In Fast and Furious 9: Furious Night, Cipher performs on herself a destructive brain uploading process that injects her mind into the Deep Shadow Net, taking control of every advanced military device and facility in the Western world. She secretly builds and launches a miles-long space station housing her program and armed with advanced orbital and defense weapons. World governments not feeling like acceding to her demands, WWIII looms.
So Mr. Nobody, barely escaping an attack from a Seal strike team following a phony order planted by Cipher 2.0, warns Dom and the gang just in time for them to weave a narrow path through an entire platoon of urban combat systems in LA. During the next hour and a half or so they have to build from scratch a fleet of combat vehicles outside Cipher 2.0's control and travel through the world collecting favors until they can build a giant linear rail gun hooked into the Hoover Dam and, while the gang fights a hopeless stalling battle against Cipher 2.0's robots, shoot Dom and his pressurized car on the least defended end of Cipher's space station.
The climatic race is then Dom driving is car on the outside of a space station, car pressed again the surface by extra nitro rockets, so far and so fast that he can evade Cipher's defense weapons, reach the central core, and put inside it a mini-nuke they stole from a French arms dealer's submarine mansion twenty movie minutes before during the heist part. The bomb explodes, but Dom survives by diving through his back seat into the car's lead-reinforced trunk, which falls somewhere in the Pacific. They find him three days later on a beach, drinking from a coconut in the porch of the cabin he built for himself.
So Mr. Nobody, barely escaping an attack from a Seal strike team following a phony order planted by Cipher 2.0, warns Dom and the gang just in time for them to weave a narrow path through an entire platoon of urban combat systems in LA. During the next hour and a half or so they have to build from scratch a fleet of combat vehicles outside Cipher 2.0's control and travel through the world collecting favors until they can build a giant linear rail gun hooked into the Hoover Dam and, while the gang fights a hopeless stalling battle against Cipher 2.0's robots, shoot Dom and his pressurized car on the least defended end of Cipher's space station.
The climatic race is then Dom driving is car on the outside of a space station, car pressed again the surface by extra nitro rockets, so far and so fast that he can evade Cipher's defense weapons, reach the central core, and put inside it a mini-nuke they stole from a French arms dealer's submarine mansion twenty movie minutes before during the heist part. The bomb explodes, but Dom survives by diving through his back seat into the car's lead-reinforced trunk, which falls somewhere in the Pacific. They find him three days later on a beach, drinking from a coconut in the porch of the cabin he built for himself.
( The Confusions of Pleasure: Commerce and Culture in Ming ChinaCollapse )
( Engines of the Imagination: Renaissance Culture and the Rise of the MachineCollapse )
( The Exploits of Sherlock HolmesCollapse )
( Dangerous Visions Vol. 1Collapse )
( Wasteland: The Great War and the Origins of Modern HorrorCollapse )
( Engines of the Imagination: Renaissance Culture and the Rise of the MachineCollapse )
( The Exploits of Sherlock HolmesCollapse )
( Dangerous Visions Vol. 1Collapse )
( Wasteland: The Great War and the Origins of Modern HorrorCollapse )
Got this fantastic (creepy, sad, and above all, harrowing) look at, as the summary says, Horatio, a long time afterwards:
Absent Thee From Felicity Awhile (1013 words) by Lexigent
Chapters: 1/1
Fandom: Hamlet - Shakespeare
Rating: Teen And Up Audiences
Warnings: Major Character Death
Relationships: Hamlet/Horatio
Characters: Horatio (Hamlet), Hamlet, Ophelia (Hamlet), Laertes (Hamlet)
Summary:
And I wrote this short scene where Lady Macbeth is visited by one of the witches in the back seat of her limo (no, not like that):
Fathomable Prophecies (1081 words) by marcelo
Chapters: 1/1
Fandom: Macbeth - Shakespeare
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Lady Macbeth, Witch (Macbeth)
Additional Tags: Alternate Universe - Historical
Summary:
Absent Thee From Felicity Awhile (1013 words) by Lexigent
Chapters: 1/1
Fandom: Hamlet - Shakespeare
Rating: Teen And Up Audiences
Warnings: Major Character Death
Relationships: Hamlet/Horatio
Characters: Horatio (Hamlet), Hamlet, Ophelia (Hamlet), Laertes (Hamlet)
Summary:
Horatio, a long time afterwards.
Content notes: sleep paralysis, horror themes, canonical character death, non-canonical character death.
And I wrote this short scene where Lady Macbeth is visited by one of the witches in the back seat of her limo (no, not like that):
Fathomable Prophecies (1081 words) by marcelo
Chapters: 1/1
Fandom: Macbeth - Shakespeare
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Lady Macbeth, Witch (Macbeth)
Additional Tags: Alternate Universe - Historical
Summary:
Choice can be a blood-soaked thing, slippery and perhaps unreal.
Trigger warning, obvious from both the trailer and the very title of the episode: Spiders. BIG spiders. YMWV, but I listened to rather than watched a significant percentage of the episode.
Another trigger warning: An obvious non!Trump character.
( Vague, or sometimes specific but not really key-to-the-plot spoilers.Collapse )
Another trigger warning: An obvious non!Trump character.
( Vague, or sometimes specific but not really key-to-the-plot spoilers.Collapse )
A couple of things that came back to me as I watched them again, maybe thirty after I first did: the gutpunch that was the "Spock saves wee!Spock" episode, and the awesomeness that was Spock II (canonically, there's a *giant* Spock working with the also giant clone of a former Eugenic Wars scientist to try and revive an advanced civilization of intelligent plants; there's nothing less than perfect in that scenario).
Among the things I did not remember, this immortal exchange between Cyrano Jones and James Kirk: "The what?" "The wheat!" And back then I wasn't quite aware of the slimy piece of crap that is Harry Mudd (or rather, that he was slimy in ways that are more "creepy and dangerous" than "humorous"), but I confess tI laughed when, while doing the running footnoting of Mudd's explanation of how he left the robot planet (Mudd: "I, uh, borrowed a vehicle." Spock, deadpan as usual: "Stole a spaceship."), well, Mudd: "And left to find haven on Ilyra VI. A charming planet, an innocent and friendly populace." Kirk: "To whom you sold the Starfleet Space Academy."
Then he frowned and sighed "Harry..."
I know I said the animation style in this series is time-and-budget-appropriately horrendous, but at the same time they somehow manage to make Kirk's variously appalled expressions almost photorealistic at some deep symbolic level.
Among the things I did not remember, this immortal exchange between Cyrano Jones and James Kirk: "The what?" "The wheat!" And back then I wasn't quite aware of the slimy piece of crap that is Harry Mudd (or rather, that he was slimy in ways that are more "creepy and dangerous" than "humorous"), but I confess tI laughed when, while doing the running footnoting of Mudd's explanation of how he left the robot planet (Mudd: "I, uh, borrowed a vehicle." Spock, deadpan as usual: "Stole a spaceship."), well, Mudd: "And left to find haven on Ilyra VI. A charming planet, an innocent and friendly populace." Kirk: "To whom you sold the Starfleet Space Academy."
Then he frowned and sighed "Harry..."
I know I said the animation style in this series is time-and-budget-appropriately horrendous, but at the same time they somehow manage to make Kirk's variously appalled expressions almost photorealistic at some deep symbolic level.
It's easy to make fun of Star Trek: The Animated Series, as the dialogue is generally bad and the animation is atrocious perhaps even by its contemporary standards, but before 10 minutes had passed of its first episode, they were visiting a dead star at the edge of the galaxy and found orbiting it an alien starship 300 million years old of a more beautiful design than most in the shows (not to mention the movies), possessed by a magnetic lifeform that after trying to take control of the Enterprise, ended up possessing the dead star and begging the Enterprise not to leave it.
Both Cemetery Beach (an Image comic) and Finality (a weekly webtoon) are pretty much standard Ellis fare: secret history, shadowy groups, and violent, foul-mouthed hypercompetent characters prone to dry and yet hyperbolic wit, and also full of shit.
Cemetery Beach, in particular, has a very interesting premise, although I don't want to spoil the hilariously straightforward reveal at the beginning of the first issue (besides, here the *art* carries a lot of the information).
As usual, I think you'll like it if you have liked other works from Ellis, and won't if you haven't. (This isn't meant to imply that the's monotonous; it's just that his creativity lies more in his world-building — the depth and love with which he puts together bits of fictional lore, history, and random bits pieces of knowledge, into a something that makes sense — than in the psychological and linguistic range of his characters.)
Cemetery Beach, in particular, has a very interesting premise, although I don't want to spoil the hilariously straightforward reveal at the beginning of the first issue (besides, here the *art* carries a lot of the information).
As usual, I think you'll like it if you have liked other works from Ellis, and won't if you haven't. (This isn't meant to imply that the's monotonous; it's just that his creativity lies more in his world-building — the depth and love with which he puts together bits of fictional lore, history, and random bits pieces of knowledge, into a something that makes sense — than in the psychological and linguistic range of his characters.)
It went pretty much as you'd have expected from the promos and/or setting; I liked the roles, actions, and re-actions of the companions (the Sheffield Gang?), and the way in which, when all was said and done, the Doctor and they weren't the protagonists, just the helpers.
ETA: After rewatching the episode, I think that last part was *really* well done. Rosa Parks doesn't have the camera's focus, but she has the action's focus, if that makes sense. Her action, her story, her agency. It's not a Rosencrantz and Guildenstern Are Dead situation, but they avoided one of the worst ways in which the episode could have gone, the retcon (and worst of all, the Doctor-did-it retcon).
I might be prejudiced because of my issues with late Moffat, but I think this is shaping up as a great season.
Quoth the Dove: Jesus. Dick Grayson: The Former Robin Who Needs a Robin, Stat.
(I think Bruce, most versions of Bruce, would be concerned about, and absolutely unable to do anything but worsen, Dick's emotional status these days. Batman, on the other hand, would be criticizing and pointing out holes in Dick's training in that way of his that means he's very much pleased with your performance, and therefore should grimly focus on getting better.)
(Sudden thought: if this is Dick in this universe, I think Jay might have to be the Robin who fights like that and is not at all conflicted about it. On the other hand, when depicted with this sort of realism, it might be the case that's impossible to do the unarmed night vigilante thing without this level of brutality. Batman has to be downright terrifying — "I heard screams and felt something moving on my back and when I woke up I'm going to need daily physio and take care of my remaining half-kidney for the rest of my life" is probably an unremarkable tale in certain crowds.)
(I think Bruce, most versions of Bruce, would be concerned about, and absolutely unable to do anything but worsen, Dick's emotional status these days. Batman, on the other hand, would be criticizing and pointing out holes in Dick's training in that way of his that means he's very much pleased with your performance, and therefore should grimly focus on getting better.)
(Sudden thought: if this is Dick in this universe, I think Jay might have to be the Robin who fights like that and is not at all conflicted about it. On the other hand, when depicted with this sort of realism, it might be the case that's impossible to do the unarmed night vigilante thing without this level of brutality. Batman has to be downright terrifying — "I heard screams and felt something moving on my back and when I woke up I'm going to need daily physio and take care of my remaining half-kidney for the rest of my life" is probably an unremarkable tale in certain crowds.)
