Pin on Casino Party

"3 AM freestyle" Relased on April 19th, 2014. Song is apology to Ski for ruining his birthday party. Song using Clams Casino "Human" as instrumental. Song was realsed twice and got deleted. We have some lyrics (in comments)

submitted by makeouthillout to XXXTENTACION [link] [comments]

Best Song Tournament - Round 1 Recap

Well jerk me silly, after 2 months, like 5 different covid tiers, 120 songs, and 60 matches, we've made it through Round 1 of the competition. Here's a few stats for all those who voted:
The B-Sides, covers, EP and Bonus tracks predictably took the brunt of the evictions with only 7 out of the remaining 60 songs (12%) being in this category. There are currently no cover songs left in the tournament.
On the other hand, every SINGLE single track has gone through, and 53 out of the 60 remaining songs (88%) are from an album.
WPSIATWIN is the album with the most tracks in the next round, constituting 10 of the remaining 60 songs (17%), and with 10 of it's total 13 tracks through (77%) it has the 3rd highest proportion of it's album in round 2.
SIAS and AM only have 8 of their 12 tracks through (66%), the lowest proportion of the albums at this point.
FWN is 4th with 9 out of 12 (75%) through, and TBH+C is 2nd with 9 out of 11 (82%) tracks through.
But it's Humbug with 9 out of it's 10 songs (90%) that has the highest proportion of it's album through (RIP Dangerous Animals for letting the side down)
Here's a full list of the songs left in round 2, with spaces left for the songs which didn't make it:
Whatever People Say I Am That’s What I’m Not
  1. The View from the Afternoon
  2. I bet you look good on the dancefloor
  3. Fake Tales of San Francisco
  4. Dancing Shoes
  5. Riot Van
  6. Red Lights Indicate Doors are secured
  7. Mardy Bum
  8. When the Sun Goes Down
  9. From the Ritz to the Rubble
  10. A Certain Romance
Favourite Worst Nightmare
  1. Brianstorm
  2. Teddy Picker
  3. D is for Dangerous
  4. Fluorescent Adolescent
  5. Only Ones Who Know
  6. Do me a favour
  7. If you were there beware
  8. Old Yellow Bricks
  9. 505
Humbug
  1. My Propeller
  2. Crying Lightning
  3. Secret Door
  4. Potion Approaching
  5. Fire and the Thud
  6. Cornerstone
  7. Dance Little Liar
  8. Pretty Visitors
  9. The Jeweller’s Hands
Suck it and See
  1. She’s Thunderstorms
  2. Black Treacle
  3. Brick by brick
  4. The Hellcat Spangled Shalala
  5. Don’t Sit Down cos I moved your chair
  6. Piledriver Waltz
  7. Suck it and See
  8. That’s Where You’re Wrong
AM
  1. Do I Wanna Know?
  2. R U Mine?
  3. Arabella
  4. No. 1 Party Anthem
  5. Why’d you only call me when you’re high
  6. Snap out of it
  7. Knee Socks
  8. I Wanna Be Yours
Tranquility Base Hotel and Casino
  1. Star Treatment
  2. One Point Perspective
  3. American Sports
  4. Tranquillity Base Hotel and Casino
  5. Four out of Five
  6. The world’s first ever monster truck flip
  7. Science Fiction
  8. Batphone
  9. The Ultracheese
Other (B-Side, Demo, Cover, etc.)
B Sides
-Anyways (Tranquillity Base Hotel and Casino B-Side) -Evil Twin (Suck it and See B-Side) -Bigger Boys and Stolen Sweethearts (I Bet You Look Good on the Dancefloor B-Side) -Stop the World I Wanna Get Off With You (Why’d You Only Call Me When You’re High) -Catapult (Cornerstone B-Side)
EP
-No Buses (EP Who the Fuck are the Arctic Monkeys?) -Da Frame 2R (Bonus Track)
See you lads in round 2, don't believe the hype.
submitted by ThePubeWizard to amcirclejerk [link] [comments]

What was a song...

What was an AM song(s) that you initially disliked/despised but grew to love? For me it’s Brianstorm, No 1 Party Anthem and Tranquility Base Hotel and Casino
submitted by G09EO4 to arcticmonkeys [link] [comments]

Missing/Murdered/Disappeared: Vanished from East Texas, 2000-2020

Hello friends. Per a request, here is a running list of those who have gone missing in East Texas. As a journalist in this area, these are the individuals I have noticed as part of the missing groups I frequent. Please feel free to direct me to more. As it is my line of work, I care deeply. Some of these individuals I know about, some I do not know much about. There are many more, but this first post is just the time range of 2000-2020. I will do other time periods if there is interest, although older cases are harder to track.
They are organized alphabetically.
Albright, Alwin- last seen 7/6/19 walking away from his home on Scott Street in Gilmer in Upshur County. He is 74 years old with grey hair and blue eyes. He’s 5’10” and 250 pounds. He was last seen wearing a red shirt and blue jeans. Mr. Albright has medical issues and is without the medications he needs. There is a $1000 reward for information regarding his whereabouts. Anyone with information should contact the Upshur County Sheriff.
Alvarado, Eric “Slow”- Last seen 11/20/18. Disappeared from Atlanta, Texas, he is 6’5” and 180 pounds. He was 32 years old, and now would be 34. He was last seen wearing camouflage pajama pants, a white t-shirt, and a gray zip-up jacket. He also may have the glasses he was wearing. He has tattoos on his arms, chest and neck. There is a $10,000 reward for information on his whereabouts. Anyone with information should contact the Atlanta, TX police.
Birdwell, Jerrod- Last seen 1/6/14. Missing from Tyler, Jerrod was 17 at the time he disappeared. His height is listed as 5’5” and weight as 170 pounds, but he may have grown. He is white, with short black hair and brown eyes. There are no more details available about him. Anyone with information should contact the Smith County Sheriff.
Boehm, Frederick “Lil Joe” Joseph- Last seen 1/25/01. 6’0”, 130 pounds, white male with hazel eyes and brown hair missing from Marshall. He has a rebel flag tattoo on his upper arm. His sister Jolene is searching for answers and offering a $5000 reward. Anyone with information should contact the Harrison County Sheriff.
Cannon, Heather Danielle- Last seen 8/27/09. The 15-year-old disappeared from Athens, Texas. Authorities believe she left of her own accord, and she was last seen in the company of her biological father, Jerral Allen Whitley. Whitley refused to take a polygraph test after Heather's disappearance and was later incarcerated in Florida for drug offenses and grand theft. He was imprisoned for 18 months before being released in October 2014. Police have since completed excavations of a property on County Road 4837, near Larue. Anyone with information should contact the Henderson County Sheriff.
Childress, Antoinette Renee- Last seen 10/13/15. Missing from Henderson at her trailer home. About a month before Childress went missing, her sister, Patricia Nichols, began receiving strange Facebook messages from her. The first message said there was an emergency and Childress needed her phone number. Three weeks later Nichols got another message that just said "Sister where are I, what's going on." On October 6, Nichols got a voice message from Childress's Facebook account. The message said something about guardian angels, but the voice wasn't Childress's. Nichols left home after that and didn't return until November 6, by which time Childress was missing.
Two women contacted Nichols after Childress's disappearance and said they knew what had happened to her. The women stated Childress had been involved in using and selling drugs, and gotten some bad people angry, and was tortured and killed as a result. This information has not been verified.
Childress was seeing Felipe Villanueva at the time of his disappearance. He is considered a person of interest in her case and has multiple warrants for his arrest on drug-related charges and driving without a license. His current whereabouts are unknown and it's unclear whether he's still in the area.
A few days after Childress was reported missing, police found her car being driven by a man in Henderson. He was arrested on an unrelated charge, and stated Childress had sold him the vehicle, something her family finds difficult to believe.
Childress has a warrant out for her arrest, but she's considered a missing person rather than a fugitive. Childress had just gotten off probation at the time and was trying to clean up her life. Her case remains unsolved and foul play is suspected. Anyone with information should call the Henderson County Sheriff
Combs, Donnie “Bon Jovi” and Cynthia Arnold (went missing together)- The pair was last seen 9/26/18 in Linden, near Atlanta, Texas in Cass County. Combs called Arnold and asked her to come pick him up in Cass Countyand she left home to do so. A little while later she contacted her mother and said Combs hadn't arrived and she was still waiting at the meeting spot. Neither of them has ever been heard from again. A few days after they were last seen, Arnold's truck was found abandoned and burned in Marion County, Texas. While Kevin Dewayne Shepard Jr. and his uncle, Gary Edward Shepard were charged in Oct. 2020 with capital murder of the pair, their bodies have never been found. They face the death penalty if convicted. Anyone with information should contact the Cass County Sheriff.
Culberson, Larry- Last seen 9/4/13. Larry went missing from his home on County Road 4320 in Emory. Larry had been having some medical issues shortly before his disappearance. Larry was last known to be wearing camouflage-style gray pants, a white T-shirt and he might be wearing high-top tennis shoes. He was 56 at the time of his disappearance. An extensive search was conducted in the area without any result. His medical condition causes him to walk with a limp. Anyone with information should contact the Rains County Sheriff.
Dunn, Hartford Hunter- Last seen 8/5/04. Vanished from his home in the 200 block of Private Road 4002 in Marshall in the early morning hours, his daughter said she woke up at 7:30 a.m. and found the door open and her father gone. At 76 years old, he was in the beginning years of dementia. He has not been seen since. Anyone with information should contact the Marshall Police.
Flint, Kimberly Carter- Last seen 9/29/18. Kim’s car was found partially crashed and abandoned in the roadway of State Highway 154 near the rural community of Rekaw, in Rusk County. Her purse ID, as well as other possessions, were at her home, according to Kim’s son James. Picture evidence of the wreck shows damage to the front and side panel of the grey four-door sedan. "The vehicle it was found still in the roadway partially crashed," her son said. "She just wasn't there." Two searches, both immediately after the crash and 170 days later, turned up nothing. A witness believes he saw her speaking with someone in a white pickup truck, but as any local knows… there are a lot of white pickup trucks in East Texas. Kim was featured on “The Vanished Podcast.” Anyone with information should contact the Rusk County Sheriff.
Farrell, Justin Kyle- Last seen 05/11/04. Farrell disappeared from Nacogdoches, Texas. In March 2015, his skeletal remains were found near Cushing in Nacogdoches County, Texas. They were identified in April 2015. Farrell's death remains under investigation and has not yet been ruled a homicide. Anyone with information should contact the Nacogdoches County Sheriff.
Fleisher, Steven Miller- Last seen 9/14/16. Missing from Troup, he was last seen around 6:15 a.m. in the 1200 block of Noble Street. Police say Fleisher did not take any of his belongings with him and his family has been unable to contact him. He was 53 years old at the time of his disappearance. Anyone with information should contact the Smith County Sheriff.
Flores, Lydia- Last seen 10/11/20. Reported missing on Oct. 19 by her Shreveport, LA boyfriend, who said he had not heard from her since Oct. 11. She is a 40-year-old Hispanic female, and has two tattoos: a barbed wire on her bicep and a playboy bunny on her lower back. She is 5’1” and 115 pounds. She has brown eyes and auburn hair. She is from Longview, but anyone with information should contact the Shreveport Police Department.
Franklin, Johnny William- Last seen 10/21/08. The black male, 5'9" tall and 150 pounds was last seen in Tyler. His vehicle was located in a church parking lot at 3009 N. Grand Ave. on October 21, but police said they saw no signs of foul play. He was 53 at the time of his disappearance. Anyone with information should contact the Smith County Sheriff.
Gallegos, Veronica- Last seen 01/11/05. Missing from Gun Barrel City at the age of 19, Her live-in boyfriend said she packed a suitcase and left; he speculated she'd returned to her native Mexico. She has never been heard from again. Gallegos left behind her purse, her Mexican identification and her six-month-old child. Her boyfriend is considered a person of interest in her case and has stopped cooperating with investigators. Foul play is possible in her disappearance, but few details are available in her case. Anyone with information should contact the Henderson County Sheriff.
Gipson, Tyress- last seen 8/22/20. Missing from Jacksonville, Texas in Cherokee County, Tyress had just turned 18 and graduated. He is 6’0” and weighs 180 pounds. He has tattoos of the name “Lavance,” “BG$” and prayer hands. He is an African American man, wears his hair in dreads, and has braces. Anyone with information should contact the Jacksonville Police Department.
Gutierrez, Marquita Leanna- Last seen 11/11/19. Some report her as missing out of Canton, while others report her as missing out of Wood County. Marquita Gutierrez was reported missing after borrowing her mom's pickup that morning to go to a doctor's appointment, but the doctor's office said she never showed up. Her husband told police she was last seen in the Dallas area and was possibly heading toward Laredo. Her husband has been named a person of interest in her case. Anyone with information should contact the Wood County Sheriff
Hunt, Shirley Mae- last seen 6/17/07. Missing from Henderson, Shirley was last seen walking on County Road 454 near her home in rural Rusk County. She had alzheimers at the time of her disappearance. She is 5’4”, 140 pounds with hazel eyes, white hair and a partial denture plate. She wears eyeglasses with a gold wire frame, and was 72 at the time of her disappearance. Sheriff’s deputies believe she got in someone’s car, due to scent dog tracking. Anyone with information should contact the Rusk County Sheriff.
Jackson, Cole Duane- last seen 07/13/06. Missing from Timpson, Jackson was last seen near FM 1645 and CR 4230. The truck he was driving came out of a private pasture and rammed into a fence. He stopped and spoke to the elderly man who owned the land. Jackson apologized and said he would pay $120 for the damage, but said he had to run to get away from the "bad people" who were chasing him. He abandoned his Dodge half-ton pickup with minor damage and left his two inhalers, which he needed, in the vehicle. The driver’s side door was open and the truck was still in four-wheel drive. Jackson's wife was three months pregnant with their first child at the time he went missing. Anyone with information should contact the Shelby County Sheriff.
Lee, Anthony Tyrone- last seen 6/25/11. Anthony was planning to go to the rodeo with his mother on the evening of June 25. When his mother came to pick him up for the rodeo, she found his home deserted. The ironing board was set up with the clothes Lee had planned to wear to the rodeo. His pants were on the ironing board with one leg dangling, as if he'd been interrupted while ironing and left in a hurry. His mother said he would not leave the house in his “house shoes” (a very East Texas thing lol) and he had $600 untouched in his bank account. About three weeks after Lee was reported missing, his mother got strange phone calls. A "death song" played on the line, then someone said, "that's what he gets for snitching." His mother noted that he had been associated with a known drug dealer and this person had wrecked Lee's car about a week before Lee disappeared. Anyone with information should contact the Texas Department of Public Safety (State Troopers).
Marshall, Kimberly Ann- last seen 3/17/17 after she spent one night in the Salvation Army womens’ shelter in Tyler, Texas. She was never seen again. Thirty-one years old at the time, Kimberly had cuts and scars on her arms, wrists and back. She also has upper dentures. She is 5’5” and approximately 105 pounds, although she fluctuates in weight. She has brown hair and brown eyes. Few details are available about her. Anyone with information should contact the Tyler Police Department.
Martin, David Michael- last seen 1/14/10. He was a truck driver based in Sand Springs, Oklahoma, and came home to Louisiana most weekends to visit his family. On January 14, Martin called to say he wouldn't make it home that weekend because his truck had broken down. He never contacted his loved ones again. The last person known to have seen him was the mechanic in Longview, Texas whom Martin took his truck to for repairs. They had dinner together, then Martin said he was going to wait on a friend to get truck parts. The mechanic left to do more work on the truck. Martin has never been heard from again. Anyone with information should contact the Sand Springs Police.
Martinez, Gregoria Jacobo- last seen 8/13/09. Martinez was last seen in Nacogdoches. She was born in Mexico and was living in the United States without documents at the time of her disappearance. Her two young children, both of whom are U.S. citizens, and they were visiting their grandmother in Mexico when Martinez disappeared. She had asked the father of one of her children for money to help bring her children home from Mexico. He agreed to meet her and lend her money shortly before she disappeared.Martinez planned to go to the Nacogdoches County courthouse on July 13 to pick up copies of her children's birth certificates, but she never arrived there. She has never been heard from again. She was reported missing on July 16. That same day, her vehicle was found abandoned on the side of County Road 525, near the intersection of U. S. Highway 59 south. There were no obvious indications of a struggle at the scene. Martinez may have gotten a ride south with a truck driver in order to find her children; however, her family never saw her. Both the fathers of her children have been questioned and neither of them have been named as suspects. Authorities believe Martinez was taken against her will. Anyone with information should contact the Texas Department of Public Safety (State Troopers).
Marquez, Erin Raquel- last seen 8/30/14. The 17-year-old disappeared as she was leaving the Longview Baptist Church in Hallsville, near Longview. She has long dark hair that was dyed red, and 5’6”, 130 pounds, and has brown eyes. Anyone with information should contact the Harrison County Sheriff.
McKay, Melissa Darling- last seen 6/10/11. At 1:35 a.m., Melissa walked out of the Choctaw Casino in Grant, Oklahoma with a white male companion, Jeremy Upchurch, of Lamar TX and was never seen again. Upchurch continues to be a person of interest due to his criminal background. Properties in Oklahoma, Delta and Lamar counties were searched, but came up empty. I can’t find an independent source to corroborate, but a personal conversation I had with law enforcement indicates they have found her vehicle in Oklahoma and presume she is dead, possibly due to drug involvement. Anyone with information should contact the Hopkins County Sheriff or Sulphur Springs Police.
Meadows, Beverly Lofton- Last seen 12/26/08. Beverly walked away from the Community Cares Nursing Home in the 200 block of west Merritt Street in Marshall, Texas and has never been seen again. Meadows had lived in the nursing home for about six years prior to her disappearance. She was supposed to wear an identification bracelet that would have activated the nursing home's door alarms, but she took it off before she left. She left without taking any personal belongings. Her mother, who lives 15 miles from the nursing home, believes Meadows was trying to walk to her residence. She was 48 years old at the time of her disappearance, 5’3”, and 240 pounds with short brown hair. She requires daily medication, and she doesn't have her medicine with her. Anyone with information should contact the Marshall Police.
Morton, Sheila- last seen 6/2/14. Missing from Center, Texas, Sheila’s behavior and personality changed drastically in the weeks leading up to her disappearance, according to her mother Joan. She had recently quit a restaurant job she had for seven years, moved out of her residence, and began hanging out with an old group of friends. Additionally, the last purchase Sheila was known to make was for a 9mm handgun, which was left behind when she disappeared. She was last seen at her ex-boyfriend’s house. Her phone was turned off the same day she vanished, and she has never been seen or heard from again. Sheila’s family members do not believe she would voluntarily leave her son behind. Anyone with information should contact the Angelina County Sheriff.
Pierce, Ashley- last seen 3/10/20. Disappeared from the Longview area, she is 5’3” and has a Hello Kitty tattoo on her thigh and a scorpion on her shoulder. She has long brown hair. Anyone with information should contact the Gregg County Sheriff.
Salazar, Rosemary “Rose” Rodriguez- Last seen 10/6/19. Attended a family birthday party at the Golden Corral in Kilgore, and was supposed to report to work the next morning at the Kilgore Walmart, but no-show, no-called. She has several distinctive tattoos, including a heart with a fishing hook, a deathly hallow, and the inscription “my person” next to a rose. She is a 5’4”, 185 pound Hispanic woman with brown eyes and brown hair, and it is not known what she was wearing when she disappeared. Her lime green 2014 Chevrolet Sonic is also missing. Anyone with information should contact the Gregg County Sheriff.
Stewart, Harry Edward- Last seen 11/30/11. Harry was traveling from Springtown, Texas to Alabama and was last seen in Hallsville, Texas. His age was 65 and he is white, 5’10”, and weighs about 170 pounds. Sheriff’s deputies determined he was driving when he hit something and had to leave his vehicle after his radiator overheated. Harry told the responding officer he would wait at the Dairy Queen on Farm-to-Market Road 450 near mile marker 604 for a ride. He was never seen again.
Thompson, Lauren Colvin- Last seen 1/10/19. At 1:53 p.m., Lauren made a frantic but coherent call to her mother. At 2:01 p.m., Lauren called 911 and told Panola County dispatch she was being followed. The call lasted for 21 minutes before disconnecting. Lauren’s family says it “abruptly ended,” police say the “cell phone died.” Lauren’s phone and shoe were found in the Rock Hill community, a rural area with less than 200 residents and more than 2000 acres of woods. A search by multiple law enforcement agencies turned up nothing. A $10,000 reward is offered for information on Lauren’s whereabouts. Anyone with information should contact the Panola County Sheriff.
Tidwell, James “Jimmy” Lamar- Last seen 2/15/12. Family members found his rural cabin in Rusk County abandoned, and later found his vehicle abandoned on Farm Road 95, approximately five miles from his home, without a battery. "I do not believe for one minute that he left this property of his own free will," his sister Lynn Akin said. The road was a route he took frequently. He was 58 at the time of his disappearance. The truck showed no signs of foul play, according to Sheriff’s deputies. Anyone with information should contact the Rusk County Sheriff.
Valdovinos, Gustavo Baldovi- Last seen 7/11/12. Missing from his maternal aunt's home on Houston Street in Tyler. He told his family he was an alcoholic and had decided to go into treatment, and he left with a group of people who promised to get him some help. The group he left with is described as a Caucasian male and two Caucasian females driving a white Chevrolet Z71 or Silverado pickup truck. Anyone with information should contact the Smith County Sheriff.
Wells, Brandi- Last seen 8/3/06. Was leaving the Graham Central Station nightclub in Longview at around 12:30 a.m. Her damaged car was found on Interstate 20 near the Brownsboro exit with her personal belongings inside. She was wearing rust-colored gaucho pants and a floral tube top, and is 4’11, 130 pounds with blonde hair and blue eyes. She was 23 in 2006, she would be 36 now. She was featured on Investigation Discovery’s “Disappeared.” Anyone with information should contact the Henderson County Sheriff.
Witt, Jana Mann- last seen 8/17/05. Missing from Glen Rose in Somervell County, Ms. Witt displayed personality changes several weeks prior to her disappearance. She has also gone by the names Jana Holstin, Jana Howard and Jana Branch. She was 44 years of age at the time of her disappearance, and 5’3”, 160 pounds with blue eyes and dyed red hair. The missing persons database notes that foul play is possible. Anyone with information should contact the Somervell County Sheriff.
Sources: News reports, Charley Project, Missing Eight East Texas and more
https://www.news-journal.com/news/local/police-searching-for-husband-of-missing-wc-woman/article_7c5144ee-8434-5e12-9829-360d060c510a.html
https://www.ketk.com/news/vanished-hartford-hunter-dunn/
https://www.panolawatchman.com/news/still-no-answers-in-lauren-thompson-case-a-year-after-she-went-missing-from-panola/article_07d707bc-4d15-11ea-8c84-af4fb2d30b79.html
submitted by liberty285code6 to UnresolvedMysteries [link] [comments]

Mafia IV story idea

Note: The particularly important details and music artist names are in bold text. Licensed music track names are in italics.
The year is 1973, five years after the events of the Mafia III, and 22 years since Vito Scaletta’s seen or heard from his old friend Joe Barbaro. The canon ending of Mafia III with this Mafia IV story is Vito taking over the city after Lincoln skipped town, however Cassandra and Burke are left alive and loyal to both Vito and Lincoln still. Burke was able to survive his liver cancer by getting a black market liver transplant in Mexico, like he did in his ending, except with Vito running the city. On Vito and Lincoln’s behalf, Burke and Cassandra agree to stay behind in New Bordeaux and keep the city locked down, incase Leo Galante and the Commission try anything.
The beginning cutscene is Vito answering his telephone after getting up in the morning in his new penthouse, on the top floor of the New Bordeaux casino he finished that was once Sal Marcano's, and grabbing a cup of coffee. It's Alma with some urgent news. Lincoln Clay came down to the cigar warehouse to visit her after 5 years of silence, and he has big news.
Joe is alive in Empire Bay and has been this entire time. However, as punishment for his actions, he's become Leo Galante's personal driver against his will and is forbidden from contacting Vito ever again, or else him and Vito will be killed. Alma then tells Vito to meet Lincoln at the airport to learn more, as he's already there awaiting Vito's arrival. When they're away from anyone who could listen in on their conversation, Lincoln tells Vito he has a friend named John Donovan he's going to introduce him to, hiding in the outskirts of Empire Bay, ready to help Vito and Lincoln with their new mission
Vito gets dressed in one of his signature trench coats with a suit and tie, ready to rain down hell on the Vinci crime family and their allies, and finally be reunited with his lifelong friend he previously thought was dead, Joe Barbaro.
Here is my idea for the kill list, all related to the Commission in Empire Bay and their allies.
I'm thinking Vito and Joe work with Lincoln Clay and John Donovan to split up Empire Bay and distribute territory to three other factions not unlike what Lincoln did with New Bordeaux. This time though, this is a much larger city in a much, much different part of the United States. The empire building mechanics would be a lot smoother, more robust, and streamlined compared to Mafia III. They would work similarly a more modernized version of how the game Scarface: The World Is Yours handled it's empire building and management mechanics, minus the whole switching to other characters lower on the ladder to do your bidding. This would be ideal for a story rich organized crime game in my opinion. Here are my ideas for those factions, all close allies of the up and coming Scaletta crime family.
The Cuban mob led by Alma Diaz. Vito goes way back with Alma, and she does not hesitate to answer him and Lincoln's calls to save Joe's life and royally fuck both Leo Galante and the Vinci family.
Conti crime family, led by Enzo Conti. This Conti crime family formed sometime in late 1968, months after Lincoln helped Enzo flee New Bordeaux and drop off of Sal Marcano's radar. It turns out he fled north to Empire Bay and finally formed his own family, having more than enough years of experience in the underworld to handle the job. Lincoln's tight with him and manages to recruit him to Vito and Joe's cause.
The Yakuza, based out of Empire Bay's Japantown. Longtime sworn enemies of the Empire Bay Triads, with bad blood going back decades. They would greatly enjoy seeing Mr. Chu and his son's heads mounted on pikes, along with whacking everyone who's ever supported their organization. You don't know them well, and they're known to be very unpredictable and ruthless. Use these traits to your advantage when taking on the Commission of Empire Bay and their friends.
I should mention as expected, this entire 1973 section where you play as Vito is much shorter than Mafia III. Vito's takeover is shown much more quickly over time than Lincoln's, and there's time skips during it, to keep it short and sweet, and to show onscreen only what's important. There is also no option for your underbosses to betray you, as to reduce confusion and keep the story consistently the same each playthrough, like the first two Mafia games.
However, unlike Mafia III, after all of these tasks are completed and every single assassination target on Vito’s kill list is dealt with, the game does not end. In fact, it's not even anywhere near close to being over yet. Vito's 1973 section was merely the beginning act. It was really a lead up to an entirely new Mafia story, centering around a newcomer to the American mob. Fast forward two years following Vito’s rampage that led to him taking over Empire Bay and the Commission, in the year 1975 him and Joe now rule Empire Bay, with Vito as the Don of the Scaletta Crime Family, and Joe working as his loyal underboss. You play the rest of the game as a young up and coming soldato named Louis in his 20’s, who’s a rising star in Vito’s organization. Do right by Mr. Scaletta and Mr. Barbaro, understand kid?
My basic idea for the character and his backstory is that he's a young Italian-Canadian mobster from Toronto, Ontario, or whatever Mafia's equivalent of it could be called. Let's call him Louis DeAngelo. (No relation to Tommy Angelo) His family hails from Tuscany in Italy and moved to Toronto, Ontario in 1939, shortly after World War II broke out in Europe. Louis DeAngelo was born in July 1952 in Toronto, and was raised in Toronto's Little Italy. Louis fled south to Empire Bay when the feds started cracking down on his old family and put his boss in prison, and he ended up finding a new home with the Scaletta crime family. The first few missions playing as Louis DeAngelo involve shooting your away out of an arrest by a Toronto Police Service SWAT team in Toronto in December 1974, seeing the rest of the members of your old crime family either get arrested or shot in front of you as you make your escape. You spend the next two missions fleeing Ontario through Quebec and upstate New York, before finally arriving in Empire Bay in early 1975, late January to be exact. Winter is in full force with snow everywhere, Louis' arrival to Empire Bay for the first time in his life mirroring Vito's return to Empire Bay in 1945 30 years earlier, except under far different much more dire circumstances. Louis' older brother and his father, both capos in his old crime family in Toronto, are shown to be arrested by the TPS SWAT team in his first mission, the same one that attempted to gun him down when he resisted arrested. Louis knows someone had to have ratted out his old crime family, and he wants to find out who someday. The thing is though, he doesn't just want to kill them. He wants to get out of them why they did it before he kills them. More than anything else, he just wants to find out why his crime family was betrayed and served up to the feds on a silver platter, having most of his biological family sent to prison in the process. He’s out to uncover the mystery of why his family fell apart, and he’s more than willing to help people like Don Vito Scaletta and his underboss Joe Barbaro to eventually get the answers he seeks. I came up with the idea for this character because I figured that playing as a fugitive from the law made sense for the mob life, and I'm surprised we haven't had a fugitive protagonist in the Mafia series yet.
In the 1975 chapters while playing as Louis, the Watergate scandal, President Richard Nixon’s resignation, and the official end to the Vietnam War are both discussed on the in-game radio during news segments. In the last 1979 chapter, the beginning of the Soviet-Afghan War is also the subject of a news segment on the radio.
The story eventually transitions into the 1980's as years pass, with the scenery, cars, and music changing accordingly, and historical events of the time discussed in the game. By the time the game ends, it's 1992, and significant historical events from the past few years at the time that are covered on the radio in-game include anything from the fall of the Berlin Wall, the Gulf War, the collapse of the Soviet Union, to the 1992 L.A. riots. The rise of the internet and home computers are briefly touched upon during news segments on the in-game radio during the early 1990's section of the story, but not greatly delved into given their relative infancy in that time period. During this entire 1975-1992 stretch of the story, Vito is no longer playable, and Don Scaletta takes a backseat in the story as a main supporting character, similar to Don Salieri throughout Mafia: Definitive Edition. You now play as the Italian-Canadian Scaletta family soldato Louis DeAngelo, who is later promoted to being a capo in 1985. However, unlike Don Salieri, Don Scaletta has much more integrity, and has more genuine loyalty for his men and his associates. If you've beaten Mafia 1 or Mafia: Definitive Edition, you'll know this is something Salieri lacked in the end.
The game will include a number of hit music from the 70’s that played on the radio back then, such as Bobby Womack’s Across 110th Street and Tony Christie’s (Is This the Way to) Amarillo, The Grateful Dead's Casey Jones and at least a few songs by the then new American rock band Cheap Trick, as well as popular songs from the 1960’s people still listened to at the time, such as Sam the Sham and the PharaohsWooly Bully, King Crimson’s 21st Century Schizoid Man, Zager and Evans' In the Year 2525, The Zombies' Time of the Season, and Nancy Sinatra’s These Boots Are Made for Walkin'. When you progress through the game, especially after you switch to playing as Louis DeAngelo for the rest of the story, years change, and the music changes. Different songs start playing on the radio, such as Sylvester's You Make Me Feel (Mighty Real), Randy Crawford's Street Life, and The Village People's Y.M.C.A., Cheryl Lynn's Got to Be Real, Gloria Gaynor's I Will Survive, and the Bee Gees' Stayin' Alive start playing in the 1979 portion of the game. After you've completed the 1975 section of the game, Foghat's Slow Ride starts playing on the radio. Starting in the 1977 section of the game, Cheap Trick's I Want You to Want Me and Heart's Barracuda start playing on the radio. In the 1980's portion of the game, Thomas Dolby's songs Hyperactive! and She Blinded Me with Science, in addition to Night Ranger's Sister Christian also start playing on the radio. If Hangar 13 can afford the licenses, I also think a few Michael Jackson and Madonna songs should definitely be on the radio during the 1980's portion of the story, given the immense popularity and regular radio airtime those two had in that decade. If this ended up being possible, I imagine that Michael Jackson's Smooth Criminal, Beat It, Bad, and Billie Jean being on the radio in the 80's sections would be a must, Smooth Criminal especially because of how well it suits the series. Madonna's Lucky Star, Burning Up, Like a Virgin, and Borderline would also be perfect for the 80's portion of the game to me. Also mentioned by NPCs and civilians in the game are topical events of the time period, such as the release of the groundbreaking 1973 horror film The Exorcist at the end of Vito's playable portion of the game.
Other music of the 1980's segment when playing as Louis DeAngelo for the remainder of the game includes hits of the era such as Joe Jackson's Steppin' Out, The Buggles' Video Killed The Radio Star, Corey Hart's Sunglasses at Night, Laura Branigan's Self Control and Gloria, The Weather Girls' It's Raining Men, A-ha’s Take On Me, Men at Work's Down Under, Kim Wilde's Kids in America, The Gap Band's You Dropped a Bomb on Me, Culture Club’s Karma Chameleon, Twisted Sister's I Wanna Rock and We're Not Gonna Take It, Bon Jovi's Wanted Dead or Alive and Bad Medicine, Loverboy's Working for the Weekend, Dead or Alive's You Spin Me Round (Like a Record) and That's the Way (I Like It), Tiffany’s I Think We’re Alone Now, Daryl Hall & John Oates' Maneater, Aneka's Japanese Boy, Mötley Crüe's Dr. Feelgood, Girls, Girls, Girls and Kickstart My Heart, Billy Joel's We Didn't Start the Fire, Huey Lewis And The News' Hip To Be Square, Bill Medley's (I've Had) The Time of My Life, The Police's Every Breath You Take, Whodini's Magic's Wand, Tears For Fears' Everybody Wants To Rule The World, Rockwell's Somebody's Watching Me, Regina's Baby Love, Nena's 99 Red Balloons, Earth, Wind, and Fire's Let's Groove and September, Billy Idol's Eyes Without a Face and White Wedding, Rick JamesGive It To Me Baby, Wham!'s Everything She Wants, George Michael's Careless Whisper, Toto's Hold the Line and Africa, Blondie's Heart of Glass and Atomic, and Mai Tai's History.
Note that not every single year and moment of the 17 year 1975-1992 section playing as Louis DeAngelo is playable or chronicled. My idea is it would be handled similarly to how the time skips in Mafia 1/Mafia: Definitive Edition were handled. Time skips of two or more years, or in this case, even longer such as 4 years sometimes, the game skipping from 1979 to 1983. This is to keep the game and story length ideal, and not risk it getting boring or repetitive, or going on for too long. Repetition was a big problem in Mafia III even if I still thought it was a superb game, so I think it'd be best to learn from that for the next big entry. The games story will skip ahead and show onscreen only what's significant, similar to the first Mafia game and it's remake, as well as certain aspects of Mafia II. Louis starts his section as a 22 year old fugitive soldato who got picked up by another crew south of the Canadian border, and in the epilogue of the game in 1992, is promoted to the consigliere of the Scaletta crime family at the age of 40, being set to take over the family once Vito and Joe become too old to run the day to day on a regular basis.
The years chronicled in the main gameplay segments are as follows:
1973
1975
1977
1979
1983
1985
1986
1987
1989
1990
1991
1992
Much more of the rural areas and countryside outside of Empire Bay are included than what was available in Mafia II. The way rural environments are handled for this hypothetical Mafia IV is akin to how Mafia: Definitive Edition and Mafia III handled their rural environments outside the main cities, except much larger in scale, given the increased power of the current new consoles such as the PS5 and Xbox Series X. This region is based off of upstate New York and the surrounding areas across multiple states in the Northeastern US, and includes forests, fields, mountains, rivers, lakes, beaches, and small towns. Also included are other cities and towns, based off of other large cities in New York like Syracuse, Buffalo, and Rochester, where other story missions, business activities, and side missions take place, along with smaller notable places like Ithaca, Binghamton, and Utica. The entire states of New Jersey, Massachusetts, Rhode Island, Vermont, New Hampshire, Maine, Delaware, Maryland, and Ohio are also included, including places based off of all of their major cities and most of their notable towns in between. Large portions of Pennsylvania are included as well, including Philadelphia, Pittsburgh, and Scranton. Large portions of the eastern half of the Canadian province of Ontario are included as well, including cities based off of Toronto, Ottawa, and Niagara Falls. There's even a small portion of Quebec included, including Montreal and the surrounding countryside of the province outside that city, including a few small towns in southern Quebec. The player must pass a quick border patrol check when crossing the US-Canada border in a car or other ground vehicle.
Wildlife is present in the game, mostly to add to the background, scenery, and immersion in rural environments on the map. These are all animals native to the Northeastern US, ranging from white tailed deer, coyotes, bobcats, Canada lynxes, rabbits, hares, groundhogs, gophers, beavers, raccoons, opossums, bats, chipmunks, red and gray squirrels, mice, and rats to more formidable and potentially dangerous animals that may sometimes attack the player, such as grey wolves, black bears, mountain lions, and moose. These last four animals are known to spawn in the mountainous regions, especially in New York, Ohio, Vermont, Massachusetts, and Ontario, including the rural regions based off of the Catskills and the Adirondack mountains. Dogs are present in the cities, towns, and settlements where humans live and keep them as pets, being walked and sometimes found in people's yards. Some are used as guard dogs by enemies and are aggressive towards the player on sight. Domestic cats are also present in the background of residential areas, and both Louis and Vito own them as pets throughout the game in their safe houses, as well as other onscreen characters we see the homes of throughout the game.
Aircraft make their first usable appearance in the Mafia series too, from airplanes to helicopters. Vito cannot use planes or helicopters in his playable 1973 portion of the game, as he does not know how to pilot, being a paratrooper in World War II who never actually flew any of the planes himself. Aircraft are unlocked to use when Louis DeAngelo gets his pilot’s certificate offscreen in 1977, and at the end of a chapter set that year, Louis has to fly Vito in a helicopter to a penthouse in Downtown Empire Bay acting as a family safe house, equipped with a helipad. Louis frequently serves as a personal driver and pilot for both Vito and Joe afterwards, having done a lot in his time serving the family to earn their trust and respect.
Melee weapons also make a return from Mafia: Definitive Edition, with even more variety this time. In their respective sections of the game, Vito and Louis may use anything from baseball bats, pipes, shovels, brass knuckles, golf clubs, police batons, switchblades, kitchen knives, bowie knives, ice picks, 2x4s, claw hammers, crowbars, tire irons, chain links, machetes, meat cleavers, pickaxes, hatchets, sledgehammers, to fire axes. This amount of melee weapons is so no matter what environment the player finds themselves in during a mission or any other game activity, there is usually a weapon of some sort nearby. If the player has obtained piano wire, you may also strangle an enemy to death with it from behind as a stealth kill, this being a classic assassination method infamous for being used by the Italian Mafia. Rope can also be found and used for similar strangulation stealth kills, appearing in the gameplay environments where piano wire can’t be found. There is a wide variety of new guns and explosives to use in this concept for Mafia IV, going with the new weapons of the time the game takes place that criminals quickly got their hands on. This includes the SPAS-12 combat shotgun, the Beretta 92 pistol, the AK-74 assault rifle, the mini uzi, the MAC-10 submachine gun, both suppressed and unsuppressed variants, the Beretta 92 pistol, the Taurus raging bull revolver, Glock handguns, the TEC-9 machine pistol, illegally modified to be full auto, the Ruger Mini-14 full auto variant, and even Vietnam war era flamethrowers, which I think is only natural given that as of Mafia III, we already have RPGs and grenade launchers. Late in the game from the 1989 section and onwards, the Benelli M3 combat shotgun becomes available. The Milkor MGL grenade launcher becomes available beginning in the 1983 portion of the game. Attached grenade launchers are also available for the AK-47, AK-74, and M16 assault rifles.
Free ride makes a return in Mafia IV, with the player having the options to change the weather, time period, and an option to play as Louis, Vito, Joe, or Lincoln. Naturally, a multitude of new free ride missions are available as well.
I previously posted a much earlier and less detailed draft of this on the old Mafia3 subreddit 3 years ago back in 2017 as an idea for a hypothetical Mafia 3 expansion where you play as Vito, but have since updated and revamped it to a possible Mafia IV plot, and fixed any plot holes I noticed and made it much more fleshed out and in depth, and focus on more than just Vito in the end. You may view my original here if you so desire, to compare. https://www.reddit.com/Mafia3/comments/6sldhp/spoiler_mafia_iii_vito_dlc_basic_plot_idea/
Feel free to give me constructive criticism on this, as I encourage this discourse and believe it is integral to growing and improving, to build upon or improve these ideas I've come up with, or say whether or not you think something like this should happen in the future. Thank you for reading!
submitted by RichterTheRatman to MafiaTheGame [link] [comments]

The Bollywood film ‘Dhoom’ (2004), misinterpreted as an action thriller, is in fact a rigorous allegorical analysis of economic policies, particularly in the Indian context in the early ‘00s.

Spoilers ahead.
Connoisseurs of film are undoubtedly well-aware of La Nouvelle Vague, aka, the ‘New Wave’—an experimental movement in filmmaking with its origins in the French cinema of the 1950s, with an emphasis on exploration of personal themes such as existentialism, iconoclasm and absurdism. Although the ‘New Wave’ is considered to have met its chronological end in the late 1960s, to be followed by successive movements like ‘New Hollywood’, ‘Cinema Novo’ and ‘Dogme 95’, the influence of la nouvelle vague continues to be keenly felt in the artistic masterpieces of Bollywood production house YRF. Under the skillful hand of renowned auteur Aditya Chopra, the studio has produced a lineup of commercially successful arthouse flicks that continue the French filmmaking renaissance of the ‘50s, successfully infusing avant-garde storytelling techniques with high production values and modern Indian themes. Nowhere is this revolutionary vision more evident than in films like DDLJ (a masterpiece in abstract, absurdist storytelling), Mohabbatein (a sensitive examination of the taboo topic of attitudes towards adolescent self-gratification), Kal Ho Naa Ho (an ambitious adaptation of historian David McCullough’s book 1776), Jab Tak Hai Jaan (a religio-philosophical drama that engages in debate upon the tenets of Christianity, Shaivism, and the cultural taboo of Kala Pani) and, of course, the Dhoom franchise.
As YRF’s most popular franchise, the Dhoom series has, with each installment, made great independent strides in cinematic theory and practice. Although—as read above—YRF films explore a wide, varying range of topics as a whole, the Dhoom franchise focuses exclusively on the examination and discussion of economic and socio-economic matters of policy and practice in the Indian context. Over the course of 3 films, the discourse acquires a rich depth, with the analysis of issues including the economic costs and benefits of national highway construction, the clash between entrepreneurial aspirations and the security of bureaucratic employment, the 2008 economic recession in the BRICS context, and the causes and consequences of non-performing bank loans and a profiling of defaulters of on said loans. Indeed, a first course on Indian economics at any prestigious institution may well be framed around careful viewing and discussion of the Dhoom films. In the careful hands of Aditya Chopra and Vijay Krishna Acharya (Dhoom 1/2/3, Tashan, Thugs of Hindostan), each Dhoom film achieves a delicate balance between the overt cops-and-robbers heist story and the covert exploration of complex economic schools of thought.
As the 1st film in the franchise, Dhoom (2004) establishes the storytelling framework for the films to come, and by itself explores the challenges and opportunities presented by Indian economic policymaking in the early ‘00s. The film features an all-round star-studded cast, with support from Honorary Roadie & Stardust Awards nominee Esha Deol, Star’s Sabsey Award winner Rimi Sen, and Indian Telly Award nominee Arav Chowdharry. At the film’s helm are Lions Club Award winner John Abraham, Sansui Award winner Abhishek Bachchan, and Emmy nominee Uday Chopra. Series regulars Bachchan and Chopra play Jai and Ali respectively, Jai being a policeman and Ali a small-time mechanic with a penchant for fast bikes and disinterested women. Abraham essays the villainous role of Kabir, part-time restaurant waiter and part-time leader of a gang of biker thieves.
The film begins with a series of daring heists pulled off by Kabir’s gang, relying on their high-speed bikes to orchestrate sudden thefts and promptly escape the scene soon after. Their exploits catch the eye of Jai, a lifetime appointee to the post of Assistant Commissioner of Police. Jai, however, finds himself out of his depth and through a series of accidents, makes the acquaintance of Ali, a mildly-seedy mechanic and bike racer. Initially reluctant to be associated with law enforcement, Ali is eventually induced to join Jai’s cause and attempt to chase down Kabir and his merry band of men. Dhoom is slow and deliberate in its setup, and the film’s early minutes are heavy on subtext and detail, therefore, it is essential to take in the plot in small increments, so as to be thorough with one’s analysis.
In an allegorical sense, Jai, as a police officer, represents bureaucratic authority and the security, comforts and powers of government employment. Abraham’s Kabir, as a thief, is a laissez-faire capitalist, relying on his material advantage in the form of fast bikes and his manpower advantage in the form of skilled bikers to partake in a series of one-sided transactions with economic entities such as banks and government funds. In this sense, the act of robbery in Dhoom is merely a transaction between two private parties wherein one side gains an unfair amount at the other’s expense, absent external interventionism. In addition to being a free-market advocate, Kabir is also an employee at a pizza parlour, which seems to be the film’s attempt at exploring both the growing role of the service economy as a share of India’s Gross Domestic Product (GDP), and the amorphous nature of employment within the modern ‘gig’ economy. Caught between the competing ideas of state-control and free capitalism, Chopra’s Ali is a stand-in for the directionless youth, lured by the safety and dignity of a government job, whilst simultaneously seduced by the potential for greater wealth presented by free-market capitalism. The film’s plot is overt in this depiction, with Ali simultaneously fearful of Jai’s authority, yet desirous of wielding said authority as an employed policeman. Furthermore, in an action sequence set in Mumbai’s Chor Bazaar—a flea market specializing in illegally-hawked goods—Jai and Ali get into a fight with goons in the market, and are forced to make a hasty escape after being outnumbered. Ali bringing Jai to the market illustrates his ties to the informal, underground economy—a large, undocumented component of the Indian economy—and Jai’s subsequent fleeing the scene highlights the failed outcome of government attempts to regulate this grey economy by force and bluster.
Initially at a loss for clues, Jai is eventually able to deduce that Kabir’s bikers arrange their heists in close proximity to highways, providing as the highways do quick getaways after. This is no doubt an allusion to the economic importance of the National Highways Authority of India’s flagship ‘Golden Quadrilateral’ national highway construction project. Kabir, the raw capitalist, is empowered in his capitalistic pursuits by the government’s infrastructure investments, and John Abraham’s moody expression throughout the film is in no small part perhaps due to the discontentment within Kabir’s mind about his enterprise’s dependence on resources provided by the state. Having deduced Kabir’s MO, Jai and Ali attempt to catch him in the act. However, Kabir and his gang appear to have substantially faster bikes than Jai and Ali, which is undoubtedly an allusion to the government’s perceived ineptitude and inability to generally compete with private enterprise. Left chafing and chasing the dust, Jai catches a lucky break when an overconfident Kabir offers him a clue about his upcoming crime, with the catch being that if Jai fails to avert it, he must recuse himself from the case and leave Kabir to his entrepreneurial pursuits. Kabir, the staunch capitalist, is here hinting at the idea of termination clauses in Public-Private Partnerships (PPPs), agreements between enterprises and governments for mutual benefit. Whilst the government naturally retains the right to sever the partnership at any point, Kabir clearly believes that he, as the private party, is also entitled to terminate the contract should the government, aka Jai, default on the agreed-upon terms. Formally known as the ‘Authority Default’ concept, Dhoom represents this idea in the form of a simple, easy to understand challenge between Jai and Kabir.
Even as this layered conflict plays out between Jai and Kabir, Ali is enamoured by the mysterious ‘Dilbara’ (Esha Deol). Little is known about Dilbara, however, like other characters in the film, it may be reasonably assumed than she is also an allegorical depiction of an economic concept. Ali’s infatuation with her suggests that she is perhaps intended to be portrayed as a vague, undefined avenue of aspirational employment. Furthermore, the fact that she (as is later revealed) is in fact a part of Kabir’s gang, yet also harbours feelings for Ali, leads one to conclude that Dilbara represents a form of compromise between dirigisme, aka restrictive state-controlled economy, and laissez-faire anarcho-capitalism. The filmmakers leave the specifics of this compromise vague, however, Dilbara’s skimpy outfits perhaps represent the scantiness of opportunities presented by this nebulous alternative.
Returning to the main plot, Jai, despite being forewarned, fails to foil Kabir’s next robbery, despite being able to take down one of his gang in the process. Left short of a gang member, Kabir attempts to recruit Ali, left sidelined by Jai following their failure to catch Kabir. The jilted Ali readily embraces Kabir’s neoliberal worldview and the duo jet off to Goa, where Kabir has his eyes set on one final score from a casino. Subtextually, the casino and gambling in general represent what is in Kabir’s eyes an essential component of his brand of capitalism—rampant speculation and volatility that may be manipulated to one’s benefit. There may also be an addition reference to British academic Susan Strange’s seminal 1986 work Casino Capitalism, a critique of unregulated banking and financial systems. However, Kabir is more likely than not to be derisive of such thoughts, and therefore, if this reference was intended, it may merely be made to indicate the filmmakers’ complete mastery over both Keynesian and Austrian schools of economic thought.
The importance of dance numbers in YRF films cannot be overstated. Even as Bollywood music gravitates towards being little more than catchy jingles designed to elicit maximum publicity, the music and dance numbers in YRF films complement the plot perfectly, serving to both entertain and narrate. Dhoom is no exception to this tradition of excellence. On the eve of Kabir’s final heist, an inebriated Jai shows up at the casino, claiming to have left police employment and moved on. Kabir, however, is rightly suspicious, given as Jai is still a cop, and is merely attempting to lure Kabir into a false sense of comfort as a prelude to catching him in the act. This Jai accomplishes by putting on a song-and-dance in front of Kabir to convince him of his abandonment of state-sponsored socialism and his embrace of Kabir’s unrestrained capitalism. The song is entitled ‘Salamee’, a clever homophone of ‘salami’, a sausage that consists primary of beef. The consumption of beef was, in a landmark 2005 Supreme Court judgement, forbidden on grounds on anti cow-slaughter laws. Kabir, as an opponent of government intervention, would likely have been opposed to the idea of such a restriction being imposed upon him. Therefore, to show his solidarity to the cause, Jai takes to the stage in front of Kabir and sways to the refrain of “Naye kal ko aao kare, hum karein, karein/Salami, salami, salami/Kar le salami…”.
The subterfuge is apparently successful, and a placated Kabir is lulled into a false sense of security by Jai’s reinforcement of his worldview. However, as mentioned, Jai’s conversion is little more than a ruse, and a hoodwinked Kabir is successfully caught in the act by Jai and Ali, who is revealed to have been Jai’s mole all along. The ever-slippery Kabir, however, weasels his way out of Jai’s clutches, and flees with his loot. Although Dhoom 3 would better address the phenomenon of loan defaulters taking flight from the verge of captivity, Dhoom too takes a cursory look at the occurrence, although Kabir does not quite embody a loan defaulter. He is merely the free-market capitalist, the robber baron caught flouting regulations and fleeing from the consequences of government intervention. A long chase sequence ensues, with Kabir fleeing but ultimately cornered by Jai and Ali at the precipice of a sea-facing cliff. Facing a choice between certain captivity and death, Kabir chooses to fly off the cliff with the last of his loot. In a literal sense, Kabir merely dies by falling off the cliff into the sea. In a figurative sense, faced with the prospect of his enterprise being forced to comply with ungainly regulations, Kabir chooses instead to offshore his business, and make for better waters, thus bringing his character arc to a natural and satisfying conclusion. A frustrated Jai bemoans his end, representing the government’s exasperation at ultimately failing to bring a rogue enterprise to heel. Ali, having seen his capitalistic expectations dive off a cliff with Kabir, chooses in the film’s final shot, to finally pursue the path to safe, steady, state-sponsored employment after all, asking Jai if he finally is a bona-fide police officer, as the film fades to black.
The topical nature of Dhoom is a cause for admiration, even a decade and a half after its release. The film successfully ties together strands of economic and socio-economic thought from its time—the ‘Golden Quadrilateral’ project received a major fillip in the first years of the new millennium, the service sector encountered a boom around the same time, as did the contribution of outsourcing to employment and economic growth. The rise of men like Kabir is perfectly timed in the post-License Raj years, as the country embraced capitalism over state socialism. Yet, the lure of stable, ‘safe’ government employment holds true, and powers men like Jai and seduces men like Ali. Dilbara’s unknown fate at the end of the film—left waiting for Ali by the side of a road—is representative of the uncertain outcomes of economic models with time. On a meta note, the Dhoom franchise’s casting of Abhishek Bachchan and Uday Chopra in every film is a nod to the ‘Mahatma Gandhi National Rural Employment Guarantee Act’ of 2005, a flagship government initiative that guarantees employment for a certain number of days out of the year, in the form of unskilled labour.
In summation, Dhoom rightly deserves its place as a seminal film in the annals of both YRF and Indian cinema. In its own right, it is a bold, experimental film that marries erudition to entertainment. It is also the progenitor of its celebrated franchise, providing the springboard from which future films would explore similar issues in an equally deft and precise fashion. To YRF, the Dhoom franchise, and Indian cinema, the film Dhoom is nothing short of a bottle of nitrous oxide, that when attached to a bike, propels it into the stratosphere.
submitted by throwaway_intuition to india [link] [comments]

Unleashed pt. 45

Some words from u/eruwenn and I. Enjoy?
First / Prev / Next

 

  Chae’Sol stood at the centre of a large command deck, meticulously peeling the protective film from his new captain’s chair. The sensation of the slow but steady yielding of the film, the sweeping line following the contours of the seat in flowing curves; it was incredibly satisfying. Finally, with one last gentle pull, the last of his chair was uncovered and he stood back to admire his throne. Aside from the freshness of the seating itself, there were shiny new holo displays, touch sensors, and comms relays that were within easy reach of his seated fingertips. This ship would be the jewel in any fleet, a prototype Dreadnought made by the infamous Bardul of Shi’an. The Gowe Military faction had run into financial problems, and it had been left unpaid and unclaimed. What sorcery Kadir had used to find it, and purchase it, he did not know.
His comms unit beeped and Danyd’s voice came through. “Chae’S-” -He grumbled incoherently- “Captain, we’re ready to get underway.”
The Niham turned and sat back on his pristine chair, swinging his long legs over the armrest. “That was quick, Chief Engineer Ef’Yto
Danyd grunted at the use of his title. “Aye, these Awakened are efficient bastards.” The Satryn looked around at the enormous engineering bay. The entirety of the Porkchop Express could comfortably sit inside, and two of them could likely squeeze in. “Plus, this thing has never been used; feels weird not having anything to work on. It’s state of the art, and I’m having to read the manuals on half the new systems.”
Chae’Sol laughed, looking around at the Awakened as they were preparing their workstations. “Yeah, this command deck is a little intimidating. Even the Niham Armada didn’t have ships like this. There are fifteen weapons stations here, what in Tulseria’s name were the Gowe planning to do with this thing?”
“No idea.” The chief engineer walked to the large seat in front of his new work terminal, and hopped up onto it. The protective covering squeaked. “This thing has more firepower than half their fleet, it must have been something big. We’re lucky Kadir found out about the graveyard of unclaimed ships from one of his contacts.”
The newly-minted captain swung his legs down and sat up, straightening his black uniform and white collar. “That’s another thing: how does he have so many contacts? I was in the Tulseria-damned military, and I had no idea they would sell us fighters and weapons.”
“I know the feeling.” Danyd watched a junior engineer – Lily, an Awakened who wore a headband in her silver hair that sported long Kittran ears on it – begin running diagnostics on the Hoban Field Generator. “I'm aware he got the automated weapons for the system port from my people, somehow. As for how he accomplishes all he does, I think his time working with that fancy Anatidae councillor opened more than a couple of doors for him.”
Chae’Sol stood, running his fingers through his perfect hair. “Doors, windows, rear entrances and damned secret portals, all leading to a dark realm of shady deals and supplies. We have an Imperium Capital Ship for Tulseria’s sake! Nobody knows where he got it, or where he’s now hidden it.” He looked at his holo display, noting the specks springing blinking into existence as the other ships of Federation origin came to life. “Let’s just be glad he’s on our side.”
The chief engineer tugged at the green collar to his uniform. “Our side used to be a damn sight smaller.” Lily had finished her diagnostic tests and sent the results to his console. Her report included an adjustment that would create a potential three percent increase in crystal efficiency, and a small drawing of a smiling leokit with a crim-bar. He groaned, then reported back with, “We’re ready to go when you are.”
The Niham strode confidently across the command deck, stopping to stand in front of the huge vid screen at the front of the room. All around him were his crew, made up mostly from the Ashi, Awakened, and Kasurians. “Let’s get this show started.”
 
 
Jaym sat with a bowl of Tony the leokas cereal in front of her. It wasn't just a catchy advertising slogan - it really was great. She and Elizabeth had worked together so much in the engineering section of the Porkchop Express that they had become close, often spending their free time together. Indeed, Elizabeth currently sat opposite her, carefully rebuilding a power coupling and occasionally tapping at her datapad. Shortly after the results of her most recent tap played out, Elizabeth paused her work on the power coupling. Without speaking, she held up her datapad so that Jaym could see.
On the screen was Tony and his mate Jolie, and Skeena’s voice could be heard excitedly talking about collecting urine samples from the female. Jaym screwed up her face at first until Skeena announced the pregnancy test was positive. Tony was going to be a father! She couldn't contain her joy and screamed loudly, grabbing the screen and running all the way to the bridge to show the others.
Ranjaz was stretched out across the captain’s chair as Jaym burst in, and didn’t open his eyes until she began shaking his leg. Even then he didn’t pay much attention. “I told you not to let Elizabeth play with any more systems till after the mission.”
She blushed slightly, as their last improvement had inverted their water treatment system and blown six power couplings. "It's not that!" she said, holding up the datapad and starting the video. "Look!"
At the first syllable of Skeena's voice, Ranjaz sat bolt upright. The video held his full attention, and when Tony's impending fatherhood was announced the Kittran's whoops of delight could be heard all through the Porkchop Express. He reached underneath his seat and retrieved a small, fluffy bed, then picked up Aiov. Ranjaz led his unusual dance partner in a quick spin of joy before replaying the GalacTube video for her. “You’re going to be an Aunty!”
Eruwenn leaned back in the large seat that had once been Embar’s. “I didn’t think they were related?”
The Kittran nodded. “Aiov is Tony’s sister. Aaron adopted them both, and that’s how human families work. They just keep adding members, like a Dular adding shells to its burrow. Family is family.”
Cygna pressed a few buttons on her Navigator terminal, moving the video to the main screen as well as starting it over. “I still can’t believe you keep one of these under your seat. I mean, it’s a leokas!”
Ranjaz held Aiov up and they briefly rubbed noses. “Just a little one!”
The Anatidae laughed. “I can see living with the human has had quite a profound effect on you.”
With one of his trademark grins he held Aiov out towards Eruwenn. “Wanna nose rub?”
"Ah," the councillor said, shrinking back from the offer, "despite her size she is still a predator, and I am not quite ready for such a close encounter.”
From the pilot seat Ripley stood, taking Aiov from Ranjaz. “She is not a toy.” She briefly snuggled the tiny leokit to her chest, then passed her to Jaym. “Take her for food and exercise; she must grow up strong.”
Jaym also cuddled the wriggling Aiov close, and not just because the little leokit was adorable. Aiov had tripled in size, and was becoming a bit of a handful. “Thor was preparing her food; I’ll take her down to him.”
Once the junior engineer had left, and Ripley returned to the pilot seat, Ranjaz began tapping on the console in front of him. “Looks like we’ll be free to take the shuttle down to the surface with the next group.”
Cygna drummed her fingers on the arms of her chair. “I didn’t realise it would be so busy.”
Ranjaz shrugged. “There was a quake on the fourth planet, so mining colonies are shut down while the nerds poke around. Along with that, we got three big freighters waiting for resupply. That’s a lot of bored folks looking to kill time.” Ripley grunted, prompting a chuckle from the Kittran. “You don’t approve of their choice of leisure activity?”
After their few cycles together Eruwenn was already learning a lot about her shipmates. Ripley, for instance, wasn’t one for talking. She decided to interject before the Captain irritated her too much, as they would need her focus soon enough. “Gambling and pleasure palaces are not to everyone's taste, of course, but these sorts of things are covered under local governance.”
Without skipping a beat Ranjaz replied, “I know that’s the official line, but you sure as shit have tax codes for all of it. If you want to look down on folks, don’t pretend you aren’t profiting from it.”
Cygna, ever defensive of her mentor, jumped in. “That’s a bold statement for someone who never paid a credit in tax until it was automatically deducted from his Galactic Federation pay.”
Ranjaz laughed, then continued, keeping his voice care-free. “Taxed on what? I never owned anything.”
Eruwenn could see the trap her junior was walking into but decided to let this be a learning experience. The Kittran was wily, and the Anatidae found him entertaining. Cygna, as she had predicted, scoffed at his claims. “I’ve read your file. When you were arrested you had a ship, five shuttles and thousands in valuable goods confiscated.”
“Exactly!” His eyes lit up as he cornered her. “It was confiscated because it was stolen, so I didn’t own it. Imagine a world where you can keep stolen goods if you pay tax on them. Even I think that’s crazy.”
The Fae’Dan paused, and the anger evaporated from her voice as she realized what he had said, replaced by a slightly impressed tone of surprise. “Well, maybe, but… Really? You stole all of it?”
Ranjaz shrugged. “Or won it. I’m pretty good at Dalcho.”
Cygna perked up. “I play Dalcho myself, we shou-”
“No,” Eruwenn interrupted. Some lessons were too expensive. “Do not play Dalcho with someone who can get free priority entry permits to a casino.”
The former operative shook her head. “I’m a great player, you’ve seen me in the council chambers. I took that Ley’Rulian trader for five hundred credits.”
The Anatidae smiled kindly. “And he had five shuttles when he was arrested.”
Cygna slowly turned from Eruwenn to Ranjaz, noticing his grin and the sparkle in his eye. It was most definitely the smile of a predator. He gave a little chuckle. “Don’t worry, it’s been a long time since I played. No gambling on Galactic Federation ships, you know.” He laughed again. “Oh wait, you read my file.”
The Fae’Dan nodded. “Perhaps we should focus on the mission.” She gave a slight bow to Eruwenn before returning her attention to her console.
Ranjaz looked at Eruwenn and stuck out his tongue. “Don’t ruin my fun!”
The Ambassador smiled. “I don’t play Dalcho, but there is a human game called chess I quite enjoy. Perhaps we could play sometime?”
The Kittran gave a nod. Keeping his voice neutral, he replied. “I don’t know that one, but there’s another human game we could try. Poker?”
"We have permission to dock at the holding ring and send down a shuttle," Ripley abruptly called out. "Let’s get this whatever it is and make the rendez-vous.”
Both of Ranjaz’s fangs showed as he grinned. “If we’re going to pull a job on Chisola Prime, first you’re going to need to look the part!”
 
 
Aaron walked down the corridor of the Hive ship, the strange spiderlike creature trailing behind him as he followed one of the corpse vines as it receded deeper into the ship. He turned and watched the creature, which shrank back from him and crouched low to the ground. “I’m sorry I kicked you. You simply startled me; you don’t have to hide.”
The lighting never changed in the endless corridors of the ship, and only the most uninteresting of doors deigned open for him. At this point, he had lost track of time completely. Through perseverance he’d made several important discoveries. The bulbous shapes in the flower vase room were seats; he was fairly certain of that after finding another room with bodies sitting in them. The vines that came for them were the ones he was now following, and by now he must have seen hundreds of dead Hive.
The second discovery was that the Hive came in a variety of shapes and sizes. There were two main ones, as far as he could tell, and the first were the four legged kind that had so kindly thrown him in the rejuvenating jelly bean. The second was bipedal, and looked a hell of a lot meaner. While the ones he deemed workers looked somewhat like ants to him, in shades of reds and browns, the second type looked much more commanding. Their carapace had thicker layers of armour in green, gold and red, and was spiked at the shoulders and joints. Even their legs had spines and to top the look off their heads were much more angular. Whether they were soldiers, commanders, or something else, he didn’t know. Through observation of the corpses he had discovered the most confusing feature yet: a strange section in the centre of their abdomen that was filled with what seemed to be a grey fluid.
Ahead of him, not skittering away like the rest, was an aphid that no longer emitted a pale green glow. Something whooshed overhead towards the slow and sluggish aphid, and Aaron instinctively threw himself to the ground before he realized what it was. "That's how you get kicked!” He stood up, brushing himself off. “Fuck, that scares the ever-loving shit out of me every fucking time.”
The huge creature looked up at him and whined as it munched on the sick aphid. He was probably imagining the apology in its eyes, but Aaron still shook his head. “I know, I know. It’s your job. They clean the floors, you keep their population healthy. Just stop leaping over me like that, fuck. I’m going to have a heart attack.” It whined and backed away from his angry words, and he tried to keep his voice to calmer tones. “Don’t be like that. I’ve told you enough times.”
When he looked down the corridor again, the retreating corpse vines had disappeared around a corner. Aaron began to jog after them, and after he'd put some distance in he heard the pattering footsteps of his terrifying shadow. He tried to pay it no mind. Once the vines were back in sight he slowed and followed behind them, singing his direction song quietly to himself. “Left, right, straight. Left, left, right. Straight, straight, left, left. Right, right, straight, right, right.”
The ship was massive and, other than some areas smelling funkier than others, there was no variation in lighting, decoration or layout. The song was his map back to the rejuvenation pod, which was his only safe source of hydration. His companion padded along behind him, a friendly nightmare to accompany him on his seemingly endless journey. “We really need to give you a name.” He wished he had his phone with him so he could channel all his nervous energy into making a video. “The audience demands a name. Plus, I won’t be able to sell merch without one.” He turned and looked at the creature. “I’ll probably have to create space-halloween first, or maybe I’ll get lucky and find that you’re cute to some species.”
Aaron returned to following the corpse vine, waving a hand high as he spoke, gesticulating to the heavens. “The name is what matters: a good name makes all the difference.” He began seriously pondering the naming matter. “Aragog, Shelob; you know, lean into your size for a characterization. But then again, that's not really going to make people like you.” He looked back over his shoulder as the unnamed beast trotted happily behind him. He assumed happy, at least. It now tended to make an odd gurgling noise after eating, and it roamed closer to him than before. “You know, I never got to name Sassie – she’s my dog. I told you about her yesterday, or the day before.” He really was losing track of the days he’d been here. “I got her from a rescue. She was skinny, and so damn angry, with scars on her legs and under her fur. I had to have special visits before I could keep her. Prove I was worthy.”
Talking helped take his mind from the gnawing emptiness in his stomach. Hydration and nutrients osmotically obtained from some weird pod were nowhere near as satisfying as a burger and a cold beer. “Her first visit, she had a rubber ball. It was her only possession, and she loved it.” There was a touch of pride in his voice. “Took me an hour before she gave it up to play. The lady from the rescue centre said I was the first.” He choked up, blinking back tears. “Anyway, couple more visits and she got to stay. Crazy dog was such a handful. She once tried to climb a tree to chase a squirrel. Got her legs over the first branch and just dangled, kicking her back legs.” He began chuckling to himself. “She once tried to jump through a car window; some guy was parked at the lights as we walked past.”
He was just chatting now, lost in his memories as he walked. “You know the type, loud radio, windows rolled down on a sunny day, annoying the shit out of everyone in the town. He tossed some litter out of his window and she just launched herself at him. Scared the life out of me at the time - funny as fuck now, of course.” He laughed again. “Then there were the swans. Man, were they not ready. She loved to swim – I told you that before – swimming and splashing was her favourite release. Well, that and chasing rabbits which is, kinda, how I ended up here. Anyway, she would just swim up and down, right past the ducks and stuff, somehow never interested in them. Then one summer these swans came along...” He paused, realising his new friend didn’t know what a duck or a swan was, or even summer, probably. Before attempting to explain, he realised they also didn’t understand english, so it really didn’t matter. “Anyway, swans being belligerent bastards, I called her out of the water straight away. Those mean white fuckers chased her all the way to shore.”
He turned around, now grinning broadly. “But, once her feet hit the ground in the shallow water and she was able to stand, did those sons of bitches turn and swim away as fast as they could.” He paused, trying to remember his original point. He really was very hungry. “Oh yeah, so trying to stop her fighting everything that moved meant I didn’t have time to teach her a new name. Figured it would be confusing to her. Sassie she was, and so Sassie she stayed.”
There was a tightening in his chest as he thought of her missing him. “Took a lot of years and a lot of time for her to get where she is now. I know Alexa will take care of her, but still, it’s my job, and I need to get back to doing it. She won’t understand…” He choked up completely, taking a moment to compose himself before clearing his throat and returning his monologue to its original course. “Anyway, names. Names matter.”
“Maybe you’re a girl monster. Charlotte?” He shook his head. That name just didn’t seem fitting. “We could call you Peter Parker? Although, you’re more of a man-sized spider than a spiderman... Parker Peter? Then again, big, scary spiders say one thing to me. Australia. You like to jump, we could call you Roo? Or, how about Ozzy? Or Bruce? Hmm, that’s a sharks name though… can you swim?”
His train of thought derailed suddenly as he saw an open door ahead of them through which the vines were receding. The pair of them continued walking behind the vine until it disappeared into the doorway and Aaron ran forward, pulling something from his pocket. He’d been saving the foil wrapping from the ration bricks, folding them together to form a wedge. He jammed his makeshift door stop under the bottom corner of the door as it began to slide shut. It ground to a halt. “Boom! Told you it would work.”
He stood and finally looked into the vastness beyond. Through the doors was, somehow, a rolling meadow, complete with trees, giant mushrooms and plants he had no name for. Vines were also everywhere, receding further across the great wilderness. “What the hell? I thought I was on a spaceship? Am I underground?”
Staring intently at the sky, he stepped onto the deep moss beyond the door. He looked at the wall around the interior and saw it was rock, and more plant life clung to every crack and crevice. As he walked slowly forward his eyes followed the vine as it headed for a large, colourful, monolith. He approached and saw that its shape was similar to the vase flowers. He watched as the corpse vines deposited their cargo on top of the monolith. Not on, he corrected himself;they were dropping inside.
He looked back to the door, nervous that it might close and lock him in. A large black shadow lurked just beyond the door, and he was torn. Should he explore this 'outside' world, or retreat to the place where he at least had the rejuvenation pods? He looked up at the sky, basking in the warm and invigorating embrace of the sunlight. He blinked at the brightness, being cautious to not look at the sun directly, and something else suddenly caught his eye. It was, incredibly, a door. A door that floated in the sky.
The thing about human eyes is that they might be easily fooled, but a shift in perspective can easily change what you see to something entirely different. Aaron was looking up at a ceiling, like the one in the Atrium back on the Azrimad, but a hundred times more convincing.
Once back inside the doorway he watched the spiderling he was beginning to think of it as a friend dancing back and forth a short distance away. It seemed… happy. “Ok buddy, I’m back.” Aaron’s stomach made a loud gurgling sound and he rubbed it, trying to squeeze the hunger away. Fingers found muscle easier than usual, and he knew he was definitely losing weight. “We should head back. I need sleep.” He thought for a moment and made a final decision, bending down to pull the foil wedge clear. “I doubt there’s a communicator or command deck in there. Let’s go home, Ozzy.”
The trip back was uneventful, Aaron sang his direction song as they navigated the labyrinth. A few more aphids were snacked on by his leggy companion, but his own legs were heavy by the time he was almost back to the jelly beans. Despite being exhausted he had made two stops to create another pair of flower vases for the aphids, as well as scattering a ration brick as he passed by. The aphids waited, as they always did, till he and Ozzy were far enough away before enjoying his bounty. Still, the human derived satisfaction from their presence.
Exhausted and weary, Aaron was glad to finally make it back to the room he was reluctantly calling his temporary home. As the door to the rejuvenation pod slid open he was met, forcefully, by the barrel of an energy rifle. Unfortunately for Aaron, due to a considerable height difference, the barrel had struck him squarely in the groin, and he instantly fell to his knees. He came face to face with his attacker with tears in his eyes, clutching his tenderness and coughing. From the other being came incomprehensible yelling, as well as a lot of gun waving. Also, there was coughing.
Aaron, eventually mustering enough self-presence to do something other than deal with the after effects of the gun-to-groin encounter, wiped the moisture from his eyes and tried to butt in to the one-sided conversation. "Relax! I'm the one who just got snookered in the fucking balls, here! Why in the world are you so mad?"”
The gun was pressed to his forehead by the tiny attacker, who shouted something unintelligible with their black eyes focused on him. They paused to cough, then stepped back, glaring at Aaron until they seemed to feel comfortable enough with the situation to take one hand off of their weapon and pull out a datapad. They held it up, and Aaron frowned at the familiar but still unintelligible colours that swirled on the screen. Then a small vent at the bottom of the device squirted out a puff of sickly sweet scent.
Aaron pulled back from the odour. "What the fuck was that?"
With some distance between them, the human finally got a good look at his opponent. They were barely waist-height, furry, with a long nose and dark banding across their brown fur. The banding was heaviest across their eyes and although that’s where the similarities ended, it was enough for the human’s brain to forge a connection. “Listen, Rocket, there’s a virus on this ship. You need to get in the jelly bean. Trust me.”
The rifle was thrust at him shakily in one hand, the tablet again was raised and a swirl of colours and shapes greeted him. “I don’t speak fucking winamp plugin!” On the wall behind his captor Aaron spotted a dull orange aphid, struggling to climb the wall. He smiled as he slowly leaned to one side. “Have you met Ozzy?”
The huge arachnid leapt over them both, causing the newcomer to blindfire at the wall. Aaron seized his chance and snatched away the weapon. He grabbed the newcomer by the front of their armoured uniform and slammed them to the ground. They cried out in pain and began their incomprehensible yelling once more. The accompanying coughing fit was bad, and Aaron dragged them to their feet. Realising that his solitude had caused him to revert to English, he switched back to galactic standard to offer a warning about the disease. “You’re going to die!”
A shocked look crossed their face as the human effortlessly lifted them and slam dunked them into a blue jelly bean. Ozzy gurgled happily through his aphid crunching. Aaron snatched up the energy rifle, but found it was difficult to hold due to its small size. He leaned over the jelly bean, noting the occupant drifting off to sleep.
Hunger and tiredness were forgotten as adrenaline flooded his system. There was no way the newcomer was alone. He left the pod room to begin searching, and Ozzy seemed to pick up on his intention and followed behind, keeping close to the human. “Good boy!” He had no idea what prompted it, likely some automated response, and it was as though he watched his movements from outside of his body as he reached back and gently scratched the arachnid's head. He was rewarded with happy gurgles, or at least that's what he hoped the noises were. “You did good back there.”
He made his way along the corridor towards the same airlock he had once chosen as his final exit. His recent suspicion proved correct as he heard a strange sound up ahead, as if someone was running a wet finger around the rim of a glass. He carefully leaned around the curve and saw another figure, dressed in the same uniform as the first. No fur on this one, although they were equally small in size, and they somehow looked like they were made of glass which couldn’t decide on a colour.
This time he remembered to use galactic standard. “Keep your hands where we can see you. We’ve got you surrounded!” The figure was clearly startled, as the ambient resonating noise began varying wildly in pitch at the same moment as their colour shifted to a solid blue. Aaron cursed. He didn’t have a translator, having instead opted for learning standard and winging everything else. The whole federation knew standard, so he hadn’t truly considered getting the implant. “Something is wrong with our translators,” he continued to bluff. “Do you speak galactic standard?”
A datapad was hastily pulled from a pocket, and as buttons were pressed the resonating sound became more rhythmic. From the datapad sprung noises. No, it was a voice! “Why do you speak Procyon? Where is Commander Bertolannixostraphes?
Aaron began relaxing at the situation he found himself in, but inside he was brimming with joy. Finally, he could talk with someone! “There is a virus on this ship, and many are dead. If your commander is the raccoon-looking guy, I got them into a healing pod. They’re going to be fine.” Under his breath he added, “probably.”
The resonating began and shortly afterwards the voice translated, “Who are you? Why did you not answer our communications.”
Opting for honesty in the hopes of leniency, Aaron stepped into view. “I’m a passenger. I don’t have access to the ship's systems.” The newcomer was looking at the tiny gun, so the human tossed it forward. “I didn’t know if you were friendly. I can take you to your friend, and you should probably get treatment as well.”
The now-orange alien walked forward, their movement accompanied by the strange sound of ceramic plates rubbing together. “That won’t be a problem, we Tricinic do not catch meat diseases. I am Tsy'lo, take me to the commander.” They turned to look behind them. “Where are the others?”
Aaron pointed to Ozzy. “It’s just us two.”
Colours swirled and the small glass person thrummed. The datapad spoke, “You are the last human, the Ambassador. Correct?”
Turning and gesturing to be followed, he began to lead the way to the rejuvenation room. “I am the first human, Ambassador Aaron Cooper, professional bounty hunter. Just call me Aaron. Are you the rescue party? Is Alexa here? Did she bring Sassie?”
It took a moment for the translation to come back. “I don’t know those names. We are the Special Tactics and Rescue Squad and we responded to distress calls and found this ship. Adrift.” They had walked a little way when Tsy'lo stopped and regarded Ozzy, who was still faithfully following behind. “Why does the achalo follow you?”
“Ozzy?” Aaron shrugged. “I think he was lonely. So, were you sent into Hive space to find me, or are you on some top secret mission? You aren’t with the Sentinels, are you?”
“Lonely? But it is an achalo.” Tsy'lo was confused and their colour visibly swirled. “Why would a rescue mission be secret? And, we weren’t sent, we were already here.”
Now it was the human who was confused. “Like spies behind enemy lines? Is that why you are in Hive space?”
The Tricinic hummed at a higher frequency. “It is our space. We are the Hive!”
 
 
Admiral Pelar of the third fleet stood in the centre of the training mat. On the floor around her were four tough looking Ashi, while a fifth was now squaring off against her. She blocked the jab and the surprise knee strike that followed, turning effortlessly to bring her elbow to her opponents ribs. With another deft turn she was behind him and kicking his knees forward. He tried to roll clear but she had anticipated the move and, as he rose, her spinning boot struck the side of his head.
“Nice try gentlemen.” She walked away and caught a towel thrown by the drill instructor. “That last one has potential,” she said, and the drill instructor nodded. “Next time, I expect at least one of them to land a hit. If not, I’ll have you in the ring instead, to make sure you still have what it takes.” She saw the fear in his eyes. “I accept nothing but the best from the Third Fleet.”
The medics ran onto the mat as she dabbed at her forehead, and she spotted Jar’Bek sitting on a bench nearby. She walked over to him and he stood, straightening what was no doubt an extremely expensive suit. “From one disappointment to another.”
The lawyer smiled. “Imagine only seeing your son when he is paid to be in your presence,” he countered.
She smirked. “Your tongue is still your most deadly weapon.”
He nodded. “Ah, but it must make you proud to see me make use of the things you taught me.”
Her face twitched. “I taught you to be a true Ashi, a soldier. I taught you to respect-”
Jar’Bek held up his hand. “I’m here on my client’s business, not yours. And, as I am paid a considerable sum per gal, let us not waste their money on matters that are concluded.” He enjoyed the irritation on her face. “I am here to finalise the amnesty treaties, and conclude your membership as citizens of Earth.”
The Admiral held up her hands, looking down at her combat training clothing. “I must shower and change first. Please, wait for me in my private office.” She smiled politely.
“No.” His smile seemed to hover as if it was a mask that could slip at any time. “You may have disowned me, but I still remember your tricks. You knew the time of our meeting; you had me brought here so you could intimidate me with this display of aggression. Then you ask me to wait in your office amongst your memorabilia and trophies.” He watched the anger behind her eyes. “You really think these tired old tricks will work on me?”
She sneered. “At least you remember something.”
“Oh, I had the scars removed, but I kept the lessons.” He walked away. “My client's time is valuable and I have scheduled a meeting with the other fleet Admiral’s for later this cycle. Since we have no time for your games, let us go to the briefing room. My team is already set up. If you wish to shower, know that it is more of your negotiating time you are wasting, and I do so hate waste.” He collected his briefcase and walked out of the room.
Captain Loring hurried after Jar’Bek, catching him as he entered the elevator. “You sure you want to antagonise the Admiral like that?”
He leaned back against the wall of the elevator and relaxed, letting out a small sigh. “A little negotiating trick a Kittran taught me. Anyway, she is no longer my Admiral.”
Elora’Tan leaned back on the opposite wall. “She is your mother, Jar.”
“Ha.” Jar’Bek laughed. “She disowned me. This is the first contact we’ve had in I forget how many celes. Her first thought is to try and intimidate me with that display. She likes to beat on cadets, she likes to cause pain, and she wanted me to watch.”
Loring gave a weak smile. “It forges strong soldiers. We can’t afford weakness.”
The elevator stopped and Jar’Bek took a step closer to Elora’Tan. “You think it was weakness that made me leave?” He didn’t let her answer, turning and exiting into the hallway. His voice now resonated with authority as he growled, “In case you people have forgotten, the Ashi will operate under the same rules as the rest of the colony. My mother is not the law... I am the law.
 
Next
submitted by Sooperdude24 to HFY [link] [comments]

TBHC Album Theory

Star treatment- Alex has been destroyed by his life “I just wanted to be one of the strokes, now look at the mess you made” His rockstar life makes him want to leave earth. He has retreated to the moon, however his fame has seemed to follow him to the moon.
One Point Perspective - He’s lost it and he’s trying to find what he should do in life, he’s currently in his room going insane. He’s considering all things he could possibly do on the moon from politics or maybe being a musician on the moon, he’s been swimming with too many economists.
American Sports - Alex is now broke on the moon, he drank and partied all his riches away. As he gazes at planet earth from outer space, he realizes now that he must change his ways. He remarks on all the lovers he encountered in his life, but he doesnt seem to be satisfied with it.
Tranquility Base Hotel - He’s now working at the front desk as “Mark” in the TBHC,as he deals with different clients. He starts to question he technology on the moon as it engulfs him
Golden Trunks- Mark watches earth from the moon and remarks how corrupt it has gotten, he seems to have fallen in love on the moon with a woman he fantasies about too.
Four Stars Out of Five - Mark is now in charge of the tranquility base. he has changed it up and made it more commercial, as he established a taqueria. “it’s all getting gentrified” more people are now moving to the moon, so the hotel and casino is now more active
The World’s First Monstertruck Frontflip- Tranquility base is now a proper tourist destination, as Mark described the worlds first monster truck front flip which preforms at the TBHC. Mark also mentions some of his lovers he has encounter on the moon, Lizzie, Judie, and the girl it is addressed to. Perhaps she is just a bad girl trying to be good.
Science Fiction - “But the hand of harsh reality's un-gloved And it's on its way back in to scoop you up” His lovers on the moon do not seem to stay for very long, as Mark notices how culture begins to form on the moon, which is very much science fiction.
She Looks Like Fun- The moons seems to not have has many people have left, Mark spots a woman who he wants. They partake in various moon activities which is expressed in the chorus, Mark now truly is a moon citizen. Mark now spends most of his times in bars, it also seems he left his position at the TBHC. He’s now beginning to unravel on the moon.
Bat phone- Mark is now very successful on the moon, he seems to be some sort of celebrity on the moon again. The moon now has a city on it “tinsel city”. He doesn’t seem to be satisfied with his life on the moon, as he waits by the bat phone for the woman who was a bad girl trying to be good has left the moon.
The Ultracheese- Mark is now alone in his apartment, all of the people he had cherished have now left the moon. He returns to the bar he would frequent with his friends and lovers. The bad girl trying to be good has left for good, he addresses this song to all his previous friends on the moon. He hopes that people will continue to visit the moon, however he still misses his friends on the wall. He ends his memoirs by telling the girl he still loves her
submitted by manwhosoldtheworld55 to arcticmonkeys [link] [comments]

Cayo Perico Heist Update Review

So it’s been a few days since the update dropped so I think it’s been a good enough to let the update’s content sit and allow us to play around with everything.
To address the elephant in the room, let’s talk about the island: it is very, very, VERY underwhelming. I already made a post explaining the problems with the island, so I’ll just keep it brief: it’s all run down industrial drug manufacturing and no resort town area thingy for the tourists at the party. It’s quite unrealistic thinking about the people there and where they’re going to stay. If they wanted to make the infrastructure of the island undeveloped, then make it be like Cuba, where it’s all old timey buildings with classic cars on the unpaved roads. It’s all off-road areas, which TBH are pretty cool if you wanted some off-road/rally cars to try out BUT OH WAIT YOU CAN’T BECAUSE THE ISLAND ISN’T ACCESSIBLE IN FREEMODE. I don’t know what Rockstar was thinking when they said “an entirely new location.” When you say it like that, of course people are gonna expect it to be in freeroam so they can have fun with their friends and hang out in their cars and whatnot, and no having tiny portion of the island where you can just do what you do in your nightclub and the Music Locker, and that is to just dance and drink and entertain yourself for 5 minutes. If you try to leave the island, the guards stop you and your character automatically walks back toward the party. You can’t even sneak or swim around the guards you are just stuck at the party until you decide to go back to Los Santos. From what some people say, it’s because of the limited hardware, and that the entire island is free to explore in freeroam on the XSX/S and PS5, but very few of us have those consoles, and those who do say that claim is false. It’s just either the game is old or that Rockstar just wanted to be dicks to us, and if they did know we were expecting a map expansion, then I’d like to believe the. They really did do us dirty like that.
The very first prep/scout might be the worst mission in the entire game. All you do is take pictures of stuff you need for the heist, which is fine, except the stuff spawns in random locations and if you wanna fully complete the prep missions and get your crew completely equipped you have to find 4 of the stuff, like the bolt cutters and grapples. I like the idea of posing as a DJ’s entourage then sneaking out scope out the island. It’s cool, except for the fact the mission is goddamn awful. It’s a mandatory stealth mission, which doesn’t sound that bad, then you remember stealth in GTA is just so, so bad. “So what if it’s a stealth mission, just quietly take out everyone in your way.” That’s the problem: you can’t eliminate anyone in this prep mission, not even punch or judo chop or whatever on the guards. As soon as you get too close to any of the guards, you are spotted and instead of dying and respawning, you’re dragged back to the party (or airport, if you’re doing the prep after the first play through) and have to sneak your way back all over again. It gets pretty frustrating after awhile. To make it worse, if you’re spotted too much, you are thrown off of the island and wash up on the shores of Vespucci Beach, which doesn’t make sense geographically, since Cayo Perico is confirmed to be in the Caribbean and LS is next to the Pacific Ocean. After getting thrown off the island, you have to go back to the Kosatka, restart the prep, and do the mission all over again.
The other prep missions are somewhat of a step up from the Casino Heist preps. For one, there aren’t any missions where you have go back twice for any of the equipment; it’s a one and done deal. The missions utilize different interiors from previous updates, like the CEO office, Import/Export garage, etc. and I find that somewhat cool. The missions themselves aren’t that hard, so they should be able to be breezed through.
The heist itself was in many ways a step up from the Casino Heist, in a way. All the different kinds of approaches, entries, methods, setups, etc. made the heist very unique with different levels of replay ability. As annoying as the guards on the island are, it’s good that they spawn randomly, as to encourage more challenge and thought as to how to approach the heist, unlike the Casino where they all have fixed locations, and after a few play through you figure out the formula and breeze through it like no problem. The guards are still ridiculously hard to all kill, even with all the prep missions to weaken them done. They still have aimbot, not surprised there. There’s a juggernaut in El Rubio’s mansion, but it’s not that bad, since there’s only one that spawns, and you can just use explosives. It is a heist that encourages stealth, and is very unforgiving to those who fuck it up. The enemies are fairly weak if you do the preps, but they just swarm you everywhere, especially in El Rubio’s mansion where they flank you at all corners, and if you’re not careful, you can go through all your snacks and armors quickly.
The amount of content released day one is very underwhelming, and the drip feed line up lowkey sucks. Half of the cars showed off in the trailers and promos were actually released on launch but the rest are to be released weekly over the next few months. I get it, Rockstar wanted to artificially extend the lifespan of this update, but did they really have to make us wait weeks for vehicles we can drive around during the heist? If they wanted to drip feed some vehicles from the heist itself, make it like the Manchez scout or that ATV cause no one cares about those vehicles, well, at least I don’t. Leaving out less vehicles from the heist to be released as drip feed would leave room for some more original cars to be added or different versions of cars that need updating, like the ARENA ZR380 PLEASE JUST GIVE US A CLEAN JDM VERION OF THAT CAR. The line up of original non heist cars is actually quite solid, still fitting the theme of the update. Cayo Perico gives off some Cuban vibes, minus the whole communism thing, so it would make sense some of the cars added would be classic cars from the 50s-60s, like the Fiat 500 (Brioso 300), BF Weevil (finally, they added a better version of the Injection), and Slamtruck (if that thing doesn’t allow us to put cars on it I’m gonna get very mad).
The new clothes and outfits are nothing amazing, but there was a change I appreciate so much, and that is we can finally put body armor on other tops like hoodies, service shirts, other utility tops. Finally will I no longer have to use the merge glitch. The new armored vests tho kinda suck, since they’re just designer and don’t exactly fit anything. The new button down tropical shirts do look cool, I just wish we could unbutton them to give more of a casual tourist vibe. I just appreciate we have more ability than variety.
The weapons were ok. The military rifle looks way too similar to the bullpip and advanced rifle, so it’s nothing really special. The Perico Pistol was a cool unlock for a random event that has a somewhat painful chance to get by finding a body in LS and searching it for a key, but the gun itself is just a golden marksman pistol, needing to be reloaded after every shot. I have yet to find the combat shotgun in the heist, but I imagine it’s just a cooler looking version of the pump shotgun.
The music in this update was very meh. Didn’t like the songs on Kult FM too much, maybe because I’m not into rock that much and kinda used to listening to pop songs and some Broadway musicals here and there. Couldn’t really judge Still Slippin since I need to be in a specific area of the map to listen to it, I haven’t been around Mirror Park in awhile, so I just went back to putting the music on mute and turning on blast LMP on Spotify (Owl House fans you know what I mean). It doesn’t really help that Rockstar is drip feeding radios and music too, since Still Slippin won’t be broadcasted to the entire map until a few more weeks. Maybe when it’s finally released for the entire map then I’ll take a listen. That one Moodymann song they played for the trailer goes hard and I’m sure his other works go hard too; too bad no one goes to the Music Locker, which is literally a stripped down version of our nightclubs under the casino. Come to think of it, music and nightclubs are a major part of this update, making me think Rockstar just wanted to do an After Hours Pt. 2.
Overall, the Cayo Perico was had the potential to be one of the best updates the game has ever seen: a map expansion for us to explore, but we were given a heist with ruthless AI and mediocre to subpar content to make up for it. As it stands, it might be one of my least favorite updates, not living up to the community’s expectations whilst being quite content dry.
submitted by lovemuffin04 to gtaonline [link] [comments]

"The Star Spangled Banner" is out at Tulsa Athletics' home matches, "This Land is Your Land" is in

submitted by southpawFA to news [link] [comments]

1250 MF hork barb build and first 150 pit runs results

Hello everyone,

Today I would like to share a little project I took up recently - making a pure MF character. I ended up creating barbarian who at lvl 86 has 1258 Magic Find (https://imgshare.io/images/2020/12/08/mf-barb.png). Below I'll briefly describe the build and answer the question - Is it worth it??
TL;DR: I made 1250 MF barb to run pits only. After 150 runs I've found Mang Song's Lesson and some other nice items but I am still not sure if this is worth it.
So the general idea was to create highest possible MF character and check how he does in terms of finding items compared to other characters with medicore MF. I choose barb because of his hork ability which adds unique value to every run. Also, warcries and the huge HP pool allows you to completely ignore the resistances (I haven't even done any Anya quests). Warcries also buff your merc, who does all the job adding some MF to the party.
  1. Skill tree build
You max your Battle Orders, Battle Comands and put enough points into hork so that it has 50+ chance. It should be around lvl 20-something with +skills included. Investing more skills into hork is not efficent because it has 52% of success on lvl 21 and 60% success on lvl 60. I also put enough points to have Battle Cry at lvl 20 (with +skills) which has -25% phys resistance. This helps a bit with clear speed and travincal immunities. Other than that you put some points in Natural Resistances and Increase Speed. Honestly it is totally up to you how you distribute those points. Having natural resistances lvl 10 (with +skills) gives me +56 reistances and results in around -8 fr, cr, lr. It is not much but makes you tanky enough to tp in those packs and not die instantly. I prefered to put the rest in Increased speed as you run around very much.
  1. Item build
Merc: Full IK set with 6x ISTed maul, ptopaz armor and 2x ptopaz helm
As you can see there is some room for improvement and all in all you should be able to reach as much as ~1500 MF. But as you can see on this chart (https://diablo2.diablowiki.net/images/9/97/Magic-find-diminishing-returns.jpg) there is very little difference between 1000, 1250 and 1500 MF regarding Unique drops.

  1. Gameplay
So you merc is a killer and you are his bit**. Use spellsteel's blink to get to tamoe highland and walk to pits. Blink into elite and champion packs, change to ali babas and let your merc swing his sword 3 times. Then hork, gather loot and move on.
I focused only on elite and champion packs since they can drop highest level items. Please note that your merc does the finishing blows so his MF is added to yours.
Between the pit runs I ocasionally did some travincal runs but I must say this build is not optimal for this. While in pits most monsters have cold immune, the travincal ones very often explode due to IK's cold damage. The clear is pretty fast - around 1:30 with horks but I think its not worth it due to not all bodies being possible to hork.
  1. 150 pit runs results
So with this setup your runs (from the moment you enter the game, to the moment you close the game) take from 2:30 up to 4:00 minutes depending on the map. Avarage speed is 3 minutes - this includes repairing your Spellsteel at charsi (once very run), clearing, horking, opening the chest in lvl 2. Below you can find my drops. In the list I included runes above pul and items notified by Kryszard's loot filter. Other than that I've found couple of trangs/gris armors, IK/tal rasha set pieces, whole mavina's set, a bunch of useless uniques, WSS shards and a lots of gold.
Run 5 - Medusa Gaze 2 cold skill 39 FCR Run 20 - !!!!!! ETH Cranium basher 265 ED !!!!!! Run 26 - Rainbow facet 4/4 poison run 40 - mal rune run 53 - pul rune run 63 - pul rune run 67 - halaberd's reign run 75 - unique ring - nagel run 81 - occulus run 83 - !!!!!! mang song's !!!!!! run 85 - medusa gaze 1 skill run 90 - !!!!!! 39 life shape shift skiller !!!!!! run 95 - another trangs armor... this time gave it a try and rolled 3 soc with corrupt! run 124 - gerke's sanctuary 30 res run 126 - pul rune run 128 - kira's guardian 9/10/9 run 147 - stormshield run 148 - string of ears 
As you can see, the results are pretty good but not astonishing. I found my first Mang song's, a huge value of ETH Cranium Basher and a GG shape shift skiller. Other than that there were a lot of empty runs. The thing is we should compare the 150 runs of this build vs 150 runs of another build. I believe this would, on avarage, have better results. But on the other hand, well equipped singer or sorc can do the runs in half of this time probably. But then again, they wont have so much MF. So I guess time/loot wise it all evens at the end of the day. Well equiped sorc does lets say 300 runs in that time and I believe with 200-300 mf she can find just as good items.
What I am salty about is the lack of HRs. Of course, MF does not affect the runes drop but this is the most unlucky season in terms of HR drops for me ever. I have a 91 lvl sorc and this 86 lvl barb, done houndrets of Chaos, pits, AT, baal, you name it. And my only HR (I consider runes vex and above as HRs) drop was a Cham rune. Just sick sick RNG.

  1. Conclusion
Is it worth to make 1200+ mf barb? - Well... Not sure. This could be also called the casino barb since every monster pack and every hork gives you that rush since with this much MF the possibility of a GG drop is relatively high. And this is fun part. Other than that the build is a bit dull to play. I created this more for fun and a reasearch itself than making a tons of HRs on it.
submitted by marioinauer to ProjectDiablo2 [link] [comments]

Xavier Wulf Archive (Full Discography)

(2010-2020)
399 Songs
66 Music Videos
Total Size - 4.6 GB
Everything is uploaded to Google Drive here
If I'm missing anything let me know and I'll update it asap.
-----------------------------------------------------------
List of lost songs/videos
Ethelwulf x Bone Thugs - Break Em Down Mix '97 (OG Version Not C&S)
Ethelwulf - Keep it G (SGP Cover)
Xaytoldem - 4th Quarter (Music Video)
Xaytoldem - Be 4 Real (Music Video)
Xaytoldem - Fuck What They Say
Xaytoldem x Jamil Smith - Chillin (Prod. Clams Casino) (Music Video)
Xaytoldem x Jamil Smith - Haus Party
Xaytoldem - Hot Box Freestyle (Comic Video)
Xaytoldem - Stunt Show
Xaytoldem - Swag Tawk Part 2 (Music Video)
Xaytoldem - The Interlude (Music Video)
Xaytoldem - Toasted (Music Video)
Xaytoldem - What It is (Music video)
Xaytoldem - What You Doin (Music Video)
Xaytoldem - Yessir (Music Video)


- Xavier Wulf Archives
submitted by AK9PRIM to xavierwulf [link] [comments]

Xavier Wulf Archive (Full Discography)

(2010-2020)
399 Songs
66 Music Videos
Total Size - 4.6 GB
Everything is uploaded to Google Drive here
If I'm missing anything let me know and I'll update it asap.
-----------------------------------------------------------
List of lost songs/videos
Ethelwulf x Bone Thugs - Break Em Down Mix '97 (OG Version Not C&S)
Ethelwulf - Keep it G (SGP Cover)
Xaytoldem - 4th Quarter (Music Video)
Xaytoldem - Be 4 Real (Music Video)
Xaytoldem - Fuck What They Say
Xaytoldem x Jamil Smith - Chillin (Prod. Clams Casino) (Music Video)
Xaytoldem x Jamil Smith - Haus Party
Xaytoldem - Hot Box Freestyle (Comic Video)
Xaytoldem - Stunt Show
Xaytoldem - Swag Tawk Part 2 (Music Video)
Xaytoldem - The Interlude (Music Video)
Xaytoldem - Toasted (Music Video)
Xaytoldem - What It is (Music video)
Xaytoldem - What You Doin (Music Video)
Xaytoldem - Yessir (Music Video)


- Xavier Wulf Archives
submitted by AK9PRIM to TeamSESH [link] [comments]

A Cinematic Guide to The Weeknd: Pt 3. My Dear Melancholy and After Hours

A Cinematic Guide to The Weeknd: Pt 3. My Dear Melancholy and After Hours

My Dear Melancholy

Gaspar Noe/Cannes Film Festival
The My Dear Melancholy era notable for being a time when The Weeknd was in proximity to a lot of serious directors. While he’s had a foot in Hollywood for awhile, 2017 through 2019 he was actively engaging with filmmakers like the Safdies Brothers, Gaspar Noe, and Claire Denis, amongst others. While he had been actively courting the Safdies since Good Time was released, he attended the 2018 Cannes Film Festival where he crossed paths Noe, whose film Climax took home a number awards at Cannes. Noe’s Enter the Void had previously served as an inspiration for Kiss Land, and for MDM (and later After Hours) seem to call back to Noe’s other films, like Irreversible and Love, which are both twisted depictions of heartbreak. On the other hand, Climax is about a French dance troupe who accidentally take LSD, and according to Noe is not a “message” movie. It is an audacious psychedelic technical exercise, with numerous long takes and highly choreographed set pieces. The idea for Noe, who had previously captured the feeling of drugs in previous films, was to do the opposite, and present the objectively reality of drugs, watching people high from a sober perspective.
Noe is a rather strong advocate of film, and the opening scene of Climax features VHS boxes of a number of films that have influenced his filmmaking. Two of note are Schizophrenia, otherwise known as Angst, one of Noe’s favorite films which The Weeknd name checked to the Safdies, and Possession, which would go on to be an influence on After Hours (more on this later). He is also said to have sat next to Benicio Del Toro at Cannes, which means he likely caught some of the Un Certain Regard section, where Del Toro served as a jury member. Outside of that section, there were a few other films of interest such as The House That Jack Built from Lars Von Trier (The Weeknd has previously expressed affection for Von Trier’s Antichrist), Mandy from Pastos Costamos, and music video director Romain Gavras’s The World Is Yours, as well as a restoration of 2001: A Space Odyssey, which Noe has referred to as the film that got him into filmmaking.
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Asian Cinema
Later in 2018, The Weeknd continued his globetrotting with a tour of Asia. He once claimed in an interview that whenever visiting a foreign country he only watches films from there. I’ve previously written about the influence of Asian cinema on Kiss Land, and there’s not enough work from the MDM era to glean anything cinematically adjacent to this, but now would be a good time to mention that the "Call Out My Name" video was heavily inspired by the work of famed Japanese photographer Hiroshi Sugimoto. The Asian tour poster seems to be a reference to Ichi the Killer, which leads us to Takashi Miike. Though he is notoriously prolific across a number of genres, his most popular works internationally are genre melding blends of horror, comedy and crime, most notably Audition, Ichi the Killer and Gozu. Another film worth mentioning is Perfect Blue, Satoshi Kon’s masterwork about a pop star’s mysterious stalker that The Weeknd posted about on Instagram before. Bloody and haunting, the film was a major influence on Darren Aronofsky’s Black Swan and Requiem for a Dream. In Interviews he has also mentioned a number of Korean films, such as The Wailing, I Saw the Devil and Oldboy. While Wong Kar Wai was previously mentioned as an influence on Beauty Behind the Madness, also worth mentioning is the work of John Woo, specifically A Better Tomorrow, well known for the shot of smoking a cigar off money, and Infernal Affairs, Andrew Lau’s crime classic which served has the basis for Scorsese’s The Departed.
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After Hours

Martin Scorsese
While After Hours more so than any other Weeknd album is bursting at the seams with cinematic references, the influence of Martin Scorsese stands above all. Similar to The Weeknd’s body of work, many Scorsese’s are explorations of violence and masculinity, investigating them from a perspective that depending on who you ask (and how they’re feeling) glamorizes, condemns or just simply presents the reality of characters on the fringes of society.
While there are direct references to a number of prominent Scorsese films, what’s interesting is that his influence also reverberates in other films/filmmakers that influence After Hours. Todd Phillips’s Joker is in effect an homage to Scorsese’s loner-centric New York films, and the Safdie Brothers have been putting their own millennial spin on the type of 70s gritty thriller that Scorsese trafficked in (Scorsese was also a producer on Uncut Gems). Specific Scorsese works will be discussed more in depth in the requisite sections, but it is worth mentioning upfront what a prominent role that Scorsese plays in the nucleus of After Hours.
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Urban HorroIsolation
With After Hours, The Weeknd departs from the slicker sounds and influences that permeated Starboy and returns to the cinematic grittiness of Beauty Behind the Madness. While urban horror is a theme that permeates throughout The Weeknd as a project overall, there is a thorough line to be drawn here that follows a number of 70s and 80s cinematic and aesthetic references. For one thing, while the initial bandaged nose was a reference to Chinatown (previously, The Weeknd has a Kiss Land demo titled "Roman Polanski"), the full bandaged face that is so prominently featured throughout the After Hours era is a classic cinematic visual trope that was especially prominent throughout 60s and 80s, though it saw a slight re-emergence in the 2010s. The fully bandaged face is often used to remake someone in the image of another, usually against their will (The Skin I Live In, Eyes Without Face), or as a case of mistaken identity and doppelgängers (Good Night Mommy, Scalpel), themes present throughout much of After Hours. The "Too Late" video acknowledges these references, but instead presents the bandages on two Los Angeles models recovering from plastic surgery, in a nod to a famous Steven Meisel’s photoshoot for Vogue Italia.
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The “masks” people wear is another horror trope that is featured prominently on After Hours, and this is best seen in the red suit character. One important reference in the film is to Brian De Palma’s Dressed To Kill, where a serial killer is targeting the patients of a psychiatrist (any more on this film will veer towards spoiler territory). The Weeknd is on the record as saying Jim Carrey’s The Mask as being a large influence on the Red Suit character, it being one of the first film’s he watched in theaters. One of the more complex references would be to Joker. While it sort of an in-joke that the character of the Joker is commonly overanalyzed and misinterpreted, referencing Todd Phillips’s Joker is more nuanced because it is in essence a full on homage to Martin Scorsese’s New York films, most notably Taxi Driver and The King of Comedy, which focus on eccentric loners, and can both be seen as cautionary tale of urban isolation, a theme explored perhaps in songs like "Faith." The King of Comedy revolves around a would be obsessive stand up Rupert Pupkin haggling his way to perform on late night TV, with The Weeknd’s talk show appearances being a prominent part of the early After Hours marketing, most notably in the “short film”. This idea of isolated and compressed urbanites recurs throughout After Hours and it’s films.
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The idea of urban repression is in the subway scene of the After Hours short film. The entire film itself is something of a reference to the subway scene to Possession (another Gaspar Noe favorite), mimicking the (also subway set) scene in which Isabelle Adjani’s Anna convulses on the subway due to a miscarriage, as well as Jacob’s Ladder, a 90s cult classic horror film starring Tim Robbins as a Vietnam vet (like Taxi Driver’s Travis Bickle) who is experiencing demonic hallucinations, encountering them in the subway and later at a party he attends, splitting the scene into two.
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Las Vegas
As always, The Weeknd once again grounds After Hours with a strong sense of place, this time setting the album against a nocturnal odyssey through Las Vegas. One of the most prominent films is Fear and Loathing in Las Vegas, Terry Gilliam’s adaptation of Hunter S. Thompson’s book. This is directly referenced in the "Heartless" video, which sees The Weeknd and Metro Boomin in the Johnny Depp and Benicio Del Toro roles as they tumble through a Las Vegas casino. The Weeknd has gone on the record to state that the famous red suit character was influenced by Sammy Davis Jr.’s character in the film Poor Devil. However, similar red suit has also been sported by a number of Vegas characters, most notably Richard Pryor and Robert De Niro’s Sam Rothstein in Martin Scorsese’s Casino. With the red suit, The Weeknd seems to be playing with the idea of a devil-ish other, another side of his personality that emerges in Las Vegas.
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While the city lights are the oft discussed part of part of Las Vegas, it should be noted that similar to Beauty Behind the Madness, the desert that surrounds Las Vegas is just as important to the juxtaposition of its beauty. The "Until I Bleed Out" video ends/"Snowchild" video in the desert, similar to the confrontation between Robert De Niro’s and Joe Pesci’s showdown in the desert in Casino, as well as Joe Pesci's death in Goodfellas. The idea of a hedonistic desert playground also bears semblance to Westworld, both the film and the TV show. The desert seems to represent some sort of freedom to The Weeknd, as the "Snowchild" video portrays the desert as a pensive location for reflection, as well as the "In Your Eyes" video showing the girl prominently dancing with the dismembered head out in the open, in reference to The Texas Chainsaw Massacre, another prominent desert film.
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New York/The Safdies
Despite it’s Las Vegas setting, After Hours also takes a good amount from films set in New York, most notably Martin Scorsese’s 1983 film After Hours. Besides the title, After Hours is similarly about a twisting and turning nighttime odyssey. The film stars Griffin Dunne as Paul, a working class stiff who heads downtown to rendezvous with a woman he met at a diner earlier that night. Of course, things don’t turn out the way they should, chaos ensues, and Paul is set on a dangerous trek back uptown. Like the film, the album After Hours is set off by a woman (though the album takes more stock in romantic endeavors), seems to be set over a single night (or at least a condensed period of time), and involves similar chaos and misadventures (sirens at night at the end of Faith). Tonally, After Hours the film is more comedic perhaps than After Hours the album, however The Weeknd is on the record as having said that "Heartless" and "Blinding Lights" placement on the album is intended to be somewhat comedic, reflecting exaggerated machismo and ecstasy, respectively (to comedic effect).
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Another of the most prominent filmmakers of After Hours are the Safdies, who featured The Weeknd in Uncut Gems. They also served as a link to Oneohtrix Point Never, who scored their last two films and later worked After Hours. I believe there are three major film tropes (not genres) that inspired After Hours, all of which the Safdies’s have engaged with. There is the one-long-night films, in which a character spends one-long-night on the run from whatever chaos and forces may be that they left in their path. This can be seen in the Good Time, as well as After Hours (the movie). Then, there is the descent-into-madness type, where a character slowly loses grip with reality and ends up in over their head (something like Scarface or Breaking Bad, but for our purposes Jacob’s Ladder can be categorized here as well), which the Safdies did with Uncut Gems. Lastly, but maybe most importantly, the Safdies also explored toxic romance (more on this later) in their less seen film Heaven Knows What, about two heroin addicts and the destructiveness their love brings out in each other, an idea that recurs throughout After Hours on songs like "Until I Bleed Out" and "Nothing Compares." A recurring song throughout Heaven Knows What is Isao Tomita’s synth version of Debussy’s "Claire De Lune", which is featured in some episodes of Memento Mori and bears some resemblance to the start of "Alone Again".
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Obsession/Toxic Romance
While love and lust and the ups and downs with it have been a formative part of The Weeknd’s ideology and themes, I don’t think it would be remiss to say that After Hours is perhaps his most outwardly romantic album. Despite this, one of the major arcs of the album is toxicity that comes with it, which a number of already mentioned films deal with. While "In Your Eyes" is one of the more romantic and accessible songs on the album, a re-assessment of it Ala Sting’s “Every Breathe You Take” could frame it as lonely obsessing, such as Travis Bickle’s infatuation with Jodie Foster’s teenage prostitute Iris, Joker's fixation on Murray Franklin, Rupert Pupkin’s obsession with Jerry Langford. Casino also deals with toxic romance, another prominent theme in After Hours, best seen in the love triangle that forms between Sam, his partner Nicky and his wife Ginger, played by Joe Pesci and Sharon Stone respectively.
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In almost all of the After Hours’s video content, The Weeknd seems to constantly meet his demise at the hands of women. Another interesting reference that may be something of a reach is to Phantom Thread, Paul Thomas Anderson’s film about Reynolds Woodcock, a couture dressmaker loosely based on Cristobal Balenciaga and his muse Alma, played by Daniel Day Lewis and Vicky Krieps, respectively. The film delves into their dysfunctional relationship, with Woodcock berating her and Alma poisoning his tea to keep him dependent on her. One of the highpoint of the film is a New Years Eve Party that bears strong resemblance to the "Until I Bleed Out" video. While the balloons may just be a callback to his earlier work, there is something about the color grading/temperature and the production design of the "Until I Bleed Out" video (as well as parts of the "Blinding Lights" video) that made me immediately think of Phantom Thread. A similar relationship is seen in the German horror film Der Fan, which The Weeknd has mentioned in a recent interview. In Der Fan, a young girl Simone spends her days obsessing over popstar R, until she finally encounters him outside his studio. The film is similar to the aforementioned Takashi Miike’s Audition in its exploration of obsession and idealization. In the film, an older man puts up a fake casting call to search for the perfect girlfriend. While Audition explores these themes from an Eastern perspective of societal pressure, Der Fan explores it through a Western lens of pop idolization and idealization. Both films deal with the idea that despite outward appearances, the perfect partner does not exist, and anyone that claims to be (or has the expectations put on them) is not who they seem.
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One film he has spoken at length about is Trouble Everyday, Claire Denis’s arthouse vampire movie. The film stars Vincent Gallo as Shane, a scientist who travels to Paris under the guise of his honeymoon to track down core, a woman who he was once obsessed with who has now become a vampire. Core is locked up in a basement but sometimes sneaks out to seduce and consume unwilling victims. This seems to be where some of the bloody face stuff comes from, but I believe it’s influence is a little more conceptual. To me, a good companion film to Trouble Everyday is American Psycho, which seems to also have been a thematic influence on After Hours. Both films concern idealized version of masculinity and femininity, both very sexual and physical, but hostile as well. American Psycho ends with Patrick Bateman confessing to the killing of a prostitute, but no one believe him. Trouble Everyday ends with Shane killing Core, but Shane is unable to arouse himself after that except through violence. Koji Wakamatsu, a former Yakuza turned prominent extreme Japanese filmmaker (and a major influence on Gaspar Noe) is quoted as saying “For me, violence, the body and sex are an integral part of life.” Despite being hollow, idealized impressions of the self, a vampire and as a banker (cold, seductive bloodsuckers = monsters), Patrick Bateman and Core represent the Frankenstein-ian relationship between sexuality and violence, which I believe is the main theme of After Hours. Truly, we hurt the ones we love.
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Postscript

To cap things off, I would just like to illuminate some key takeaways. As a filmmaker myself, this has been an extremely helpful exercise in understanding other artists process and ideas.
Steeped in the history of the medium…
It’s clear that The Weeknd is not your typical “I’m influenced by cinema” artist but an extremely legit film buff with serious credentials. The Weeknd’s film taste leans towards 70s-00s genre works, mostly horror, drama and thriller, and is well versed in the classics but also has the nose to sniff out deeper cuts and obscurities. The mantra of “good artists borrow, great artists steal” works even better if not many people know where you’re stealing from! What is impressive to me is that he is not just versed in “mainstream” obscurities, but also serious deep cuts. Films like Possession and Phantom of the Paradise may not stick out to the average person on the street but are well known in most film circles. Films like Inland Empire and New Rose Hotel (Der Fan was especially impressive to me, it is one of my favorite films) however are not as well known and it is very impressive to me that he can come across films like that, and really get enough out of it to bring into his own work.
…is able to interpolate contemporary/mainstream films…
This perhaps is one of the most impressive aspects of his integration of film into The Weeknd’s work. It is very easy for film buffs to get lost within their own obscure taste, living in a world where everyone is an idiot for not knowing who Shinya Tsukamoto. Trilogy and Kiss Land had a lot of contemporary obscurities, like Stalker, David Lynch etc., well known but they still existed as artifacts, not of the time we live in. However, perhaps picking something from his work on Fifty Shades of Grey, of late he has kept his finger on the zeitgeist and anticipated/integrated what the filmmakers of today are doing, such as his work on Black Panther and Game of Thrones, general appreciation of Tarantino, the works of Nicolas Winding Refn in Starboy, and his use of the Joker and Uncut Gems on After Hours, both of which came out just a few months before the album. It feels Jackson-esque, and I believe this is one thing that will help him further in his quest for pop stardom.
…while also being fully in tune to the works of modern transgressive auteurs…
In addition to keeping up with the mainstream is in touch with, The Weeknd also makes it a point to seek out and learn from the cutting edge filmmakers of today. While the Safdies were always going to blow up, I don’t doubt that a Weeknd co-sign accelerated their rise. Gaspar Noe is one thing, Enter the Void and Irreversible exist as masterpieces of the mainstream obscurities I’ve been mentioning, but he really truly tries to understand the heart of Noe’s work, even going so far back as to understand Noe’s influences (I sincerely hope he is tuned in to the work of Koji Wakamatsu). But most of all, to be a fan of Claire Denis is one thing, but to seek her out and make her an offer that she ACCEPTED is absolutely astounding to me. Just spitballing but it would be like if Michael Jackson shot a music video with Rainer Werner Fassbinder (who I’d bet good money that The Weeknd was put on to by Noe). We can only PRAY that one day we will be blessed with a David Lynch Weeknd video.
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…and that just about does it. Hope you enjoyed this and thanks for being patient with me. I got quite busy after the first two and had my own projects/work going that kept me occupied. As we’re still technically in the After Hours era, I also wanted to wait until a few more videos and interviews came out to aid me in my research.
I also wanted to find enough time to make the Letterboxd for this. I personally don’t love Letterboxd culture, I find the popular culture surrounding the site a bit snobbish and exclusive, but I’ve gotten a number of requests for one and you gotta give the people what they want. Throughout the list are a few films that he hasn’t mentioned but are some of my personal favorites and I believe Weeknd fans will like, I encourage you to accidentally stumble upon things on it. Don't overthink, just pick something and watch!
If you’d like to follow me further, you can find me on Instagram here, where I post about film reviews Letterboxd style. I prefer Instagram so that more average people see it instead of an echo chamber of film snobs. I am also a filmmaker myself, I just recently wrapped this short film and am currently in the process of putting together my next project.
The main reason I did this however, besides a general appreciation of The Weeknd’s work, was to put more people on to the beautiful art form that is cinema. One thing I learned from Scorsese is that one must be an advocate and truly champion your medium. I hope that this encourages to check out more interesting movies than they wouldn’t normally come across, and I hope this will inspire more people to create more as well, whether it be to write, make films, music, anything. If even one person picks up a pencil, a camera or a keyboard because of these posts, I will be satisfied.
Thanks all!
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