

So media and fans and others in Hollywood pretending this is some shocking, Marvel-specific situation are making disingenuous claims, and they should know better. Most probably do, but the truth is more boring than doomsaying — and with everything else in the world falling apart, clickbait and hyperbole are the best way to get attention for entertainment news during a drought (caused by few new films/shows releasing, and the likelihood of strikes dragging into next year because studios put money toward bonuses, yachts, and private jets rather than pay artists, writers, and performers living wages from a fair share of the revenue they generate).

Marvel will recast Kang, they’ll reduce the number of shows and films in production at a given time, they’ll get budgets under control and allow more time for VFX work, and they’ll refocus on the approaches and measures that worked so well in the past to determine which projects to greenlight and how to return to the sense of a big shared world the Avengers have to team up to save.

Luckily, with the X-Men and Fantastic Four reboots around the corner, Marvel has a couple of big teams with lots of potential for precisely the sort of storytelling Marvel does best at the blockbuster level. They could even simply move toward a post-Secret Wars setup that lets Fantastic Four, X-Men, and a handful of other existing popular franchises carry the Marvel brand forward for a while.

We will also probably see the temporary return of Robert Downey Jr., Chris Evans, and Scarlett Johansson reprise their popular MCU roles for Avengers: The Kang Dynasty and/or Avengers: Secret Wars.

And looking at the upcoming slate, it’s not hard to see there’s plenty of reason to feel confident Marvel will continue to enjoy success, even if it’s at a slightly moderated level due to the myriad factors we’ve discussed, including the idea that superhero genre films are settling into a more consistent long-term level of popularity and performance from now on.

The next four years brings Deadpool 3, Captain America: Brave New World, Thunderbolts, Blade, Fantastic Four, Avengers: The Kang Dynasty, and Avengers: Secret Wars, and at some point thereafter Armor Wars and the X-Men. Of these films, the two Avengers movies are likely to be blockbuster hits, as is Deadpool 3. Captain America: Brave New World is an established franchise, lacking the original series lead but with a continuing cast and brand that I think are enough to avoid any significant downturn in box office, even if we see some drop from the peak levels of the Infinity Saga.

Blade and Thunderbolts are the riskier properties here, but the former is a previously successful cinematic brand and the latter is a team-up movie including some recognizable characters and stars. Still, this is where we might see more underperformances. Fantastic Four could likewise either perform at a blockbuster levels, or might wind up in the $700 million range, but as a key property getting lots of attention and must-work oversight, I think it’ll avoid being a problem.

Armor Wars as an extension of the Iron Man movies — and possibly/probably coming after we see Robert Downey Jr. again in some Avengers action — should perform well, and X-Men is a known successful brand getting an MCU reboot and polish as a big team franchise including younger cast members, so I think it’ll at least be capable of playing at the Guardians of the Galaxy level, if done right.

This isn’t a debacle, it’s not doomsday, and Marvel isn’t in disarray. The internal difficulties they’ve faced are frankly typical and easy to identify and solve, as much as everything else we’ve discussed here. The bottom line is this: we’ve seen Marvel Studios kick off with a big hit in Iron Man and an outright flop with The Incredible Hulk, after which Captain America: The First Avenger and Thor performed at okay levels but didn’t set the box office on fire by any stretch.

We got the original Avengers movie off the strength of Iron Man and Iron Man 2, and to really help put this into perspective I’ll point out the average per film box office of Phase One was $634 million. Phase Two’s per film average was $876 million.

Marvel worked hard to build what they created, and it’s a tremendous historic success full of ups and downs that so far have ultimately maintained an impressive level of successful across a large slate of films and series. To look at this history, this math, and think Marvel Studios is in deep trouble, struggling, or never really was very good to begin with, is unreasonable and contrary to the data and any serious considerations.

#exactly the kind of data we need to remember #Thor TFA and TDW weren't huge hits

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thelibraryofsylphide · 10 days

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Screenplay Masterpost

POTC trilogy screenplays:

The Curse of the Black Pearl (first draft) (alternate link) (alt.) [* + **]

Dead Man's Chest (revision) (alternate link) (alt.) [* + **]

At World's End (green revision) (alt.) [* + **]

Marvel (MCU+others) screenplays:

Thor [2011] (undated draft) (alternate link)

The Avengers [2012] (undated draft) (alternate link)

Guardians of the Galaxy vol.2 (undated draft) (alt.)

Black Panther (undated adapted screenplay) (alt.)

Black Panther: Wakanda Forever (may 8th 2021)

Captain America: The First Avenger (first shooting draft - incomplete)

Iron Man 1 (undated script_salmon_2)

Spider-Man: No Way Home (undated script)

Spider-Man: Into the Spiderverse (dec 3rd 2018)

Spider-Man: Across the Spiderverse (undated script)

Spider-Man [2002] (april 18 2001)

Spider-Man 2 [2004] (undated script)

Avengers: Endgame (adapted screenplay for oscars)

Misc. screenplays:

Addams Family Values (shooting script)

The Hunger Games (undated script)

The Hunger Games: Catching Fire (green revised)

A Quiet Place (undated script)

Sources (x) (x) (x) (x)

* The wordplay.com links download with a watermark, however the script is entirely readable.

** thescriptlab.com requires signing in to get access to the screenplays

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notalexhorne · 8 months

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So, for those of you who have been following me for a while, you know I have been having a time of it in the clothing department. It turns out losing weight is oddly distressing and stressful once you reach the point that nothing in your closet fits, and you live out in the sticks where the only options are Goodwill and Walmart, while your tastes tend to skew more… eccentric.

Then @alexhornecloset popped up and I was like, hell yes. Half the shit in my closet that fits me like a circus tent looks like something he’d wear anyway, so let’s go. And then I looked at one of the sites they posted, and Jesus fucking Christ, that was the most unhinged goddamn website I have ever seen in my life. But I needed some new clothes that fit me before I lost my entire mind, and was willing to take a risk, so yolo or some shit. And it’s been about a month, but my order finally arrived today.

A point of warning, Molilulu is 100% dropshipping. This was actually confirmed by them in email when I contacted them several weeks ago because I was wondering why my order was still “pending” after the scheduled delivery window. They were very up front in their response, in that my order was rather large, and taking longer than usual to order each item individually. It took about another week beyond that, and then they repackaged everything and forwarded it on to me. Even if they hadn’t told me this, it would have become obvious very quickly, because they were in their original packaging, which all varied, and they all have different cuts and labels and tags, and are definitely not from the same manufacturer.

As far as ridiculous printed shirts go, they don’t feel any different from the other ridiculous printed shirts already in my closet; they’re that same kind of cheap polyester faux-silk fabric Hawaiian shirts have been made out of for the last couple of decades.

Anyway. I have new shirts!

The first one is the only one that is obviously not what I ordered. The differences are subtle, but as soon as I noticed, I became instantly vexed. Mainly because this is the one I wanted most, and one of only two I could not find anywhere else. The pocket is different, which is bad enough, but then I noticed the text on the tape. “Awesome Mix vol 1.”

I did not order a Guardians of the Galaxy shirt. Fucksake. That’s actually annoying, but not annoying enough to faff about with returning it.

Some mad flamingoes, because why the hell not. Look at them, they’re insane. I love them.

I somehow didn’t even notice the cat on this one at first, but that makes me love this one even more. It’s also my husband’s favourite.

I think this one might be my favourite. Idk why. I just love all the different jellyfish on it.

I really liked this one too. Being a cohesive picture across multiple panels was so fun. I couldn’t pass it up.

And of course, I couldn’t help myself. And of course, this was the second design I couldn’t seem to source anywhere else. Naturally.

And then my husband absolutely insisted that I get this one for him. But at least he went for this one and not the other one.

But overall, I’d be willing to bet this site is probably sourcing from Alibaba or similar. When they finally did ship, the package still came from China, so it made no difference whatsoever.

#text #photos

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yourdailykitsch · 1 year

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Chris Pratt’s ‘The Terminal List’ Gets Second Season & Prequel Series Starting Taylor Kitsch At Prime Video

The Terminal List is continuing — and becoming a franchise for Amazon Studios. I have learned that Prime Video has finalized a Season 2 renewal for the hit series starring and executive produced by Chris Pratt, and also has picked up an untitled prequel/Ben Edwards origin series headlined and executive produced by Taylor Kitsch, from The Terminal List creator/executive producer David DiGilio. I hear other Jack Carr characters who have or have not appeared yet on The Terminal List, an adaptation of his 2018 novel, will be featured in the prequel, including Pratt’s Navy SEAL James Reece and Raife Hastings, a former SEAL pal of Reece’s whose potential arrival was set up in Season 1 of the mothership series. A rep for Amazon Studios declined comment. Talks about a second season of The Terminal List — which has been a big hit for Prime Video, reaching No. 2 on Nielsen’s weekly Top 10 streaming ratings chart — have been going on for months. I hear that during those conversations, Pratt suggested expanding the series with a prequel, which he is executive producing through his Indivisible Productions alongside Kitsch.

According to sources, also executive producing the offshoot are DiGilio, who serves as showrunner; fellow The Terminal List executive producers Carr and Antoine Fuqua; and producers include Max Adams, a writer who is a former Army Ranger; and Pratt’s longtime coach Jared Shaw, a former Navy SEAL. The prequel is described an elevated espionage thriller that follows Ben’s (Kitsch) journey from Navy SEAL to CIA paramilitary operator, exploring the true darker side of warfare and the human cost that comes with it. The Terminal List, a co-production from Amazon Studios and Civic Center Media in association with MRC Television, tells the story of James Reece (Pratt), a Navy SEAL who seeks to avenge the murder of his family. Following the outsized ratings success of the eight-episode first season, which launched July 1, Pratt hinted that more episodes are coming during a September appearance on Carr’s podcast Danger Close. “To the rabid fans of The Terminal List out there, you have nothing to worry about,” he said. “We love you and appreciate your support. It’s our life’s mission to make sure you can come back to the well. We are working away.” Added Carr, “There may be some cool stuff on the horizon being discussed.” Besides Pratt and Kitsch, the main cast of the conspiracy thriller’s first season also included Constance Wu, Riley Keough, Arlo Mertz and Jeanne Tripplehorn. Waco alum Kitsch will next be seen in the Netflix limited series American Primeval and Painkiller, both directed by Pete Berg. Pratt next will be seen reprising his role as Star-Lord in Guardians of the Galaxy Vol. 3 and heard as Mario in The Super Mario Bros. Movie. His recent credits include The Guardians of the Galaxy: Holiday Special for Disney+, Thor: Love and Thunder, Jurassic World: Dominion and The Tomorrow War, which he executive produced.

#taylor kitsch #Chris Pratt #The Terminal List #ben edwards

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brainsforbabyjesus · 10 months

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I’ve got a list of things I want to know about guardians of the galaxy (who bought that fruit bowl in vol 2?) but one of the top ones is what was Peter’s “job” as a ravager? The obvious answers being thief and fighter pilot but then the movies go and show us Peter flirting to get things he wants/needs and when he actually talks about that aspect of his job in vol 1 (the talking Drax down in prison scene) it's just straight up, I have sex with people to get things for my job. Which presumably meant: I have sex with people, on behalf of the ravagers, to get what we need for the job. So is his ‘job’ actually thief/pilot/honey pot?

(I mean, sure you could argue that he slept with the a'askavariian from Nova Records to get information for weird recreational reasons, but it makes a lot more sense that he did it for a job)

Which leads me to: did the ravagers know that's how Peter got information? Did Yondu know? Did they assess situations then trot Peter out as bait? How do other ravagers view that particular skill? How does Peter feel about that being a part of his ravager skill set? I can’t imagine sleeping with targets/sources holds a ton of social stigma around it among ravagers because he says it pretty casually to a complete stranger (Drax at the time). He could have easily left out the ‘did it to get information’ part or even the entire a'askavariian part and just leave it as a vague caught with someone else. But nope, just gonna tell some random guy in prison that he has sex with people to get things.

It’s one of those throwaway lines that are probably supposed to be nothing more than a harhar so funny moment but now I’m left to obsess over the implications. Also, if that was one of Peter’s skills as a ravager it gives him a canon reason for being the one ravager that apparently takes care of his teeth and brushes his hair once in a while.

Anyway, Peter Quill the honey pot is like half canon at least.

#Guardians of the Galaxy #peter quill

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secretkittywolf · 9 months

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MCU Rant

The reason why Marvel Phase 4 and the start of Phase 5 has flopped is because of one film: Avengers Endgame.

Ever since this film came out, Disney wants everything that Marvel does to be just as big and successful, but it won't work. Trying to do bigger and better stuff has lead to bad CGI, terrible characters and even worse stories.

The reason why Phase's 1-3 succeeded was because it was about quality and not quantity. They took their time to make something that people would enjoy instead of doing it for the money and 'woke media'.

They need to take more time with their productions and make them enjoyable for EVERYONE. Plus, they have a ton of source material to go off on: the comics. There is great characters, stories, and arcs that many people would love to see instead of The Marvels (like seriously? Who wants to see it?).

Please Marvel and Disney (especially YOU Disney) take your time like before to make good stories and not what you've done with Phase 4 and 5's beginning (minus Guardians of the Galaxy Vol. 3 and Spider-Man: No Way Home cause they were epic)

#marvel mcu #MCU #mcu phase 4 #mcu phase 5 #disney

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oliviasmedia201blog · 9 months

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Post 1 - Rocket racoon article

This source is a website article from Escapist magazine written by Darren Mooney. This source is not academic or peer reviewed but contains ideas which has started my research journey on why people get emotionally attached or connected to fictional characters in the media.

This website article discusses the film Guardians of the Galaxy Vol. 3 and mentions that film is an emotional medium and that emotional connection is subjective. It discusses the character being different to other characters, the director of the film James Gunn and vice actor Bradley Cooper treat Rocket as an actual character or being rather than just being an animation.

This article mentions comments from Gunn referenced from the Buzzfeed article: https://www.buzzfeednews.com/article/adambvary/james-gunn-guardians-of-the-galaxy.

Gunn explains the character is a representation of him, “He is what he is, and in all my time of writing and directing I don’t think I’ve ever felt closer to a character than I do to Rocket. I really do feel attached to him…” (Mooney, 2023). This personally interested me in the effect directors have on the audience being emotionally connected to characters. Gunn’s work is known for building relatable and real characters.

I think this source is not useful in an academic sense but has helped me develop ideas for what I would like to research and a media text example of emotional connection to characters.

Mooney, D. (2023, May 15). Guardians of the Galaxy Vol. 3 takes Rocket Raccoon seriously. The Escapist. https://www.escapistmagazine.com/guardians-of-the-galaxy-vol-3-takes-rocket-raccoon-seriously/

#Media201

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popmusicu · 1 year

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ELO & Baby Groot

We all know that music is a powerful element that evokes emotions and memories when listened to, and depending on the music you’re listening to, it can also change your mood. Well, to me, nothing brings more happiness and joy than Baby Groot dancing to Mr. Blue Sky in Guardians of the Galaxy Vol II. I have beautiful memories of watching the movie with my family, especially that intro scene that could change our mood instantly. In fact, we like that movie so much that we named our dog in honor of that beautiful and adorable dancing mini-tree.

Thanks to Guardians of the Galaxy, my musical taste has changed a lot over these years, from listening to almost nothing to listening to Electric Light Orchestra and their songs on an infinite loop, especially when I’m having a bad day, because their songs make me remember one of my favorite movies, and my favorite intro scene ever.

I think that’s the reason why this movie has become one of my favorites, because of the emotions conveyed by each musical choice present in each scene, and how this perfect selection enhances the emotional impact it has on me.

To finish, I have nothing more to say than thanks to Guardians of the Galaxy for introducing me to a great band and inspiring the name of my greatest friend and the biggest source of joy in my life. Now, i’ll leave you with my top 3 songs featured in that movie:

1.- Mr. Blue Sky (obviously).

2.- Im not in love.

3.- Wham Bam Shang-A-Lang.

Vicente Rebolledo

#I love this

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influencermagazineuk · 4 months

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Barbie Reigns Supreme in Hollywood's 2023 Box Office: Surpassing $1.4 Billion Worldwide, but IMDb Ratings Tell a Different Story!

As the curtains draw on 2023, Hollywood reflects on a year of diverse outcomes at the global box office. Amidst the fierce competition, Margot Robbie's Barbie emerged as the highest-grossing film of the year, surpassing even Christopher Nolan's Oppenheimer. However, the triumph at the box office stands in stark contrast to the film's IMDb ratings. Image: Imdb/Barbie Only two films earned membership to the coveted $1 billion club in 2023. Barbie, facing off against Oppenheimer, triumphed with a staggering $1.44 billion, securing its place at the zenith of Hollywood's financial achievements. The second entrant into the billion-dollar league was The Super Mario Bros. Movie, which, despite mixed reviews, amassed a noteworthy $1.36 billion in global box office revenue. Let's delve into the top 10 Hollywood grossers of the year and explore their IMDb ratings: - Barbie - Margot Robbie's performance in this blockbuster garnered positive reviews from critics. While it soared to $1.44 billion at the box office, its IMDb rating stands at a modest 7 out of 10. - The Super Mario Bros. Movie - Despite mixed critical reception, the film featuring the voice talents of Chris Pratt and Anya Taylor-Joy secured a substantial $1.36 billion. Its IMDb rating matches Barbie's at 7 out of 10. - Oppenheimer - Led by Cillian Murphy, this biographical thriller narrowly missed the billion-dollar milestone, earning $952 million. Nevertheless, it received a commendable IMDb rating of 8.4 out of 10. - Guardians of the Galaxy Vol. 3 - This MCU installment, starring Chris Pratt and Zoe Saldana, shone with positive reviews and an $845.55 million box office collection. IMDb rates it at 7.9 out of 10. - Fast X - Despite mixed reviews and underperformance considering its budget, the Fast Saga installment featuring Vin Diesel and Jason Momoa secured a spot with $704.87 million. However, its IMDb rating is a modest 5.8 out of 10. - Spider-Man: Across the Spider-Verse - This animated sequel surprised audiences with positive reviews and a substantial $690.51 million. Notably, it boasts the highest IMDb rating on the list, with an impressive score of 8.6 out of 10. - The Little Mermaid - Disney's live-action romantic fantasy, despite mixed reviews, earned $569.62 million globally. Its IMDb rating is 7.2 out of 10. - Mission: Impossible – Dead Reckoning Part One - Tom Cruise's action film, praised by critics, underperformed with a lifetime business of $567.53 million. Its IMDb rating is 7.8 out of 10. - Elemental - Disney's animated romantic comedy received generally positive reviews, earning $496.17 million globally. Its IMDb rating stands at 7 out of 10. - Ant-Man and the Wasp: Quantumania - Despite disappointment for MCU and unfavorable critic reviews, the film generated $476 million globally, with an IMDb rating of 6.1 out of 10. Note: Box office figures are based on estimates from various sources and have not been independently verified. Read the full article

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omegatheunknown · 4 months

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Top 10 of 2023 -- Theatrical Releases

Started using letterboxd as a journal two years ago, mostly so I could remember just how recently I'd watched Big Trouble in Little China or Hot Fuzz, but also to hit 'em with of the moment reviews and ratings fresh from the theatre. Which is to say, I'm a little nervous to see what'll come up at the top, but let's take a trip.

10- The Boogeyman (**1/2) - Technically in theatres for a week or two. Buried otherwise, a low stakes King adaptation/remake/reboot that makes the list so I don't have to say anything about AntMan, Elemental, Renfield, or, god forbid, Mario. Effective horror, kind of a neat creature at the center of it, pleasantly surprised that I didn't hate it.

9- Asteroid City (***) - Did lead to a minor personal epiphany, so not all bad. The amount of meta-fictional artifice (lest we for a second want to empathize or consider Wes' paper doll characters in his paper doll theatre as being recognizably human) has gone well-beyond the 'as Royal Tenenbaum' and 'let me tell you about my boat,' past the authorial frame of the Grand Budapest and as of The French Dispatch, Mssr Anderson is now almost entirely preoccupied with stories within stories and it is actually very annoying. (The minor epiphany is that I have also been doing this, as metafiction delights me too, Wes, but why should anyone else care?) Anyway, highlight here is the usual meticulous design, the ridiculous stop-motion sequence, some crackerjack dialogue (muted because now every character has the same blunted affect and without subtitles I sorta glazed over in parts) and these movies remain quite funny.

8- Barbie (***1/2) - Watched a lot of pablum this year, most of it with very naked corporate ambition. Barbie's central trick is to critique itself and the very cynical context in which it critiques itself and hopefully contain within it the entire discourse (good luck to you.) Wish I hadn't had to listen to people earnestly tell me how brilliant and resonant certain 'pause for applause' moments were, but the humour may well stand the test of time, and people were rightly hyped on Ryan Gosling's over-delivery on what once was seen as an unlikely bit of casting.

7- Guardians of the Galaxy Vol 3 (***1/2) - Not too proud to admit I was, in 2023, still kind of excited to see this one (1) marvel movie. Crisp Rat aside, the Guardians deliver best on the comic-to-screen vibe and rarely seem embarrassed with their source, leading to the intense emotional journey of a CGI mutant raccoon bounty hunter reckoning with his maker, no winking involved. Rocket Raccoon is my fucking guy, anyway, no more of these, please and thanks.

6- Dungeons and Dragons, Honor Among Thieves (***1/2) - Yeah, okay, more popcorn flick pablum. Hasbro hoping to further capitalize on the pop culture rise of and monetize and micro-transaction-atize and thereby enshitiffy one of my dearest hobbies (I am diversifying away from D&D TM) looming large in the background here, given the whole OGL blowback it was briefly reasonable large portions of diehards might boycott this thing. Anyway, saw it, liked it, succeeded wildly in the goal of effectively conveying what it's actually like to play a fantasy ttrpg, all the weird in-jokes, wild variations in tone, hand-waving and quirks of 'the rules' there for snorts of recognition. Cannot imagine this was much fun for non-players, but maybe.

5- Across the Spider-Verse (****) - Extremely hyped, but hopefully not the zenith of the trilogy, a lot is riding on part 3, which is thankfully due, uhhh, sometime next year? Dragged out its ending laying more groundwork, but before then, another ceiling breaking exercise in contemporary animation, an almost non-stop kinetic kaleidoscope of visual creativity that augurs well for animation's continued evolution.

4- Teenage Mutant Ninja Turtles in Mutant Mayhem (****) - Speaking of. Now, I've loved the Turtles since I was 4 years old, so my personal belief has always been, even though I love the 1990 rubber-suited cash grab, that the central premise is something that in the right hands can actually be objectively good, as opposed to personally delightful to me. This is that movie, the good Ninja Turtles movie. 'Teenage' -- to the point of being endearingly, obnoxiously immature, 'Mutant' -- to the point that the world around them is just as grody and fucked up looking as they are, 'Ninja' -- with sly handheld camera angles and satisfyingly fluid motion to rival Spiderverse, and uh, 'Turtles' -- they sure fucking are. I loved this. Jackie Chan forever.More, please.

3- Humanist Vampire Seeking Consenting Suicidal Person (****) - Exceedingly Quebecois take on the contemporary hipster vampire movie, Can-con for my list. Canadian Indies in 2023 are strikingly similar to American Indies from 2008, if that at all recommends. Ranks high for efficient self-contained everything, very charming, funny, just bizarre enough.

2- The Boy and the Heron (****1/2) - Easy to feel like this is a Ghibli greatest hits compilation, easier to remember that's what we all kinda want-- cute and unsettling creatures, delicious looking food, spirit worlds, quiet moments of reflection, arcane rules for how any and everything works... yet also maybe the truest return to the titanic achievements of Princess Mononoke and Spirited Away (especially.) Story forms a suitably esoteric thesis about grief and creation and, ultimately, endings. I think Miyazaki might actually be done this time.

1- Godzilla Minus One (*****) - An entirely different movie than Shin Godzilla, very possibly even better. It's tense (Godzilla hasn't felt creepy like this for a while.) It's emotional (rivals Godzilla vs Biollante in its human story.) It's very naked in its message (ah, the guilt.) The action is superb. I do not know where Godzilla goes from here. (Mothra!)

(Haven’t seen: Poor Things, Bottoms, Napoleon, the Killer, a bunch of other crap.)

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savage-kult-of-gorthaur · 7 months

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"...AND NOW, BY POPULAR DEMAND... THE STARRY, SPARKLING, SIZZLING ARCTURAN WONDER HERSELF...

PIC INFO: Resolution at 888x1345 -- Spotlight on a brilliant pin-up of Aleta Ogord, the shimmering, dazzling, sparkling female Arcturan member of the Guardians of the Galaxy, from "Guardians of the Galaxy" Annual Vol. 1 #1. July, 1991. Marvel Comics.

Script/artwork by Jim Valentino

Inks by Steve Montano

Colors by Evelyn Stein

Source: https://onemillioncomics.com/guardians-of-the-galaxy-annual-001-1991.

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denimbex1986 · 7 months

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'Does Christopher Nolan‘s “Oppenheimer” have enough heat to hit $1 billion globally? At one point, this milestone may have sounded entirely improbable for a three-hour historical drama that mostly depicts scientists talking about theoretical physics.

But sure enough, the biopic starring Cillian Murphy as the so-called father of the atomic bomb has become a full-fledged blockbuster with a fighting chance at joining the billion-dollar club. After 10 weeks of release, “Oppenheimer” has earned a staggering $926 million at the worldwide box office. It’s the third-highest grossing movie of the year, far surpassing big-budget tentpoles like Marvel’s “Guardians of the Galaxy Vol. 3” ($845 million), the 10th “Fast and Furious” movie ($704 million) and “Mission: Impossible – Dead Reckoning Part One” ($576 million).

To reach $1 billion, “Oppenheimer” needs to generate another $74 million worldwide. Though not impossible (it has repeatedly put theatrical expectations to shame, so why stop now?), this would require people to keep showing up for “Oppenheimer” over several more weeks. Global ticket sales have been declining by roughly 20% in recent weeks, better than most films at similar points in their theatrical cycles. The challenge is that “Oppenheimer” has mostly run out of steam in North America — as expected, after two enthusiastic months on the big screen — so international audiences will be key in carrying the movie to ultimate box office glory. Overseas, it’s still reliably selling tickets in China, Italy and Germany.

For box office experts, “Oppenheimer” is a film without many useful comparisons. It’s the second-highest grossing R-rated film in history, behind 2019’s “Joker” ($1.07 billion), and has played less like a grim historical biopic and more like an all-audience superhero epic. That’s thanks to Nolan’s status as a name brand, as well as his power to encourage fans to seek out the film in Imax, where it has earned $181 million.

So, even though it’s still hard to predict, sources close to the film, as well as rival studio executives, believe “Oppenheimer” will top out at a remarkable $950 million in its initial run, just shy of that elusive milestone. However, a theatrical re-release in Imax or awards attention (Oscar nominations tend to boost ticket sales) could help the film eventually cross the finish line late this year or early in 2024.

To be clear, “Oppenheimer” doesn’t need to reach $1 billion to be successful. The film cost $100 million to produce, so it is already hugely profitable to Universal and Nolan. The filmmaker receives a percentage of box office revenue, which could net him tens of millions of dollars.

If “Oppenheimer” manages to cross $1 billion, it will be the director’s third movie to do so, following “The Dark Knight” ($1 billion) and “The Dark Knight Rises” ($1.08 billion). It ranks as Universal’s biggest non-franchise film of all time and 12th-highest grossing film in history ahead of “The Secret Life of Pets” ($894 million). These stats only solidify Nolan as a box office force to be reckoned with.'

#Oppenheimer #Christopher Nolan #The Dark Knight #The Dark Knight Rises #Guardians of the Galaxy Vol 3 #Fast X #Mission Impossible Dead Reckoning: Part One #Oscars #Cillian Murphy

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drwilfredwaterson · 9 months

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August Hope: Resurrections…Timeless Faith, Hope, and Love. A Supplemental to the 8/5/2023 10/10 888 Jesus Christ Earthquakes Posts. Part 4/5.

2nd Earthquake After Posting the 5/10 888 Jesus Christ Earthquake Post: "If there's a plane or a bus leaving Dallas I hope you're on it If there's a train moving fast down the tracks I hope you caught it If you ain't got a suitcase Get a box or an old, brown, paper sack And pack it light or pack it heavy" - George Strait - "Run"

"A box without hinges, key, or lid, yet golden treasure inside is hid." - J. R. R. Tolkien

6332965: Union Pacific Railroad Co. 9599 Gardner Rd San Antonio TX 78263 (210) 633-2965 By Old Corpus Christi ("Most Holy Body and Blood of Christ") Road and Borrego ("Lamb") Cemetery.

John 1:29 The next day John saw Jesus coming toward him and said, “Look! The Lamb of God who takes away the sin of the world!

Gardner is a surname of English, Scottish and Irish origin. Most sources say it is an occupational surname that comes from the word "gardener". Other sources claim that it is derived from the old English words gar-dyn meaning "warrior", "one who bears arms".

2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023… John 20:11 Mary was standing outside the tomb crying, and as she wept, she stooped and looked in. John 20:12 She saw two white-robed angels, one sitting at the head and the other at the foot of the place where the body of Jesus had been lying. John 20:13 “Dear woman, why are you crying?” the angels asked her. “Because they have taken away my Lord,” she replied, “and I don’t know where they have put him.” John 20:14 She turned to leave and saw someone standing there. It was Jesus, but she didn’t recognize him. John 20:15 “Dear woman, why are you crying?” Jesus asked her. “Who are you looking for?” She thought he was the gardener. “Sir,” she said, “if you have taken him away, tell me where you have put him, and I will go and get him.” John 20:16 “Mary!” Jesus said. She turned to him and cried out, “Rabboni!” (which is Hebrew for “Teacher”). John 20:17 “Don’t cling to me,” Jesus said, “for I haven’t yet ascended to the Father. But go find my brothers and tell them, ‘I am ascending to my Father and your Father, to my God and your God.’” John 20:18 Mary Magdalene found the disciples and told them, “I have seen the Lord!” Then she gave them his message. John 20:19 That Sunday evening the disciples were meeting behind locked doors because they were afraid of the Jewish leaders. Suddenly, Jesus was standing there among them! “Peace be with you,” he said. John 20:20 As he spoke, he showed them the wounds in his hands and his side. They were filled with joy when they saw the Lord! John 20:21 Again he said, “Peace be with you. As the Father has sent me, so I am sending you.” John 20:22 Then he breathed on them and said, “Receive the Holy Spirit. John 20:23 If you forgive anyone’s sins, they are forgiven. If you do not forgive them, they are not forgiven.”

Her Hope, Love and Faith was Red… Mary Magdalene and the red egg in the Orthodox tradition In the Eastern Orthodox tradition, Mary Magdalene visited Emperor Tiberius to issue a complaint about how Pontius Pilate handled Jesus’s trial. As she described the events of the crucifixion and resurrection, the Emperor dismissed her story, scoffing, “That could no more happen than the egg in your hand could turn red”. Promptly, Mary Magdalene prayed and the egg turned red. (MagdaleneSacredJourneys.com)

Taylor Swift - State Of Grace (Taylor's Version)

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Published: November 11, 2021 (315th day) Duration: 5:00 (300 seconds) https://www.youtube.com/watch?v=-mrC5tRkxrY -mrC5tRkxrY -mrCtRkxrY ckmrrrtxy 3+10+30+80+80+80+100+300+400=1083. 1083+5=1088. 1088+300=1388. 1388+315=1703.

Strong's Concordance #1703 dabbarah or dabbereth: a word, "she spoke". Original Word: דַּבָּרָה

From Guardians of the Galaxy Vol. 3 as a horde of creatures is about to swarm a defenseless village: Rocket Raccoon plays Redbone's "Come and Get Your Love" as they wake up Groot to handle the business. "On your word, Captain" - Cosmo "Word…" - Rocket Raccoon

Earthquake: M 1.2 - 41.2 km (25.6 mi) W of Kalifornsky, Alaska

2023-08-05 22:31:02 (UTC) 60.469°N 152.035°W 70.5 km depth

In Cook Inlet adjacent to Alaska Maritime National Wildlife Refuge and Packers Creek Lake.

Tucson and Phoenix anchor the Arizona Sun Corridor. The Arizona Sun Corridor, shortened Sun Corridor, is a megaregion, or megapolitan area, in the southern area of the U.S. state of Arizona. The Sun Corridor is comparable to Indiana in both size and population. The largest metropolitan areas are the Phoenix metropolitan area – Valley of the Sun, and the Tucson metropolitan area – The Old Pueblo. The Spanish name of the city, Tucsón is derived from the O'odham Cuk Ṣon meaning "(at the) base of the black [hill]", a reference to a basalt-covered hill now known as Sentinel Peak. Tucson is sometimes referred to as the Old Pueblo and Optics Valley, the latter referring to its optical science and telescopes known worldwide. Sentinel Peak is a 2,897 ft (900 m) peak in the Tucson Mountains southwest of downtown Tucson, Arizona, United States. The valley's first inhabitants grew crops at the mountain's base, along the Santa Cruz River. In the 1910s, University of Arizona students used local basalt rock to construct a 160 ft (50 m) tall block "A" on the mountain's east face, near its summit, giving the peak its other name, "A" Mountain. The peak is part of a 272-acre (110 hectares) park, the largest natural resource park in the City of Tucson. The origin of the name Sentinel Peak, according to Leighton, "comes from the sentinel station and the sentinel stationed there." (Wikipedia)

Can't Buy Me Love was shot on location in Tucson, Arizona, at Tucson High Magnet School (then known as Tucson High School). The choreography is by Paula Abdul, who makes an uncredited appearance as a dancer. On a date where the main characters begin to bond, they jump the perimeter wall and explore the 309th Aerospace Maintenance and Regeneration Group Aircraft Bone Yard on Davis–Monthan Air Force Base that contains 4,400 aircraft. Touchstone Home Entertainment released the film on VHS and DVD on August 14, 2002.

They weren't ready for it, but then they were. Because life is just a classroom and you have to believe in happy endings, new beginnings, "impossible" things, and the fact that the best people in life are free.

"It is impossible for emotion not to come on us in thinking of that time now flowed away." - Paul Cezanne

"There are so many different ways that someone can be beautiful. For me, I think that when I meet someone and there's that magical thing about them that makes them unforgettable, it's that they're sincere and honest and whoever they are, be that funny, happy, sad, you know, going through a rough time, sarcastic, I think that these personality traits that come through when somebody is really sincere is what makes them beautiful." - Taylor Swift

Can't Buy Me Love - Planes Graveyard Date (Memories From 1944, 1583, reputation)

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Published By: Inspirational Poems For the Lonely Hearts Published: November 10, 2018 Duration: 6:04 (364 seconds) https://www.youtube.com/watch?v=okYhR1u7n5k okYhR1u7n5k okYhRunk hkknoruy 8+10+10+40+50+80+200+400=798. 798+1+7+5=811. 811+364=1175. November 10, 2018 = 314th day of the year. 1175+314=1489. Strong's Concordance #1489 gizbar: treasurer Original Word: גִּזְבָּר

okYhRunk OK Run yhk 400+8+10=418. Strong's Concordance #418 algummim: perhaps a sandalwood tree, sticks of algum wood -- algum (trees). Original Word: אַלְגּוּמִּים

TANAKH (Jewish Publication Society, Hebrew-English): Page 1966 and 1967: 2 Chronicles 9:1 The queen of Sheba heard of Solomon's fame, and came to Jerusalem to test solomon with hard questions, accompanied by a very large retinue, including camels bearing spices, a great quantity of gold, and precious stones. When she came to Solomon, she spoke to him of all that she had on her mind. 2 Chronicles 9:2 Solomon had answers for all her questions; there was nothing that Solomon did not know, nothing to which he could not give her an answer. 2 Chronicles 9:3 When the queen of Sheba saw how wise Solomon was and the palace he had built, 2 Chronicles 9:4 the fare of his table, the seating of his courtiers, the service and attire of his attendants, his butlers and their attire, and the procession with which he went up to the House of the Lord, it took her breath away. 2 Chronicles 9:5 She said to the king, "What I heard in my own land about you and your wisdom was true. 2 Chronicles 9:6 I did not believe what they said until I came and saw with my own eyes that not even the half of your great wisdom had been described to me; you surpass the report that I heard. 2 Chronicles 9:7 How fortunate are your men and how fortunate are these courtiers of yours who are always in attendance on you and can hear your wisdom! 2 Chronicles 9:8 Blessed is the Lord your God, who favored you and set you on His throne as a king before the Lord. It is because of your God's love for Israel and in order to establish them forever that He made you king over them to execute righteous justice." 2 Chronicles 9:9 She presented the king with 120 talents of gold, and a vast quantity of spices and precious stones. There were no such spices as those which the queen of Sheba gave to King Solomon-- 2 Chronicles 9:10 also, the servants of Huram and Solomon who brought gold from Ophir brought algum-wood and precious stones. 2 Chronicles 9:11 The king made of the algum-wood ramps for the House of the Lord and for the royal palace, and lyres and harps for the musicians, whose like had never before been seen in the land of Judah-- 2 Chronicles 9:12 King Solomon, in turn, gave the queen of Sheba everything she expressed a desire for, exceeding a return for what she had brought to the king. Then she and her courtiers left and returned to her own land.

"An' I don't give a damn 'bout my reputation The world's in trouble, there's no communication An' everyone can say what they wanna say It never gets better, anyway So why should I care about a bad reputation, anyway? Oh no, not me, oh no, not me I don't give a damn 'bout my bad reputation You're living in the past, it's a new generation An' I only feel good when I got no pain An' that's how I'm gonna stay" - Joan Jett & the Blackhearts - "Bad Reputation"

Mt. Lemmon is 25 miles (40 km) north (by road) and over 6,700 feet (2,000 m) above Tucson in the Santa Catalina Mountains in the Coronado National Forest. Outdoor activities in the Catalinas include hiking, mountain biking, birding, rock climbing, picnicking, camping, swimming in mountain stream pools, sky rides at Ski Valley, fishing, and photography. In winter with enough snow, the sky ride converts back to skiing at the southernmost ski resort in the continental United States. Summerhaven, a community near the top of Mt. Lemmon, is also a popular destination. (Wikipedia)

Dyrehavsbakken (lit. 'The Deer Pasture's Hill'), commonly referred to as Bakken (lit. 'The Hill'), is an amusement park in Lyngby-Taarbæk Kommune, Denmark, near Klampenborg (Gentofte municipality), about 10 km (6 mi) north of central Copenhagen. It opened in 1583 (440 years ago) and is the world's oldest operating amusement park. With 2.5–2.9 million visitors per year, it is the second most popular attraction in Denmark, after the more widely known Tivoli Gardens amusement park. Unlike Tivoli, admission is free. The origins of Dyrehavsbakken can be traced back to 1583 when Kirsten Piil discovered a natural spring in what is now known as Jægersborg Dyrehave or Dyrehaven, a large forest park north of Copenhagen. Residents of Copenhagen were attracted to the spring water due to the poor water quality in central Copenhagen during this period. Many believed the natural spring to have curative properties, and therefore Piil's discovery drew large crowds, especially in the springtime. These large crowds attracted entertainers and hawkers, whose presence are the origins of the amusement park today. For a period the area that the spring was located on, was not open to the public due to it being on royal hunting grounds. In 1669, King Frederick III decided to set up an animal park in the area and his son, Christian V, extended the size of the park by 3-4 times after he became king in 1670. The area was named Jægersborg Dyrehave, its present name, in 1671. The park was off-limits to the general public under Christian V and this did not change until 1756, under Frederick V. Open to the general public once again, Dyrehavsbakken began to flourish. The entertainers, hawkers, and innkeepers returned to the area, and Bakken's growing reputation throughout Europe attracted other entertainers and artists, including Pjerrot, the clown who still is a fixture at the park today. Bakken continued to grow even throughout the Napoleonic Wars. Its popularity was later aided by easier accessibility due to the development of steamships (1820) and railroads (1864), as well as good publicity from poets and authors. Bakken is open daily from the end of March through the end of August. Entrance into the park area is free of charge, but rides and attractions require payment. Prices depend on the ride or attraction. Discounted coupons, wristbands, and season passes can also be purchased. (Wikipedia)

Strong's Concordance #1583 Gamliel: From gamal and 'el; reward of God; an Israelite, a Manassite. Original Word: גַּמְלִיאֵל

"To me, very much of what is artistic is people's very creative and inventive ways out of impossible situations." - James Taylor

"Music expresses that which cannot be said and on which it is impossible to be silent." - Victor Hugo

George Strait - Run (from The Road Less Traveled)

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Published: July 30, 2018 (211th day) Duration: 4:06 (246 seconds) https://www.youtube.com/watch?v=kWWjwHEX5_I kWWjwHEX5_I kWWjwHEX_I ehijkwwwx 5+8+9+600+10+900+900+900+300=3632. 3632+5=3637. 3637+246=3883. 3883+211=4094. Strong's Concordance #4094 madqarah: From daqar; to stab, spear; by analogy, to starve; figuratively, to revile -- pierce, strike (thrust) through, wound. Original Word: מַדְקָרָה

TANAKH (Jewish Publication Society, Hebrew-English): Page 1619: Proverbs 12:18 There is blunt talk like sword-thrusts, But the speech of the wise is healing.

17/25 TANAKH (Jewish Publication Society, Hebrew-English): Page 1439: Psalm 25:14 The counsel of the Lord is for those who fear Him; to them He makes known His covenant. Psalm 25:15 My eyes are ever toward the Lord, for, He will loose my feet from the net. Psalm 25:16 Turn to me, have mercy on me, for I am alone and afflicted. Psalm 25:17 My deep distress increases; deliver me from my straits. Psalm 25:18 Look at my affliction and suffering, and forgive all my sins. Psalm 25:19 See how numerous my enemies are, and how unjustly they hate me! Psalm 25:20 Protect me and save me; let me not be disappointed, for I have sought refuge in You. Psalm 25:21 May integrity and uprightness watch over me, for I look to You. Psalm 25:22 O God, redeem Israel from all its distress.

Taylor Swift - Ours (Taylor’s Version) Published: July 6, 2023 (187th day) Duration: 4:00 (240 seconds) https://www.youtube.com/watch?v=PH8Uc0Z_KRY PH8Uc0Z_KRY PHUcZ_KRY chkpruyz 3+8+10+60+80+200+400+500=1261. 1261+8+0=1269. 1269+240=1509. 1509+187=1696.

Strong's Concordance #1696 dabar: to speak, answer, declare, give, pronounce, say, talk, teach, tell, work, nothing. Original Word: דָבַר

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reikomi · 1 year

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2023年史上最高のSF映画 10選

要約： SF映画と言えば、大体ウイルスや災難、宇宙人、ロボット三つの種類に分けています。この記事で、いくつの高評価のSF映画をおすすめします。

SF映画のおすすめ№.1―『インセプション』（原題: Inception）『インセプション』は、クリストファー・ノーランが監督・脚本を担当する作品で、2010年アメリカに公開され、アカデミー賞を受賞したSFアクション映画です。レオナルド・ディカプリオが出演を務めます。主人公は標的の無意識に侵入して、夢から重要情報を引き出す力を持ち、しかし、その力で彼が愛する人を失い、更に国際犯人になっています。そして、主人公はやっとそれを償うチャンスをもらいます。だが、その前に、ある遂行困難な仕事をこなせなければなりません。興収も評価も良い作品です。

SF映画のおすすめ№.2―『スタートレック』（原題: Star Trek）『スタートレック』はアメリカのSFテレビドラマシリーズで、世界で最も有名なSF動画シリーズの一つです。この映画は、理想な世界を描きつつ、現代における様々な問題、例えば、疾患や、人種差別、貧困、戦争などをSFの形で提示しました。この作品は、ロッテントマトで95％の高評価を得ています。様々な豊富な想像力、精密な世界観、大量なSF元素及びヒュ��マニスティックな立場などが、この映画が今に至るヒットに結びついた原因でしょう。 SF映画のおすすめ№.3―『ガタカ』（原題: Gattaca）『ガタカ』は、1997年にアンドリュー・ニコルが監督したアメリカのSF映画です。遺伝子操作により作られた人間が「適正者」である一方、自然妊娠で生まれた人は「不適正者」と呼ばれます。主人公ヴィンセントは小さい頃から宇宙飛行士になりたいですが、「不適正者」として生まれたためそんな資格がありません。そして、ヴィンセントは別人の遺伝子を利用して応募して、夢をかなえるに加えて好きな人と出会いました。しかし、ある殺人事件で、彼が「不適正者」であることはバレました。遺伝子で将来が決められた世界にどうやって生きるのでしょう？

SF映画のおすすめ№.4―『ミッション: 8ミニッツ』（原題: Source code） 2011年のアメリカ合衆国のSFテクノスリラー映画です。アフガニスタンでミッションを務めているアメリカ陸軍パイロットのスティーブンス大尉が目を覚ますと、シカゴ行き通勤列車の中でした。周りは全て変わりました。一体何があったのですか？気になるならば、早速この映画を見ましょう。

SF映画のおすすめ№.5―『クラウドアトラス』（原題: Cloud Atlas）『クラウドアトラス』は、2012年のSFドラマ映画で、デイヴィッド・ミッチェルの小説『クラウド・アトラス』を原作とします。この映画は19世紀から未来まで、文明崩壊後までの異なる時代に舞台を置いた6つの物語をグランドホテル方式で描きます。分かりにくいと言われる場合もたくさんある一方、高く評価される人もたくさんいます。アメリカやアジアを名優を網羅した豪華なキャスト陣も見どころです。

SF映画のおすすめ№.6―『ランダム　存在の確率』（原題: Coherence）『ランダム　存在の確率』は2013年のアメリカのSF映画です。彗星が地球に接近する時、地球で会食に集まった8人は、停電を経験した後、世界秩序を含めて周りの全てが変わりました。一体どのような変化があるのでしょう？

SF映画のおすすめ№.7―『マトリックス』（原題: The Matrix）『マトリックス』は1999年のアメリカSF映画です。アカデミー賞では視覚効果賞、編集賞、音響賞、音響編集賞を受賞しました。天才ハッカーネオは、一見正常な現実世界が実際にコンピューターによりコントロールされることを発見して、そしてトリニティという謎の女性と出会って、またトリニティの仲間のモーフィアスと共に仮想現実と戦うストーリーです。素晴らしい作品です。

SF映画のおすすめ№.8―『ガーディアンズ・オブ・ギャラクシー:リミックス』（原題: Guardians of the Galaxy Vol. 2） 2017年のアメリカのSF映画で、マーベル・コミックの同名のスーパーヒーローを題材とする映画です。ガーディアンズのメンバーたちが宇宙空間での冒険及びピーター・クイルの身元の謎を解く物語です。美しいシーンがいっぱいあります。

SF映画のおすすめ№.9―『攻殻機動隊』（原題: GHOST IN THE SHELL）『攻殻機動隊』は日本の漫画家である土郎正宗の漫画により改作されるものです。未来の日本で、科学技術が飛躍的に高度化しつつ、コンピューター犯罪もますます複雑になります。この状況に対して、攻性公安警察組織「公安9課」（通称「攻殻機動隊」）は犯罪を事前に察知してその被害を最小限に防ぎます。北野武は課長を演じます。

SF映画のおすすめ№.10―『シン・ゴジラ』『シン・ゴジラ』は、2016年公開の日本映画です。長谷川博己、竹野内豊、石原さとみ、高良健吾などが共演するものです。内容は、人間が飛行機や、タンクなど様々な武器を利用して、東京湾で発見された強大な破壊力を持つ巨大な不明生物ゴジラと戦うストーリーです。この今までなかった災難に対して、人間はどのような選択をするのでしょう？映画を見てそれを確認しましょう。

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