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  1. Orablanco Account
    Posted Image
     
    Sigh,i have two do another review? You guys should now by know that I position the sanctity of promising two do something on the same level ass that melting dude from the end of Robocop's insurance. I don't even get that joke, I dunnno, 80's reference.
     

    It's funny because it's a reference.
     

     
    "Simple Ways" by Josh Groban
     
    Gosh darn it to fuck. Now that we've stablushed that i am capable of cursing because i am a man, let me just say screw this episode. i can't understand an epsode that is just trying to be fun and not a mini-Pixar movie, so screw this noise. its a defamation of Best Pony, who isn't relatable anymore. Plus there was no advancement with Sparity. They should have been making babies by the end of the episod, like in this obvious plug for my stuff. Dammit, Hasbro, you promised me wonders I've never known.
     
    10/10
     
    Random Thoughts:
     
    - *butt noises*
     

     

  2. Orablanco Account
    Sorry for inevitable typos.
     
    I plan on giving each episode it's own review (and re-do the ones destroyed in The Great Outage) on a Blogger dedicated to reviewing the series, but in the meantime, have this little ranking of the first half of the season.
     
    BEST
    Apple Pinkie Pie: Fun, light-hearted story that's full of great writing that effectively uses the personalities of the characters involved. The morals are handled very well and the centerpiece song is just fantastic. Worth the wait, this one.
    Pinkie Pride: Of course Weird Al is great, but thankfully the rest of the episode lives up to his presence. It's nicely paced, knowing how long to spend on certain moods and scenes, the songs are catchy and polished, and it leaves you with a nice, warm feeling inside.
    Three's a Crowd: Completely and utterly hilarious.
    Rarity Takes Manehatten: The most mature themes since "Wonderbolt Academy". The song is a bit forgettable, if not nice, but the rest of the episode is memorable and engaging enough. Polsky has a good grasp on what makes these characters tick.
    Flight to the Finish: Overly-villainous bullies and a lack of willingness to state whether Scoots can fly or not aside, it's an effective episode that comes complete with a mature moral and MLP's answer to "Gonna Fly Now". Not as immediately moving as "Sleepless in Ponyville", but still pretty grand. I do hope we get a Scoot episode that doesn't focus on this subject soon, though.
    Power Ponies: Pure, stupid fun. Nuff' said.
    Castle Mane-ia: Inconsequential, but funny as heck, does a good job of using the character's personalities and quirks for comedy.
    Simple Ways: Funny, but never attempts to explore the concepts in its story. St. Germain is a hoot, of course, even if it feels a bit forcefully-gag-ish. The weakest Rarity episode, by far.
    Princess Twilight Sparkle: Does a good job of establishing that the things we may have thought were going to ruin the series will in fact not do that, and the removal of the Elements is an intriguing move. But there's way too many plot holes and haphazard staging of drama to ignore. Plus the vines are just a really weak threat to open a season with.
    Bats!: Seriously. Take away the five minutes of FlutterBat, and it's just a weird episode where five out of six of the Elements of Harmony are totally okay with total extermination. Sure, the song sounds like Danny Elfman, but not the awesome Danny Elfman songs.
    Daring Don't: Not awful, but not exceptional. Too full of weird inconsistencies and moments of forced mopiness to be completely successful.
    Rainbow Falls: A confusing, clumsy retread of a much better episode that retroactively makes Dash's main goal in the series seem pointless. It's boring, predictable, and simplistic, the Wonderbolts are just awful out of nowhere, the characters seem less like characters and more like flanderized versions of themselves, and it uses Derpy to make everyone overlook how shoddy the episode is. Where's Merriwether Williams when you need her?
    WORST
     
    Overall Thoughts: Pretty solid, actually, now that I take a step back. None of the episodes have reached "Hurricane Fluttershy" or "Too Many Pinkie Pies" levels of greatness yet, but they still have 13 episodes to do that. While I wish the story arc elements were a bit more integrated seamlessly and not just shoved in there and made obvious, but it's a refreshing experiment on the writers' part. All in all, not too shabby.
     
    Agree? Don't agree? Comment and tell me why. Please. I'm lonely. There's nothing else to do in this dungeon.
  3. Orablanco Account
    Artist: Queen. Duh.
     
    Male or female: White Man
     
    Describe yourself: Stone Cold Crazy
     
    How do you feel: Under Pressure
     
    Describe where you currently live: Heaven for Everyone
     
    If you could go anywhere, where would you go: Leaving Home Ain't Easy
     
    What is your occupation: Jesus
     
    Your favorite form of transportation: Ride the Wild Wind
     
    Your best friend is: You're My Best Friend
     
    You and your best friends are: Princes of the Universe
     
    What's the weather like: Rain Must Fall
     
    Favorite time of day: The Night Comes Down
     
    If your life was a TV show, what would it be called: The Show Must Go On
     
    What is life to you: Lazing On A Sunday Afternoon
     
    Your relationship: I Want to Break Free
     
    Your fear: The Hitman
     
    How would you like to die: Ogre Battle
     
    My motto: Who Wants to Live Forever?
  6. Orablanco Account
    Dear DHX
     
    Stop having Granny Smith mark time with "moons". No one knows what the dafuq that is suppose to mean and some people are actually starting to think that she's been alive for hundreds of years.
     
    http://www.youtube.com/watch?feature=player_detailpage&v=jCQ5DOHz62Q
     
    Sincerely,
     
    Citrus King.
  8. Orablanco Account
    Hey, it's the end of the year, and everybody else is doing a Top 10 list, so why the heck not. This isn't going to be the prestigious list, and there are several "must-see" movies I never got around to watching before the end of the year (sorry, 12 Years a Slave and Wolf Children), but these are the movies that impressed, entertained, and stuck with me the most, and even if I change the order later, they still stand as the best examples of what I liked at the movies this year. So let's get this ball rolling!
     
    10. Blackfish
    An ferocious expose of the circumstances surrounding the deaths of several SeaWorld trainers in "accidents" involving performing orcas. Unflinching, eye-opening, and heartbreaking (a scene involving a calf being taken from its mother is particularly hard to watch) to the last, this well-made piece of nonfiction may very well change how you look at performing killer whales and dolphins, but how animals think and feel altogether. Somewhere down the road this may end up being the movie that brings about change for the better, and it's worth checking out (it's on Netflix Instant as of right now), if only because it's really good.
     

     
    9. Rush
    The power of this movie is that you'll end up being involved in the central conflict between two equally ambitious and intriguing men (both performed brilliantly by their respective actors) whether you care about Formula-1 or not. It's technically impressive, emotionally intense, incredibly lean, and exciting and engaging all the the way through. The best sports movie since Warriors, and another sign that we need to afford director Ron Howard more respect.
     
    8. The Hobbit: The Desolation of Smaug
    Maybe it's over-bloated and uneven in terms of pacing and tone, but gosh darn it, I'm having a lot of fun with this trilogy. The cast is as enjoyable as ever, the world feels alive and tangible, the action scenes and special effects are top-notch, the emotional core of the story hits harder than in the first one, and it touches upon an aspect of the One Ring that the original trilogy never really explored well: the fact that it empowers its bearer as much as it is twisting him (Martian Freeman's acting when Bilbo realizes he isn't killing in self-defense anymore is fantastic). And then there's Smaug, and he's just about the coolest thing ever. Seriously, see this on the big screen just to witness his awesomeness as effectively as possible. And the barrels.
     
    7. Iron Man 3
    This ended up getting a lot more decisive than I anticipated, which is odd, because this is easily the best of the series. Whereas the first two felt like they were made up as they went along, this one is guided by director Shane Black's vision of a character who feels like he has genuinely been changed and shaken by the stuff he's been through. It's fun as hell, the action sequences are varied and memorable (they actually figured out how to use the Iron Man suit without relying on it as the crux of the story), I really dug the twist in the final act, and the Iron Legion battle is the greatest toy-commercial-in-a-movie ever. It manages to subvert most of everything that makes superhero threequels fails and gives us a satisfying conclusion that could serve as the perfect capper to Tony Stark's cinematic adventures if they chose to do so.
     

     
    6. This is the End
    Sort of shocked by how much I liked it when it came out and how much I still like it. The finest raunchy comedy of the year, do in no small part to the actually epic apocalypse stuff and the obvious fun all the actors are having playing skewed and often insane versions of themselves. It's just a big, dumb ode to friendship that made me lawl more than any other movie I saw this year. You better be fine with demon penises, though.
     
    5. Gravity
    Some of the stuff in the third act is a bit wonky, but the special effects and sound design are so mind-blowing, the directing so masterful, and the central performance so compelling that you can't help but not be engaged. Unless your looking for technical details to complain about, then apparently your in good luck. Only time will tell if the movie still works as well on the small screen, but at least it'll still be a well-executed roller coaster ride that proves that roller coaster movies don't have to suck.
     

     
    Also, best musical score of the year, bro.
     
    4. The World's End
    The things that made Shaun of the Dead and Hott Fuzz great are in effect here: great characters brought to life by talented actors (Simon Pegg turns in his best performance yet), a great mixture of broad humor and moments of it that reward the thinking man, an insane level of foreshadowing, genre elements that are taken almost completely seriously, homages and shout-outs that will please the geekiest without confusing the unknowing, and an exploration of maturity and responsibility that feels thought-out and fully realized. But this time there's also robots full of blue stuff having martial arts fights with a surprisingly capable Nick Frost, so yeah, this is mandatory.
     
    3. Mud
    I didn't expect to like this one as much as I did. I think what really caught me off-guard is just how plain watchable it was: the characters feel real and are interesting to watch, the southern setting is shown-off in all its beauty and detail, the cinematography is fantastic, and it's a very involving story from beginning to end. Matthew McConaughey turns in a great performance as the titular Mud, but it's the young Tye Sheridan that really carries the weight of the movie on his shoulders. I dunno, when you get right down to it, it's just a feel good southern drama. But it's a really good feel good southern drama.
     
    2. Frozen
    I liked this one enough to write up a blog post just tell people that it's one they have to see, and I still feel that way. It combines Pixar's expert storytelling and attention to emotional nuance with all the nostalgic trappings of the Disney Princess genre while still taking it new, often subversive directions. The voice cast is great, the songs are phenomenal, the animation is expressive, the imagery is imaginative, and they somehow made that Jar-Jar Binks snowman that everyone knew they were gonna hate and turned him into something hilarious and lovable. It's easily the best Disney movie in awhile and can very easily hold it's own with the Renaissance movies themselves.
     

     
    1. The Wolf of Wall Street
    It's Goodfellas if everyone was a raging douchebag stock broker, complete with clever narration by the main character, a progressively degenerate biography filled with drug abuse, and an ironic glamorization of a lifestyle earned by being a bit meaner than the next guy. This is officially Leonardo Di Caprio's best performance, which is bolstered by a supproting cast that is obviously having a great time playing such horrible people. But even when it's so steeped in criticizing the world of stocks and the people who exploit that system, the movie still manages to display the humanity of the debauchery's ringleader; like Martian Scorsese's best work, it's all about showing that buried within that corrupt broker or gangster or unhinged vigilante is a fallible human being.
     
    It may be three hours long, but it's so fun, fascinating and unrelenting that you never notice. This one definitely has the potential to become the next Fight Club (though I guess we should be prepared for an entire fandom that misses the point of their favorite movie).
     

     
    And that's pretty much it. Happy New Year's, everybody!
     

  9. Orablanco Account
    - I did another Sparity art-thing.
     
    - I got watched on DeviantArt by Calpain.
     
    - I rewatched the complete Game Grumps: Sonic 06 saga.
     
    - I ate a lot of pizza.
     
    - I posed as a woman and married Doctor XFizzle.
     
    - I did not start that Weeping Angels art.
  10. Orablanco Account
    http://www.youtube.com/watch?feature=player_detailpage&v=QIZi6tk_T1Q

     

    "Some of what I will tell you relates to events in the future. Not only on this planet but also on others whose existence you don't even know of. But my knowledge is scientific fact. Now, Davros has created a machine creature, a monster which will terrorise and destroy millions and millions of lives and lands throughout all eternity. He has given this machine a name, a Dalek. It is a word new to you, but for a thousand generations it is a name that will bring fear and terror."


    - The Fourth Doctor
     
    Interesting little tidbit: Doctor Who was originally meant to be an educational show of sorts, with each serial presenting a new period of history for the characters to explore. The Doctor himself wasn't even created to be the main character, just the means as to how the real protagonists traveled through time. Thus, the original producers were trying to steer clear of the normal tomfoolery you'd see in sci-fi shows in the 50's and 60's. This was to be a classy affair, you see, and the number one rule was that there were to be no robots or bug-eyed monsters.
     
    An admirable effort, to be sure, but to be frank, it was one that would have severely limited the lifespan of the show. There's only so many times you can do "people get captured by ancient civilization" before the show gets stale, and while the initial, totally bizarre concept of a police box actually being a gigantic time machine on the inside was enough to peek people's interest, most people back then probably wouldn't hold interest in the show long after that.
     
    Yes, as utterly unique a concept it is, the adventures of the Doctor and his companions would have faded into oblivion after a couple of seasons if this original plan had gone unchanged.
     
    Fate decided otherwise. The production of the first serial, involving the Doctor's introduction and a couple of angry cavemen, was drawing to a close and the producers were stuck without a story to move ahead with into the next story. Looking for anything to produce, the crew were stuck with a script written by then 33 year old Terry Nation. Unlike the type of stories that the producers intended for the show, this one was most definitely a sci-fi tale, and one that even had antagonists that was both robots and a bug-eyed monsters.
     
    But these beings weren't just guys in suits. Nation had something else in mind. Having grown up in WWII, he wrote these new foes to be allegories for the Nazis; faceless, oppressive, and ruthless conquerors who sought total domination of the universe through the destruction of anything that did not meet their ideals. As designed by Raymond Cusick, they were made to look more like tanks than living things, hinting at the lack of humanity that now defined the creatures forced to lived inside these exoskeletons after years of their hate-fueled war on others left them mutated beyond recognition. They never spoke but instead shouted, always angry and always ready not just to kill, but to exterminate, as if everything else was merely vermin that needed to be wiped out.
     
    It didn't fit the original idea behind the show at all, but hey, when you have lemons, produce them because no other scripts are available. And thus, the serial was made, and on December 21st, 1963, the world caught their first glimpse of Terry Nation and Raymond Cusick's weird, scary, and all-around fantastic aliens, the Daleks...
     
     



     
    ...and the rest is history.
     
    It's a known fact that if it wasn't for the Daleks, Doctor Who wouldn't be around today. The overnight popularity of the creatures secured the show firmly in the public's eyes and kept it from fading away. The design of the Daleks, intentionally or not, were ready made for mass marketing, and the BBC took full advantage of that. "Dalek-Mania" became a thing, and any new episode featuring them became the thing everyone had to watch that week. Entire generations in the U.K. shared the experience of "hiding behind the sofa" in fear of the Daleks, who became as iconic as the Doctor himself, if not more sure. The show was able to ride that success to the point that when they more or less went on hiatus during all of the Second Doctor's run and half of the Third Doctor's, Doctor Who was able to survive.
     
    It kicked the door wide open for the creative process behind the show too. The reason this show has been able to stick around for fifty years is that its able to constantly reinvent itself do pretty much whatever it wanted to. Having the characters escape a prehistoric fight for survival and then have them encountering alien warriors on a post-apocalyptic planet in the next story demonstrated the limitless possibilities. The Dalek's inception is almost as important as the idea that the protagonist would constantly regenerate into a completely new character in defining this show as one that would never easily be defined.
     
    It seems the Daleks growing stronger in opposition to the Oncoming Storm is a two-way street.
     



     
    So yeah, I know we already celebrated the Doctor's 50th anniversary, but certainly some of the greatest villains of all of science fiction and fantasy deserve some love, too. So here's to 50 years to the Daleks, the reasons we still care about the Doctor after all this time.
     
    For although the Daleks will create havoc and destruction for millions of years, I know also that out of their evil must come something good.
     
    Plus explosions.
     



     



     



     



     
    This pleases me.
     
    Have some awesome bad guy music.
     




     
    What's your favorite Dalek story/moment? Sound off in the comments OR YOU WILL BE EXTERMINATED. EXTERMINATE! EXTERMINATE! EXTERMINATE! EXTERMINATE! EXTERMINAAAAAAAAAA--
  11. Orablanco Account
    I plan on doing a top 11 list for the best stories later, but we might as well get the bad ones out of the way first. Save the great stuff for last, as it were. No point sugarcoating this intro: these episodes are pretty freaking bad/not good, and demonstrate the worst that Matt Smith's era had to offer. Probably not definitive, though some of these picks are pretty hard to argue with.
     
    So, let's get this over with.
     
    5. The Doctor, the Widow, and the Wardrobe
    Any scene where the Doctor is trying to impress the children is hilarious and the final scene where he returns to the Ponds after two years is sweet, but everything else is a bit of a slog. It's immensely cheesy, even for a Doctor Who Christmas special, not enough happens to warrant a 60 minute runtime, and I feel sorry for any little boy who had to sit through that "anyone who is not female is automatically weaker" section with their sisters. Unlike the much better special from the previous year, this one doesn't do anything interesting with the work it's paying homage to.
     
    4. The Angels Take Manhattan
    Sure, the Ponds' departure is heartfelt and allows Smith another chance to showoff how good an actor he really is. Unfortunately, it doesn't make up for how much of a mess the rest of the episode is. The arbitrary rules involving time travel are flimsy at best and frustratingly arbitrary at worst, it's overblown like the worst of Russell T. Davies's run, and the Angels are no longer effective, with the major visual gag behind the episode only serving to make everything more illogical and questionable.
     

     
    3. The Impossible Astronaut/Day of the Moon
    Sorry, but this episode really, really rubs me the wrong way. It starts off intriguingly enough and it sets up themes that would be handled by better episodes later, but it's disappointment from there. It's a very unsatisfying and confusing tale that can't stand on its own and features a large amount of style and made-to-be-iconic images over being able to understand what the hell is going on. The Silence are cool and everything, but the way they are dealt with is a little too bloodthirsty for the Doctor. Why use cunning, wit, and diplomacy to defeat an enemy when you can just order their execution and shoot your way out of their base? Truly the work of a writer known for the cleverness of his scripts.
     
    2. Journey to the Center of the TARDIS
    Should have been a fun, in depth tour that would please longtime viewers, but instead became a boring and surprisingly grim tale that only showed-off the TARDIS's hallways. The Doctor acts like a total asshole for no reason, the development of his and Clara's relationship and understanding of each other is erased for no reason (which begs the question as to why it was brought up at all), and it ends with possibly the most egregious example of "time reset button" we've seen in Moffat's run. For no reason. Poo to this one, folks.
     
    1. Victory of the Daleks
    One of the all time worst Daleks stories ever (and that's saying a lot) and one that fails to live up to the awesomeness of its title and concept. Winston Churchill is cool and everything, but he isn't saving this one. It's silly in the worst possible way, it's tedious, it asks you to suspend your disbelief way too many times, the characterization of the Daleks is off, it's themes are empty and serve only as window-dressing, and it all builds up to an embarrassingly-awful Dalek redesign that nobody liked. Except for the people selling the new action figures, that is.
     

    "YOU WILL COH-LLECT US ALL OR YOU WILL BE THE OUT-CAST ON THE PLAYGROUND!!!"
     
    Never before or since has an episode of the show been so blatant in its intention of selling merchandise, and three years later it's still a low point for Moffat's run.
     

     
    Glad that's done. On to the good stuff later.
     
    Sound off in the comments if you agree/disagree, have another episode you think is worst.
  12. Orablanco Account
    Is...is the title a pun on a pun?
     
    ...
     

     
    Do you think this is a bucking game?
     

    What a terrible night to have a curse.
     
    "Castle Mane-ia" By Josh Haber
     
    Not a lot to say about this one, but it was actually pretty good. Great, maybe even. Takes what was sort of a weak premise for an episode and turns it into an entertaining romp with a decent amount of laughs. What's surprising about the humor is that a lot of it comes from timing, some well-placed silly sounds (Donald Duck is apparently trapped inside Applejack's head), and the VA's delivery.
     
    Even more surprising is that the one who almost steals the show from Rarity (Tabitha St. Germain is the queen of line delivery around these parts) is Fluttershy. In the last review, I briefly mentioned that I greatly appreciated that she wasn't just some redundant coward like she tends to be in more problematic stories, and that trend continues here, fortunately. She's still tense and everything, but she isn't spending the entire time cowering at every single shadow and is allowed to partake in the same comedy endeavors as everyone else. And by jove, is Andrea Libman great here. She's actually allowed to act and deliver lines, and she ends up being quite funny.
     
    I think in general, everybody really delivers here, from Tara Strong's delighted squeals in the opening scene to Ashleigh Ball's juggling characters who's frightened states sound different from each other. It helps that they're backed by a nice script penned by newcomer Josh Haber, who already seems to have a great handle on the personalities of the Mane Six, how they would reason going into the castle, and all the little nuances present in the character. I can't wait to see what he does with a more substantial story.
     
    The animation is also effectively funny. Not as extravagant as the premiere, but you can tell they're still experimenting with more three-dimensional posing and placement, and again, the timing is perfect.
     

     
    So many derp faces. I can't.
     
    To be sure, the ending is a bit predictable, if not actually really funny, and it's a little disappointing that the Journal of the Two Sisters isn't so much a tool for worldbuilidng so much as a new framing device for the show. I think the episode is enjoyable enough that I can forgive those two quibbles, though I'm sure others might not feel the same.
     
    Overall, an inconsequential but enjoyable episode. Nothing more, nothing less.
     
    8/10
     


     
    Random thoughts:
     
    - Why does the idea of a Pony of Shadows or even a ghost seem unrealistic to everyone? The ruling princesses have been alive for a thousand years and Fluttershy's flatmate is the Lord of Chaos. It's like how Indiana Jones never believes the object he's going after is supernatural right up until it starts melting people, despite the fact that the same thing happens literally every time. At this point, nothing should be out of the ballpark of plausibility for these people.
     
    - So, is the Pony of Shadows going to end up being real and part of a future plot? That final moment seemed to linger on those glowing eyes a wee bit too long for it to just be a random ending. I'm going to go ahead and assume the Pony of Shadows leads a Nightmare Moon cult or is Voldemort hiding out in the castle while he regains his strength via unicorn blood.
     
    - The episode does raise an interesting question about what, exactly, Celestia and Luna's childhood was like. Were they there by themselves for a few hundred years before getting bored and installing the trapdoors for the heck of it, or is the guy who designed the castle an ass?
     
    - This is the funniest I've found Pinkie since "Too Many Pinkie Pies". The imagination line at the end is my new favorite Pinkism. Your move, Amy Keating Rogers.
  13. Orablanco Account
    WARNING: MASSIVE AMOUNTS OF PRETENSION INCOMING. PREPARE YOUR KIDNEYS.
     
    Oi, I'm a bit late on this one, aren't I? You all know how it goes, what with that other thing happening this weekend, snatchng up all my attention, and I come back down to Equestria and we have all these new speculation threads. Something about a scepter, I dunno. But, now that whole month of anticipation and surprisingly controversial forum banners* is over and I need to focus on MLP.
     
    So f*** off, Doctor.
     

     
    Oh geez, I'm sorry, that was mean.
     

    Well first of all, this should have been called "Twilight Princess."
    "Princess Twilight Sparkle" Written by Meghan McCarthy
     
    If I may go back to my disappointment with Equestria Girls real quick, just for a second, a personal problem with the movie that I've become aware of in the past few months isn't any direct fault of the film itself. It just has the misfortune of being the first official Pony media to come out after "Magical Mystery Cure", an episode that continues to split the fandom (as I don't need to tell anyone on these forums). After an episode like that, which left a considerable number of fans uneasy about the future of the everyone's favorite mutant equines, it'd be wise to follow it up with something that rewards those who were "loyal", as it were, wins over those who were unsure, and prove the people who said the show was done wrong. A follow up to "Magical Mystery Cure" had to do several things: it had to show that Twilight was still Twilight, it had to confirm that her relationship with her friends would go unchanged and that they would remain important, it had to prove that the series wasn't turning into just a commercial for toys, and most importantly, it had to maintain that FiM was still FiM.
     
    EQG didn't really do most of that. Twilight was still awkward and likeable and such, but everything else didn't really help alleviate any fears that Twicorn was the show's jump-the-shark moment. Twilight was separated from her friends and stuck with a bunch of mere carbon copies for the sole purpose of selling dolls; this was just an altogether weird follow-up to anything, let alone in a series that had to prove it wasn't going down the crapper fast.
     
    It's not surprising, then, that "Princess Twilight Sparkle" feels like it was a created to be a promise from DHX that they aren't done yet, and it's a pretty admirable effort to that end. Twilight is still Twilight (and a freaking pony), her being a princess rightfully affects the plot (it'd be weird if it didn't), but she's still living in Ponyville and has the same relationships with her friends that she always had, she isn't overpowered now (her friends actually have rescue her at a few points), and it's still FiM.
     
    Most of things many would hope for can be found here; it's still funny, it's till exciting, the characters are still well-rendered and splendidly voice-acted, and a season premiere means an obvious boost in production quality between seasons. The lighting is especially good here, which is appropriate given the half day/half night thing. While nothing here is as grand as the Crystal Empire's design, there is a fair amount of visual flair here; everything, from the angles to the way things are placed in a shot is much more dynamic than we've seen before. The first flashback in particular is a display of the extra effort put into putting these scenes together.
     

    That atmosphere, though.
     
    I think what I appreciate about this episode the most is the fact that it doesn't feel "mandated". While it was obvious Hasbro wanted to push new toys in "A Canterlot Wedding", "The Crystal Empire", and "Magical Mystery Cure", this episode feels less like they got notes to include something and more like they made the decisions they made because they wanted to convey a specific story and tone. They didn't include a song this time because they they didn't want or need one, and there's no real villain here (more on that later) because it's not the type of story they wanted to tell. There hasn't been a two-parter like this since "The Return of Harmony".
     
    Speaking of which...
     
    http://www.youtube.com/watch?feature=player_detailpage&v=RGqw2tvO8oA
     
    ...can we just take a moment to talk about this magical motherbucker? Yes, it seems another goal for this episode was to establish that "Keep Calm and Flutter On" did not "ruin" Discord. He is still the immense jackass we all know and love, except now he's kind-sorta helping them in the most annoying way he can, further proof that the writers really are trying to turn him into a full-blown pony version of Q. I love the fact that there's still that one-sided animosity between him and most of the cast; gives the story a bit of an edge in the second act.
     
    The only problem with Discord's presence, however, is that it sort of ties into one of the weaker aspects of the story: how uninteresting the actual threat is. Leading up to the premiere, many people assumed, based on everything we've seen so far and the description of the episodes, that Nightmare Moon would be involved in the proceedings. Of course, as we all now know, her inclusion here is a misdirection, as it's soon revealed that the little scene we saw story-boarded at Comic Con was in fact a flashback to Nightmare Moon's rise and subsequent banishment to the moon. I'm not butthurt over that fakeout, though. In fact, I thought it was a pretty cool surprise. We finally got to see that fabled and much anticipated confrontation play out on screen (and the Discord one, too, though that one's a wee bit too anti-climatic for my taste). Plus, it's a clever ruse: tease the fandom with the return of a fan-favorite villain only to switch her out to reveal that there's another force of evil behind everything.
     
    Therein lies the problem, however: the true nature of the vines is not nearly as cool as Nightmare Moon. That switcheroo only works if what we get instead is compelling in its own right, but it's not. Instead of being this epic, built-up-to return to the story that spawned the entire series we all hoped it would be, it's just a bunch of weeds that Discord planted and forgot about. I guess that's interesting in its own right, but it's played less like his motives are still ambiguous and more like he's just a jerk who didn't bother telling anyone. Maybe if it actually was the Everfree growing out of control, that could lead to some world-building and maybe an answer as to why the Everfree is the only "automated" area in Equestria and why that frightens everybody. But nope, just some scary vines, which somehow came packaged with spiky clouds and magic dampening.
     

    I've seen enough hentai to-- wait, no...
     
    It's kind of confusing, actually. If Discord knew enough about the Tree of Harmony to know that it was a threat he had to deal with, why didn't he recognize the Elements of Harmony? At least you could make the argument that he thought he had the Mane Six beat in "The Return of Harmony" and thus didn't expect the Elements to actually work. This is twice that this has happened, dude.
     
    But Discord isn't the only odd thing around here. There's a couple of moments in the episode that feel a bit ill-structured or included. The flashback-inducing potion is a bit random and a clumsy way of getting to those scenes. Surely there could have been a better way of conveying that information. The whole "Twilight heads back to town" bit is even worst. I get what they were trying to do thematically, but it's rushed (it lasts 5 minutes), isn't properly built up to in the rest of the episode, and is too illogical on the characters' parts. Since when is Twilight anymore vulnerable than anyone else, and why would you split up the group and send an Element away if you know that the entire quest revolves around getting all of them to the tree? I love when they get to the tree and Dash is all like "dammit, AJ, that was a stupid thing we just did." Speaking of which, the tree is right underneath the old castle? Then how come Celestia and Luna acted like they just went on an epic quest to the tree in the flashback? Where did all the scratches and bruises come from? Did they trip down the stairs too?
     
    However, getting to the tree does lead to the best moment of potential awesomeness in the whole episode: no Elements in Season 4. Maybe.
     
    The potential of this is obvious; without the Elements, the Mane Six can no longer just destroy evil with rainbows. If they come up against another foe, they'd have to rely on their own skills and cleverness to win the day (like they did in "Magic Duel"), and the writers would have to get more creative as a result. It also adds a bit of tension. Yeah, we all know that they'll win the day, but now we wouldn't know how, and the characters won't either. It'll be a more effective creation of suspense then, say, the princesses not being there, which, lets be honest, makes very little difference at this point.
     
    Two possible problems, though. Firstly, the show never really utilizes the Elements outside of the openers and finales anyhow, so or all we know, this doesn't affect the plot at all until the finale.
     
    Secondly...
     

    Sigh.
     
    I have a really bad feeling about this box. I hope to the goddesses that it isn't new Elements, but my gut tells me it is. Oh, and look, six locks! Gee, I wonder what the six keys to those six locks are! Truly a full-fledged mystery that requires a whole season to solve. Worst case scenario, we never touch on this box until the finale, it really is just the Mane Six's love or whatever that unlocks it, and it's just a bunch of Elements. I could be wrong. I hope I'm wrong.
     
    So yeah, it has a bunch of problems, but I enjoyed it. Simple as that. Doesn't usurp "The Crystal Empire" as my favorite two-parter or anything like that, but it's competent, and could end up being the setup for a glorious season to come. For all I know, the upcoming episodes could make this one better retroactively. It certainly seems to be promising that some big things, or at least that the show still has legs.
     
    Not too shabby.
     
    The Day of the Doctor was better.
     

     
    MUAHAHAHAHAHAHAHAHAHA!!!
     
    7.5/10
     
    Random Thoughts:
     
    - Really like how Fluttershy is portrayed here. She's still her usual mousy self, but she seems to have genuinely grown stronger from past events, unlike "Magic Duel", where she started sucking out of nowhere. She's frightened by what's happening, but when push comes to shove, she stands by her friends and puts Discord in this place at the end.
     

     
    That was magnificent, by the way.
     
    - Never was a fan of how Pinkie would derail scenes in these two-parters for pointless comedy, though at least it's actually funny here.
     
    - Sweet, Celestia now has the pathos she deserves. Now expand upon it, please.
    - Maybe Discord actually planned for the Elements to be put out of commission. Anything's a possibility.
     
    - Wait, so the royal sisters were already princesses and alicorns when they took on Discord? And Celestia didn't have pink hair. Well, that just about ruins everything. I'm leaving.
     
    - That scepter is gonna be a thing at cons now, isn't it? Looking forward to that.
     
    *Does nothing please you people?
  17. Orablanco Account
    The year was 1993, and the Doctor was dead.
     
    Well, at least his career as TV's favorite time traveling space hobo was dead. Yes, despite BBC's assurance that the beloved series was merely "on hiatus", all the signs pointed to Doctor Who being cancelled. After decades of alien-fighting, running down corridors, and dubious fashion decisions, the only way fans would be able to experience new Doctor stories were through audio serials and books. History became legend. Legend became myth. And for four years, the Doctor passed out of all relevance.
     
    But every once in awhile, the fans would catch wind of a possible continuation or special or what have you. At one point, a video release centered around the Fourth Doctor was given serious consideration, but fell through. As the 30th anniversary approached, a draft made the rounds at the Beeb in which the Seventh Doctor reunites with the Brigadier to do epic, explode-y battle with the Cybermen, but for reasons unknown then, that was dropped. The "Dimensions in Time" special that sprung up in its place, however, looked even more awesome.
     

     
    All five of the living Doctors, working side by side to kick ass and take names! Even Tom Baker, who only appeared in the last Doctor team-up story, "The Five Doctors", in the form of stock footage from an unfinished serial and a wax dummy in the promotional photos.
     

    This is how Christopher Eccleston should be included in The Day of the Doctor.
     
    And the past iterations of the Doctor aren't the only ones returning for the fun; several of his beloved companions would also make appearances, along with a Who's who of classic Doctor Who monsters. After all this time, it appears Doctor Who was finally coming back, and even if it wasn't for long, at least it would have been a glorious final outing for the character and his universe.
     
    Plus, it was the centerpiece of that year's Children in Need program, so not only was the Doctor coming back, he was doing it to aid children!
     
    And then the skimpy 15 minute special aired and it was the worst thing ever
     

     
    Yes, worst than that.
     

     
    Okay, maybe not that bad.
     
    So yeah, it's disappointing and badly produced, but what makes it truly stand out is the bizarre creative decisions they decided to go with . Instead of just having the Doctors just meet up with each other and defeat some monsters or whatever, they have this weird plot device where the Rani (the only Time Lord villain they could manage to get a hold of) is screwing with time, causing the Doctor to switch between his various regenerations. Sort of interesting idea in theory (and maybe one I could see Moffat having some fun with, if he ever felt like just going stupid for a second), but weirdly executed here, and a definite disappointment in a special where the main draw is all the Doctors getting together.
     
    Not only that, but BBC mandated that the episode have something to do with Eastenders, the channel's most popular show at the time (hence the axing of that Cybermen story). That would be funky-in-a-bad-way enough, but it's handled as clumsily as it could possibly be. The plot will just derail for a moment to focus on a bunch of random people nobody who isn't a British person in 1993 cares about.
     
    Also, BBC couldn't work out a deal with Terry Nation, the creator of and owner of the rights to the Daleks, so the Nazi pepper pots of doom, arguably the most iconic and popular thing associated with Doctor Who, doesn't make an appearance. Poo.
     
    It's one of those things that approaches a level too nonsensical to describe in well formed sentences, so here it is, in all its 3D "glory".
     

     
    Wasn't that insane!?
     
    Anyway, random thoughts on this matter:
     
    - The little segway into the special featuring Jon Pertwee is pretty cool, but only because Pertwee himself is awesome. He could be done up like a scarecrow and he'd still be the coolest mother in the room.
     
    - Anybody else shit themselves in fear when Patrick Troughton's decapitated head floated past the screen? What, was stock footage or still images on a monitor too not-creepy enough for you people? You have to subject us to this Uncanny Valley horror in conjunction with the loss of brain cells we shall certainly receive?
     
    - So then the theme song plays and it sounds like electronic ass. And no, speeding up the Seventh Doctor's opening does not make it suck any less. Quite the contrary.
     
    - Good news, guys, the Fourth Doctor, arguably the most popular Doctor ever, is in the special! Unfortunately, he spends the whole special stuck in what appears to be Max Headroom's colon. Unsure how much of this was Tom Baker just being like "whatever" and how much of it was the producers just being buttheads. Favorite moment is 3:20, when you can see it dawn on Baker how utterly asinine this whole affair is as his soul enters the fetal position.
     
    -
    , because we needed to be reminded the Rani is a bad guy. The image of the Rani tossing the First and Second Doctors' heads down the giant galactic energy toilet expertly balances being tasteless and hilarious.- The fact that every wall-circle in the Rani's TARDIS contains a living creature is even funnier. I like the Time Lord's expression, he's all like "I may not like this, but I accept that this is the way things are."
     
    - "It clashes!" was actually kind of funny. You win this round, Nathan-Turner.
     
    - You know, if you're going to keep cutting to those Eastenders cast, could you at least give them something interesting to do other than say stuff like "We need to make some money"? I have no idea what goes down in early 90's Eastenders, but I'm guessing that isn't exactly riveting within that show's context either.
     
    - Gotta love that time travel effect utilized here. The whole "looks like an unintentional video glitch" thing really adds to the production.
     
    - I get why the Doctor is switching regenerations, but how is Ace changing into all the other companions?
     
    - Sarah Jane is always awesome to see again, though I'm not sure why she looks like she just ate a fire flower.
     
    - The Doctor doesn't so much solve a mystery or try and figure out what's going on so much as he just wanders around and recites variation of the same info over and over and over again. Adventure ho.
     
    - Dat camerawork, am I right?! 360 degrees, bitch!
     
    - The scene where the monsters attack the Doctor is just the silliest darn thing. A number of them somehow look even worst than when they were on the show, most of them appearing in windows and behind little walls like a bunch of muppets. And you gotta love that Time Lord standing there feeling inadequate next to all those monsters. "No, seriously guys, he'll look intimidating! See, I gave him a gun!"
     
    - Worst cliffhanger? Worst cliffhanger. I voted for Big Ron on name alone.
     
    - "I took back what I said about a genius operator being behind these time jumps!"
     

     
    - Wait, how does that ensuing confrontation work? The Rani has them cornered, and then the Doctor starts having a migraine, and then the Rani starts walking away, but when the Third Doctor appears, it's like he just pulled off this mind-blowing trick that changed the tide of the battle despite doing absolutely nothing. And then Liz just walks right up to the Rani, and they have a non-struggle, and then an Eastenders chick sort of touches her arm and she "lets Liz go", despite never appearing to have her. Thankfully, Captain Yates is there to save us from this confusing scene.
     
    - It's always nice to see the Brigadier, and it's cool having him meet the Sixth Doctor, which he never did in the series.
     
    - Did...did the Rani just sit in that pub and wait for Romana to walk past the door? And that old guy is totally cool with witnessing a possible assault and not doing anything.
     
    - So the Rani is attempting to build a time tunnel out of Leela clones so she can cross over from the East to the West, which will give her the power to control evolution.
     

     
    - Once again the day is saved, thanks to a bunch of cables, random terminals, and the Doctors chanting random gibberish about believing in Santa Claus or something! SO SATISFYING!
     
    So yeah, that's "Dimensions in Time" for you. And you people thought Moffat sucks? These guys were perfectly happy with this being the only intended Doctor Who television story for years. What a time to be alive, is all I'm sayin'.
     
    Now let's bleach this awfulness with a much better Doctor Who Children in Need special.
     

  18. Orablanco Account
    We're almost at the end, but I still find that there's a crap-ton of movies I wanted to do that I didn't get to do, so I've decided to work through a bunch of them in one post.
     
    Aren't we having some fun now?
     

    Get it? Because it's a lyric from that number. I'm...I'm funny.
     
    LITTLE SHOP OF HORRORS
     
    - A adaptation of an off-Broadway show which is itself an adaptation of a movie Roger Corman legendarily shot in two days (and just so happens to be Jack Nicholson's film debut).
     
    - Actress Ellen Greene played Audrey I in the original stage production as well.
     
    - The dentist office set was originally covered in blood, but that didn't sit right with tests audience, so the scenes in the office were thus re-shot without all of the stains. This would no be the only thing to be cut.
     
    - No green screen or composite shots were used for the scenes involving Audrey II. Six different plants increasing in size were used over the course of the movie. Near the end, more cables were being used on the Audrey II puppet then there are in the Brooklyn Bridge. And sense the puppeteers could only move the puppet so fast, any actor in a scene with it (mostly Rick Moranis) had to act in slo-mo.
     
    -
     
     
    - My sister thinks Rick Moranis is cute in this movie.
     
    But now, we move from one cult classic to another, and this one is probably the cultiess of all the cult classics. Beneath its flashy varnish lies the tale of a young couple torn apart by their hidden demons and a strange but passionate man whose pathological pursuit of hedonism and pleasure, often at the cost of human life, brought upon his ultimate and all too tragic downfall.
     

     
    THE ROCKY HORROR PICTURE SHOW.
     
    - Tim Curry's fabulous film debut. He reprises the role he played in the original stage production.
     
    - Dr. Scoot being pulled through a wall by the electromagnet was not scripted. The filmmakers realized that they had not made the laboratory set wheelchair accessible, so the only way to get that character in the scene was to have him crash through it.
     
    - Mick Jagger wanted to play Frank, Steve Martian tried out for Brad, and Vincent Price was the first choice to play the Criminologist.
     
    - The longest running theatrical run in history thanks to its popularity as a midnight movie.
     
    - No body knew Eddy's corpse was hidden under the dinner table, so when it's revealed, the shocked reactions are real.
     
    - Brad and Janet has been nicknamed "ASSHOLE" and "SLUT" by the fans, respectively.
     
    - Tim Curry gained weight after starring in the movie so he could distance himself from Frank.
     
    Speaking of Tim Curry...
     

     
    That's fugging hilarious. Easily the best of the televised Stephen King adaptations, though to be frank, that isn't saying much. It's like saying Red Dead Redemption is the best western game. What's its competition? Custer's Revenge?
     
    IT
     
    - The book was so damn long because King wanted to fit all his favorite monsters in there. Apparently, giant spiders is one of them.
     
    - Speaking of which, the spider became the ending because the budget couldn't handle the real ending. Much like Carrie, the entire town was suppose to get destroyed.
     
    - Tim Curry was apparently frightening to be around on the set, so everyone just kind of avoided him.
     
    - Seth Green, hounded by a werewolf (no pun intended) in this movie, plays a werewolf later on in Buffy the Vampire Slayer.
     
    - The actors actually got injured by the large amount of balloons in the library scene. So yeah, I guess that happened.
     
    Guess now would be a good time to get some other requests out of the way. Let's continue with a classy one.
     

     
    EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEK.
     
    THE BIRDS
     
    - Hitchcock was huge bird person long before making this movie.
     
    - Blue screen had to be abandoned for a different technique partway into production because the rapid movements of the birds made the shot look bad.
     
    - Tippi Hedren was actually cut in the face in one of the shots.
     
    - The owner of the restaurant allowed Hitchcock to shoot inside his establishment if the lead male character was named after him. Hitchcock agreed.
     
    - There's no "The End" card at the end of the movie because Hitchcock wanted audiences to have the feeling that the horror would never end.
     
    - Hitchcock required
    to be real. 
    - At the film's London premiere, speakers were installed to play an assortment of bird screeches as patrons left the theater.
     
    Okay, what's the next request? Oh yeah!
     

     
    I HAVE SUCH FACTS TO SHOW YOU.
     
    HELLRAISER
     
    - It took six hours for Doug Bradley to put on the Pinhead makeup.
     
    - The original title, "The Hellbound Heart", was rejected by the studio because it sounded too much like a romance.
     
    - Filming the scene where Frank is spun around upside down covered in blood cause actor Sean Chapman to vomit.
     
    - Pinhead was in no way the "main" Cenobite; he was just given the most dialogue.
     
    - Due to a limited budget, all the special effects were animated by Clive Barker and "a Greek guy" over a single weekend.
     
    - It wasn't so much the content the MPAA was worried about, so much as the "intensity of the tone".
     
    Also, heads up guys, but I've never seen Mothra, nor have I been able to find any interesting facts on her solo career, so have this gif of Mothra dragging Godzilla like a punk.
     

     
    Hey, guess what, SE7EN.
     

     
    This is literally the only gif I could find that wasn't NSFW or spoiler-heavy. Seriously, if you've never seen this movie...damn.
     
    - Every single one of John Doe's creepy psycho-killer books was written out and packed to the brim with detail. As in, if you opened to a random page of any of those books, you'd find a fully-realized, thought out page. Pretty impressive, considering most of them are just seen in the background.
     
    - Kevin Spacey was cast two days before filming, and his involvement was kept as quiet as possible, in keeping with his tradition of trying to immerse the audience into the character he plays, as opposed to the fact that it's Kevin Spacey.
     
    - The studio hated the ending, but Brad Pitt refused to star in the movie if a single line was changed.
     
    - David Fincher wanted a super-skinny guy to play Victor. If you've seen the movie, you know why this is pants-crappingly terrifying.
     
    - The city the movie takes place in is never identified.
     
    - Rob Bottin, of The Thing fame, did the makeup effects for the movie.
     
    -
     
     
    - A sequel was in the works in which Morgan Freeman's character gets psychic powers.
     
    Guess this means I should do SILENCE OF THE LAMBS too.
     

     
    I'll admit, the part with the face made me jump.
     
    - The last film to take home the Grand Slam at the Oscars: Best Actor, Best Actress, Best Screenplay, Best Director, and Best Picture. It remains the only horror movie to ever win the top award.
     
    - John Hurt, Christopher Lloyd, Dustin Hoffman, Patrick Stewart, Robert Duvall, Jack Nicholson, and Robert De Niro all auditioned for Hannibal Lector.
     
    - The moths used for the film were flown to the set in first class.
     
    - Whenever someone is talking to Sterling, they are looking directly at the camera towards the audience.
     
    - Lector is only in the movie for 16 minutes.
     
    - Brooke Smith, Buffalo Bill's victim, actually became good friends with Bill's actor, Ted Levine, on the set.
     
    - The Lector voice was, according to Anthony Hopkins, a combination of Truman Capote and Katharine Hepburn.
     
    Wait, tomorrow is Halloween? Well how about some TRICK 'R TREAT?
     

     
    Seriously though, if you haven't seen this, do so, because it is a treat. Yes, pun intended.
     
    - Was suppose to be released in theaters in 2007, but got buried by Warner Bros for what I am sure are stupid reasons.
     
    - The appearance of Mr. Kreeg was based off of John Carpenter.
     
    - Little people make up most of the little kids in the background. The movie was shot at night and it was way past regular kids' bedtime.
     
    - Based on a Marvel Comic.
     
    - Sam is named after Samhain, the medieval festival that served as the origin of Halloween.
     
    - Remember that bitchy girl who leads that horrible prank? Guess who.
     
    And I can't finish this post without mentioning this.
     

     
    - Tim Burton did not direct this. That would be Henry Selick. He did design the movie and come up with the concept, which was inspired by Burton witnessing a mall taking down Halloween decorations and instantly replacing them with Christmas stuff.
     
    - The most difficult shot in the entire movie was Jack reaching for the door knob on the Christmas door due to the reflection of the forest.
     
    - Danny Elfman does the singing voice for Jack.
     
    - Was meant to be an official Disney animated film, which would have made it art of the Disney Renaissance, but it was deemed too scary. Well, Oogie scared the shit out of me when I was a kid for some reason, so I dunno,
     
    - The scene where Oogie's insectoid innards fall into the murky molten material was shot at 25 fps (real-time).
     
    - Tim Burton has said that Jack is probably his favorite character that he has created.
     
    - The killer snake is based off the sandworms from Beetlejuice.
     
    - Lock (the kid dressed like a devil) is totally Paul Reubens, and Dr. Finklestein is Uncle Lewis from National Lampoon's Christmas Vacation.
     
    Aw man, so many horror movies, so little time. Sorry if I didn't do a movie you wanted (I know one of you wanted Van Helsing, for instance). Tune in tomorrow for the final film in the blog series (I think you can guess what movie I'm doing), but in the meantime, have two awesome scenes from a couple of movies I didn't get around to doing: Best Van Helsing and Best Dracula fighting to the death...
     

     
    ...and the most iconic transformation scene ever.
     

     
    Seriously. They actually created a new academy award just to award this movie. I remember the first time I saw it; it was on TV (but on a channel where they didn't have to censor it), and I walked into it and thus had no context with which to work. It was the first "real" horror movie scene I ever watched, and it blew my freaking mind.
     
    Also, fun fact: it was that movie that inspired the music video for "Thriller".
  19. Orablanco Account
    My first run-in with Michael Myers was not Halloween, but rather a night many years ago when I spent the night at my cousin's house. My older cousin was out for the night, so I was allowed to sleep in his bed. Coincidentally, he's a huge horror fan, and his favorite movie ever is Halloween. And thus, I spent the night surrounded by these huge posters of a blank, pale, emotionless face, and the blackest eyes. The devil's eyes. Staring down at me.
     

     
    No sleep was had that night.
     
    - Was born out of a desire to make a movie about babysitter murders. After doing some research, the producers found that, oddly enough, nobody had ever named a movie "Halloween" before.
     
    - Peter Cushing and Christopher Lee were both approached to play Dr. Loomis, but both turned it down. Lee would go on to say it was the biggest mistake he ever made, while Cushing would end up regretting turning down that other doctor role that was brought to him (more on that later). Donald Pleasence eventually took the job because his daughter was fan of John Carpenter's last movie, Assault on Precinct 13.
     
    - The mask is famously a William Shatner mask modified beyond recognition.
     
    - The name "Michael" is only said in the opening scene. From then on, the Shape is only referred to as "he" or "it".
     
    - Nick Castle, the man behind the mask for most of the movie, originally was just hanging out near the set to watch it get filmed. It was John Carpenter who offered him the chance to be a psycho killer.
     
    - The movie was filmed in the spring, so all the leaves on the streets were all fake and individually painted to look dead. They were reused after the movie wrapped, because we gotta protect the environment.
     
    - The Shape appearing out of the darkness was achieved via a hidden dimmer light.
     

     
    - The movie was shot out of order, so in order to help Jamie Lee Curtis stay consistent, John Carpenter created a "fear meter" that indicated how scared she should be in a scene.
     
    - The first cut of the movie did not go over well at its first screening; people just weren't finding it scary. John Carpenter decided he needed to "save it" with an awesome musical score, which he wrote in four days.
     
    Everybody was terrified after that.
     

     
    - The opening POV shot is actually three different shots cut together; the cuts are done when the mask is put on and before and after the murder. It took two days to shoot.
     
    - John Carpenter is a huge Psycho fan, as evident by his naming Loomis after one of the supporting characters in the film and the casting of Janet Leigh's daughter in the female lead.
     
    - It was Donald Pleasence's idea that his character's reaction to the final scare should be less shock and more "I knew this would happen."
     
    - Jamie Lee Curtis was unsatisfied with her performance and thought she was dragging the whole production down, which certainly contrasted with John Carpenter's enthusiasm. He actually rang her up after the first day of shooting just to tell her how great she was.
     
    - The Myers house has been relocated and now serves as a chiropractor's office. That's certainly a place I want people touching my spine.
     
    - "Don't Fear the Reaper" is playing on the radio while the Shape is driving behind Laurie.
     
    - Made on a budget of $325,00, grossed $47 million ($150 million if adjusted for inflation), making it one of the most successful independent movies ever.
     
    - If I had to make a list of the greatest horror movie shots of all time, this would most definitely. be near the top of the list:
     

     
    Classic.
     
    Well, I guess that just about wraps up FACTOIDS OF THE LIVING DEAD. Kind of bummed that I didn't do every single movie I wanted to do; Misery, Return of the Living dead, Gremlins, Invasion of the Body Snatchers, and The Omen, just to name a few. This wasn't really planned at all, just a stupid thing I decided to do out of the blue, but I'm glad some of you enjoyed this series. Thanks for sticking with me, I hope you learned a thing or two.
     
    As an added bonus, have this, Citrus's TOP 10 HORROR MOVIES. This is by no means a definitive list, but these are the movies I most often pick for my favorites of the genre
     
    10. Poltergeist
     
    9. The Texas Chainsaw Massacre
     
    8. Se7en
     
    7. The Shining
     
    6. Night of the Living Dead
     
    5. The Thing
     
    4. Evil Dead 2
     
    3. Psycho
     
    2. Jaws
     
    And of course,
     
    1. Alien/Aliens
     
     
    HAPPY HALLOWEEN, EVERYONE!
     
    Play me out, Michael!
     
    http://www.youtube.com/watch?v=Btb7y41vXng&feature=player_detailpage
  20. Orablanco Account
    It's been scientifically proven that if you don't find at least one thing in Ghostbusters funny, you don't exist.
     

     
    What, Ghostbusters isn't scary enough for you?
     

     
    Back off, man.
     
    - Originally called "Ghostsmashers".
     
    - The movie was inspired by Dan Aykroyd's interest in the paranormal. He always intended the movie to star himself with John Belushi, Eddie Murphy, and John Candy, but the former passed away before production began and the latter two were uninterested.
     
    - Bill Murray only agreed to star in the movie if Columbia green-lit a remake of Razor's Edge.
     
    - Every scene had at least one moment of ad-lib, with most of Bill Murray's lines improvised on the set.
     
    - Director Ivan Reitman voiced both Zuul and Slimer.
     
    - Paul Reubens turned down the role of Gozer at the end of the movie.
     
    - The ghost floating above Ray in his dream is Dan Aykroyd's wife.
     
    - The original librarian ghost puppet was deemed too scary, so it was shelved and used in Fright Night a year later.
     
    - The proton packs are never actually called that in the original movie.
     
    - The top portion of Spook Central does not exist in real life. The building used for the movie, located at 55 Central Park West in Manhattan, is a fraction of that size, so its height was significantly beefed up with matte paintings and models. And yes, there is a church next to it, which to my knowledge has not been stepped on.
     
    - Slimer was referred to as "Onion-Head" by the crew because of how bad the puppet smelled. In Dan Aykroyd's head canon, it's the ghost of John Belushi.
     

     
    Word to the wise: never, under any circumstances, type "he slimed me" into Google Images. I've seen shit that would turn you white.
     
    - William Atherton has said that playing Walter Peck has ruined his life. Now no matter where he goes, people will confront him about his actions within the movie, and it's actually gotten him a couple physical fights. It's tragic, really, especially when you consider that Peck actually had some fair points regarding the Ghostbusters' practices. If only he wasn't such a dickless wonder.
     
    - Speaking of which, the molten marshmallow goop that engulfs Peck in the finale is a crap-ton of shaving cream.
     
    - The no sign in the iconic logo is backwards.
     
    - Bill Murray's proton pack was loaded down with 40 extra lbs by his cast members without his knowledge, mostly because he was funnier when he was agitated.
     
    - The Keymaster is locked out of his apartment three separate times.
     
    - The movie's release date was so tight that several effects shots weren't even finished by the time production was wrapped.
     
    - Three weeks at #1 on the chart, baby.
     

     
    Wait, are you sure that's how it goes?
     
    - This is literally the greatest movie scene of all time.
     

     
    We've been going about this all wrong. This Mr. Stay Puft is okay, he's a sailor, he's in New York. We get this guy laid, we won't have any trouble!
     

    CONGLATURATION ! ! !


     

    YOU HAVE COMPLETED



    A GREAT POST.


     

    AND PROOVED THE JUSTICE



    OF OUR FORUM.


     

    NOW GO AND REST OUR



    HEROES !


  21. Orablanco Account
    Kind of redundant at this point, but yep, this is another one of my faves. But then again that's probably true for most people.
     

     
    - That line was improvised. Of course it was. Also improvised: the little scene where Brody goofs off with his son at the dinner table. The child actor just randomly started mimicking Roy Scheider, and they thought it was cute.
     
    - Everyone calls the shark Jaws, but the cast and crew took to calling the mechanical shark "Bruce" (
    ), while Steven Spielberg just took to calling it "the Great White Turd". 
    - It's possibly the most widely know piece of film trivia ever, but you can't talk about Jaws without talking about the utter hell that was the making of Jaws. Filming began without a completed script, cast, and shark, making a movie at sea proved to be a difficult shoot, with most of everybody getting debilitating sea-sickness, the production went over budget and over schedule, Robert Shaw and Richard Dreyfuss did not get along very well, and of course, the shark didn't work at all, hence the "Great White Turd" thing. And, as anyone and their mothers will be able to tell ya, because they had to cut down on the screentime of the shark (the scene where the young boy dies, for example, was meant to be much more graphic), it actually added to the suspense and made the film more effective.
     

     
    - All the extras were people who lived in the town where the movie was shot, while the original novel's author Peter Benchley cameos as a TV reporter.
    - Beat out The Exorcist for the highest grossing movie at that time.
     
    - Spielberg never got to meet his idol, Alfred Hitchcock, mostly due to Hitchcock refusing to the guy who made "the fish movie", his rationale being that it made him feel like a whore because he did a voice for the Jaws ride.
     
    - Steven Spielberg once invited friends, including George Lucas, to the set. While checking out the robot shark, Lucas jokingly stuck his head in its mouth, which then unexpectedly malfunctioned (and by that, I mean Spielberg snuck away to the controls and tried to scare him) and clamped down on his head. This incident may have very well have been what broke the shark. And yes, there is an alternate universe where a shitty roboshark killed George Lucas.
     
    - The Indianapolis speech, which probably should have won Robert Shaw an Oscar (jus seyin'), was written by Shaw himself after no on else could get it right.
     
    - The audio in the opening scene got a bit mucked up, so the actress had to rerecord her lines. To make it sound like she was drowning, she had water poured into her mouth while she screamed in terror. Richard Dreyfuss remembers walking into this recording session by accident. It was awkward.
     
    - Spielberg laughed the first time he heard John Williams's score.
     
    - The Ben Gardner boat scene, arguably the scariest jump scare of all time, wasn't in the script. It was added at the last minute when the filmmakers realized the movie had gone on too long without a good fright. It made the first test audiences scream, but Spielberg decided to refilm it in editor Verna Field's pool and made it even scarier.
     
    - Okay, spoiler time:
     
     
     
    - At one point, The Orca started to sink with the actors and filming equipment on board, because why not.
     
    - At the end of the movie, the sound the shark's remains make as they sink to the bottom of the ocean is the same dinosaur-esque sound the villainous truck in Speilberg's earlier movie Duel makes as it drives off of a cliff to its "death".
     
    - Production got so frustrating for the entire crew that a pact was made to team up and throw Spielberg into the water when production was done. Spielberg caught wind of this and was legitimately terrified. Special precautions had to be taken. How dramatic this was varies on who tells the story, but on the last day of filming, Spielberg got to the production location early, set up everything, made sure it was all shipshape, and then promptly got his ass off the island before anyone knew he was gone. To this day, he never works on the last day of shooting, for good luck.
     
    - Peter Benchley was inspired to become an activist for the protection of sharks after seeing the fear of the lovable things the movie instilled in people.
     
    - My sisters hate Jaws. Can't imagine why.
     

     

  22. Orablanco Account
    http://www.youtube.com/watch?feature=player_detailpage&v=oykvs8ePij8
     
    Welcome to the second part of my trivia-scouring journey into Romero's Living Dead trilogy. Let's set the mood and start things off with Dawn of the Dead,the movie that convinced everybody to try and break into a mall during a zombie apocalypse.
     

     
    NOPE.
     
    - The original story for Night of the Living Dead was so large in scope that (similar to Star Wars) that it was split into three parts, with the later two being stored away for later if the first one worked out. It did, so here we are.
     
    - Was filmed at Monroeville Mall in Pittsburgh. The production took place at night and took a break during the Christmas season, because nobody feels like taking down and reapplying all those decorations.
     
    - Every zombie extra was paid with a lunch, $20, and a t-shirt.
     
    - Makeup artist Tom Savini was unable to work on the first film due to being drafted into Vietnam as a photographer. He's said that his experience there has helped him become a better makeup artist.
     
    - Of all the zombie extras the crew worked with, the one the filmmakers thought was the most authentic was "the sweater zombie". Apparently, he had the look and mannerisms of a zombie down pact and was so good at staying in character that he didn't break it even when he stumbled onto the escalator by accident.
     
    - The two zombie kids who attack Peter at the airfield are Tom Savini's niece and nephew. They are the only zombies in the entire Living Dead series who run.
     
    - Tom Savini plays Blades, the leader of the biker gang that attacks the mall in the finale. Every member of that gang was given a name and personality by the crew, including Old Nick, aka the guy dressed as Santa Claus and played by George A. Romero.
     
    - Romero also cameos in the opening scene in the movie as the television station director. His wife cameos as one of the crew members. This is not as awesome as Santa Claus, though.
     
    - Many of the more unique zombie kills, such as the zombie getting his head chopped off by the helicopter, were thought up on set and quickly put together. Also improvised on set: Roger's delightful slide down the escalator.
     
    - The blueness of the zombies was unintentional. It looks cool, though.
     
    - Gaylen Ross didn't want to play a character who couldn't defend herself. When Romero asked her to scream for a scene in the movie, she refused.
     
    - In the original movie, before settling on destroying the brain/burning as the only way to kill a zombie, the filmmakers joked about having pies to the face be their weakness.
     
    That explains this scene.
     
    http://www.youtube.com/watch?feature=player_detailpage&v=Y2MeJNLCvsI
     
    - Ironically, given that George A. Romero refused to tone down the bleakness of Night's dark-as-hell ending, this film was suppose to end with the last two characters committing suicide, one by shoving their head into a helicopter propeller, but was changed at the last minute so they would escape and live to survive another day. Thankfully, the dummy head that was to be used for the propeller scene was repurposed for the best zombie headshot ever.
     

     
    Now let's talk Day of the Dead.
     

     
    - George Romero has said that this is his favorite film in the Living Dead series, even if it is the lowest grossing.
     
    - The estimation that the zombies now outnumber us 400,000 to one would mean that there are only 600 humans left at the beginning of the movie.
     
    - The only movie in the series to feature a zombie talking.
     
    - That awesome shot in the gif up there did not turn out the way it was intended the first time, and by that, I mean the freaking wall fell over on actress Lori Cardille.
     
    - The appearance of 'Salem's Lot is a shout-out to Romero's good friend, Stephen King.
     
    - Romero makes a cameo in the film as a zombie pushing a cart. He can only be seen from the waist down, but you can tell it's him thanks to the Doctor Who scarf.
     
    - Lori Cardille told the actor working with her in a tense scene to slap her for real, in order to get a more real performance.
     
    - Shot the movie to be unrated at the cost of half his budget. Totally worth it.
     
    - Makeup artist Greg Nicotero used a zombie head from the production (which just so happened to be based off his own head) to prank his mother.
     
    - Fact: Captain Rhodes is the greatest zombie movie villain ever.
     

    Pictured above: a well-balanced man.
     
    Also fact: he suffers the greatest villain death of all time, period. Like, I would even rank it above Toht's melting face and Ursula getting stabbed in the boob by a boat and getting struck by lighting. I'm not posting it here because it's as NSFW with gore as you can get, but if you can stomach it, look it up, because it is a treat.
     
    And as it turns out, the line that pushes it over the edge of awesome into bad-assery was ad-libbed.
     
    So yeah, these movies are great. Bub and I salute both them and the forum-goers who took the time to read this blog post.
     

  23. Orablanco Account
    http://www.youtube.com/watch?feature=player_detailpage&v=UYR3dorshwA
     
    Oh Johnny, you unfortunately ironic sonnuvahgun.
     
    It's about time we got around to the granddaddy of all modern zombie fiction, and shortly after its 45th anniversary, too.
     

     
    This is another one of my favorites. I have a lot of favorites, you see.
     
    - The movie was almost about an alien pathogen that infected living people and called Night of the Flesh Eaters (remember that piece of information, we'll get back to it in a second), but they decided on the whole "dead coming back to life" thing, with some radiation from Venus thrown in. After this was decided, the filmmakers tried to figure out the most shocking and horrific thing for the living dead to do, and they eventually settled on eating people alive. And thus, the Romero zombie was born. Or died, or, I dunno...
     
    - The first horror movie with a African American protagonist.
     
    - Made on a $114,000 budget, made around $42 million upon its initial release. Has currently racked up something close to $256 million as of 2009.
     
    - Was not shot in color due to a lack of funds. Black and white film was cheaper to develop. On the plus-side, it actually makes the movie much creepier, and the filmmakers were able to use Bosco chocolate syrup for the blood (the same brand used in the shower scene from Psycho).
     
    - The meat the zombies rip from their victims and eat was ham donated to the production by a local butcher.
     
    Chocolate syrup and ham: the breakfast of champions.
     
    - You can blame this movie for characters in a zombie story never calling them the zed-word. Instead, they're all referred to as "those things" or "ghouls".
     
    - Like most of George A. Romero's movies, his debut flick was filmed in Pittsburgh, where around 200 extras volunteered to play the living dead.
     

     
    Obviously, some of them were pretty cool about doing some nude stuff for the sake of art.
     
    - The boards nailed across the windows and doors were numbered so they could be put together in the right order after they were taken down for another shot. Continuity for the win.
     
    - The corpse in that gif up there was made by George A. Romero, who used ping-pong balls for the eyes.
     
    - Bill HInzman, who played the zombie who attacks Barbara in the opening scene, recently passed away. According to his daughter, he wanted to be cremated so he wouldn't rise from the dead.
     
    - Screenwriter John A. Russo volunteered to play the zombie lit on fire because no one else was comfortable with that.
     
    - In the grand tradition of horror directors trying to get authentic performances through disturbing their actors, Romero killed a butterfly in front of the cast before the shooting of a particularly tense scene. Otherwise, thought, it was actually a very pleasant production. No Texas Chainsaw-style clusterbuck here.
     
    - Supposedly, the moment editing and dubbing was finished, George A Romero and John A. Russo threw the film in the trunk of a car and drove through the night to New York in search of theaters that would show the movie. On the way there, they heard about Martian Luther King Jr's assassination.
     
    - Despite being one of the most poular horror movies of all time and one of the most successful indie films ever, George A. Romero saw very little money. As it turns out, back then, a movie had to have a tittle card that showed a little copyright notice so it wouldn't enter public domain. Unfortunately, when the title of the movie was changed to Night of the Living Dead, the title card with this notice was removed from the film and never replaced.
     
    So the movie can be posted anywhere or viewed by anyone with no legal action taken against them. In fact, here's the full movie right here. Ya'll kids better educate yourself and watch this masterpiece, but be warned: there be some mostly-tame-by-today's-standards gore and a naked lady butt.
     
    Well, you know what they say: When there's no more room in this forum post, the dead will walk the earth. So tune in tomorrow for some trivia on Night's two sequels, Dawn of the Dead and Day of the Dead!
  24. Orablanco Account
    A bona fide classic right here, I tell you h'what, and easily another one of my favorite movies. Sure, Kubrick needed to break the souls of everybody working on it, but their therapists needed the work anyway.
     

     
    That's odd. Usually, the blood gets off at the second floor.
     
    - Stanley Kubrick chose this particular book to adapt out of a huge pile of random books. According to his secretary, he'd read a few pages of a book, and if he didn't like it, he'd throw it against the wall. This would happen every few minutes, but the book-throwing ceased once he started reading The Shining.
     
    - Stephen King has said that Kubrick would call him at 3 a.m. and ask him about his beliefs ("Do you believe in God" and all that), probably to more effectively understand the underlying themes and subtexts of the novel. This was all despite King telling him that it really was just a bunch of ghosts in a hotel.
     
    - Jack Nicholson was always the first choice to play Jack Torrance. For Kubrick, anyway; King had some opinions of his own (more on that later). Robert De Niro was considered, but Kubrick didn't think he was crazy enough after watching him in Taxi Driver. Robin Williams was also considered, but Kubrick though he was too crazy after watching him in Mork and Mindy.
    - The iconic "river of blood" shot was filmed on a miniature set and took over a year to film. Kubrick was never satisfied with the takes and test footage he was getting and had the effects team redo it over an over again until he thought it looked like real blood. Later on, Kubrick wanted to use the shot for the teaser trailer, but the MPAA wouldn't allow such a huge amount of blood in an approved for all audiences trailer. He convinced them it was rusty water.
     
    - The Overlook Hotel in the novel was inspired by the Stanley Hotel in Colorado, but the movie's Overlook was based off of the Timberline Lodge in Oregon, where some of the exteriors were shot. The most significant difference between the hotels is the addition of a hedge maze in the Kubrick film. Instead of a maze, the novel features hedge animals that move in to attack the characters whenever no one is looking at them. Kubrick felt special effects at the time were not able to realistically portray these scenes, however, so out with the Weeping Hedges, in with the maze.
     
    - Also in the movie but not in the novel: the Grady twins, the river of blood, and Jack's "novel".
     
    - The lighting needed to fill the lounge set with sunlight actually lit it on fire late into production. After the movie wrapped, it was converted and used as the Well of Souls in Raiders of the Lost Ark.
     
    - Jack Nicholson's experience as a volunteer fire marshal made short work of the fake bathroom door made for the axe scene, so they had to build a much stronger one for every following take. And of course...
     

     
    ...that was improvised.
     
    Also, here's a clip of him getting himself psyched for the scene.
     
    http://www.youtube.com/watch?feature=player_detailpage&v=Qu3xxq5F3Gw
     
    Isn't that just utterly wonderful?
     
    - Kubrick is notorious for his sanity-pushing relations with his actors, and this film is no different. Jack Nicholson collapsed onto his bed and instantly fell asleep every night after a day of filming.Poor Shelly Duvall was once forced to do 123 takes of a single scene, and if co-screenwriter Diane Johnson is to be believed, many of her lines were cut because Kubrick was unsatisfied with her performance. Getting it even worst was Scatman Crothers who had to do 120 takes of a shot was simply the camera slowly zooming in on his face, and he had to do 40 takes of the shot where Nicholson swings the axe at his chest. It would have been 70 takes if Nicholson didn't convince Kubrick to ease up a bit. It got so stressful that Crothers actually broke down and cried. It was witnessing this misery that made Nicholson vow to never work with Kubrick again.
     
    - Kubrick wasn't hard on everybody, though. He didn't want to mess up or scare child actor Danny Lloyd, so he took special precautions to make sure he never felt frightened or troubled while making the movie. He didn't even know what he was suppose to be staring at when his tricycle turned that fateful corner; Kubrick combined two separate shots of the hallway.
     

     
    Lloyd didn't even know he was in a horror movie until he watched it several years later.
     
    - Stephen King cameos as the party conductor in the scene where the ghosts are having a ball.
     
    - Like most of Kubrick's works, The Shining has inspired deeper analysis and ridiculously detailed examinations of their hidden meanings. In recent years, especially, the movie has entertained examination by conspiracy theorists who believe that something much, much deeper is buried within the layers of the film. The theories that have developed range from the possibly feasible (the movie is a condemnation of the genocide of Native American life and culture) to the sort-of-bonkers (the movie is Kubrick confessing to his hand in faking the moon landing).
     
    - But one thing that's been discovered by all these theorists is most certainly true: the Overlook's layout is impossible. The window in the main office, lounge, and apartment should be facing a wall and couldn't possibly be letting in sunlight, the hallways cross each other over when they shouldn't, the way to get into the golden ballroom changes between scenes, and there's doors to rooms that can't fit in that space, never mind next to each other. Not only that, but objects will move and be in different spots between takes. And we're not just talking about little things, like pens or cigarettes; furniture will be in different positions without the characters noticing. Jack's typewriter even changes models. It has been confirmed by the filmmakers that all of this is an intentional play to subtly make the audience uneasy. Without even realizing it, the hotel is subtly messing with your head.
     
    - In every scene where Jack interacts with a ghost face-to-face, there is a mirror present. Make of that what you will.
     
    - Depending on what language you are watching the movie in, the phrase repeated thousands of times in Jack's novel will be different.
     
    - Stephen King has made it clear that he is not view this adaptation in the most favorable light. He feels it isn't straight-up scary enough, he hates this movie's version of Wendy Torrance, it constantly deviates from his novel in general, and it reworks the central dynamic of Jack's character to a degree his doesn't like. Essentially, Jack Torrance was written as a sane man who loses his sanity because his inability to fight the demons who haunt him, both external and internal (he has substance abuse problems, much like King had at the time). Kubrick's Jack is a lot less so: he's an already unstable guy who's trying to keep hold of what sanity he has left.
     
    - This is the best scene in the whole movie:
     
    http://www.youtube.com/watch?feature=player_detailpage&v=LtI0uG6tjew
     
    Gawd, I love this movie.
     
    Anyway, have an Jacksicle.
     

  25. Orablanco Account
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    All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. all work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy. All work and no play makes Citrus a dull boy.
     
     
     
     
     
     
     
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
     
     
     
    All work and no play makes Citrus a dull boy.
     

    All work and no play makes Citrus  
     

    a dull boy.  

    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.  

    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.
    All work and no play makes Citrus a dull boy.  
    All work and no play makes Citrus a dull boy.

    All work and no play makes Citrus a dull boy.  
    All work and no play makes Citrus a dull boy.
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