At Royal Rumble 2023, Asuka returned after a brief hiatus, sporting a deranged look reminiscent of her days as Kana. And since that point, the Empress of Tomorrow has solidified her powerful aura, winning the Elimination Chamber match and avenging her disappointing loss to Bianca at WrestleMania 39 by dethroning the EST at Night Of Champions. And while Asuka has been Raw Women’s Champion before, this time feels…different…
Monday Night Raw (5/29/23):
Following Night of Champions with the crowning of Asuka, it would appear the landscape of the women’s division has changed. While some individuals are surely eager to go after singles gold, this isn’t initially the case for the Way. In a backstage interview with Byron Saxton, Candice LeRae and Indi Hartwell express their desire to go after the Women’s Tag Team Titles, only to be interrupted by the lunatic duo of Chelsea Green and Sonya Deville. Deville tries to get under the skin of the pairing, particularly LeRae, mocking her struggles to get victories as of late. However, Candice retorts that Sonya and Chelsea haven’t done anything either, their only actual success as a duo being making Adam Pearce question his own sanity. After a few more moments of bickering, Green tries to slap LeRae, but Hartwell blocks it for her, shoving Chelsea to the ground. Sonya shoves Indi back, and Candice in-turn attacks Deville, forcing several officials to have to separate things.
This results in a singles match later in the evening between Deville and LeRae, with Sonya trying to make an example out of the “Poison Pixie”. It’s a fairly back-and-forth encounter, with LeRae starting the match off hot, but Sonya is able to adapt, using her MMA background to her advantage with increasingly strong shots. However, as Sonya gains control, her emotions also start to fluctuate a bit. Rather than just go for the win at points, she decides to inflict further damage, regularly targeting the right arm in particular with a combination of stomps and armbars. However, the turning point of the match comes when Deville kneels down, once again looking to apply some type of submission hold…only for LeRae to transition it into the Garga-No Escape! While Sonya doesn’t submit, it gives her enough breathing room to mount a comeback, eventually hitting her signature springboard moonsault to finish things.
Candice LeRae def. Sonya Deville via pinfall
After the match, Candice and Indi take a moment to celebrate the win…BUT HERE COMES ASUKA! The Raw Women’s Champion is in the building, and she looks as maniacal as ever. She makes her way towards LeRae…and offers a handshake? Candice is definitely hesitant to accept, and for good reason, as when she starts moving her hand out…ASUKA HITS HER WITH A ROUNDHOUSE KICK! Indi tries to avenge her downed partner, but Asuka takes her out with a spinning backfist. The Empress moves back towards LeRae, staring at the injured right arm…AND SHE APPLIES A VICIOUS ARMBAR, SNAPPING IT IN THE PROCESS! Asuka eventually lets go, with Johnny Gargano and a medical official coming out to tend to LeRae while Adam Pearce wants to know what’s wrong with Asuka…to which she merely replies with a sinister smile…
Monday Night Raw (6/5/23):
About half-way through the show, Johnny Gargano comes to the ring, ready to give an update on his wife Candice LeRae. He says that while LeRae is unable to compete, it’s only for a short period of time, and the fracture to her arm was small enough as to where she won’t require surgery. However, Gargano also says that LeRae wanted him to pass along a message…which is why he’s calling out Asuka to the ring! On cue, the Empress comes out, looking at Johnny Wrestling with a curious look. Gargano says that once upon a time, he and his wife both had respect for Asuka’s accomplishments, especially her record-setting run in NXT. However, with the actions of last week, they no longer have those sentiments, and when LeRae returns from this set-back, she’s challenging you for that Raw Women’s Title! As Gargano says this, Asuka just begins giving a deranged laugh. No one in the arena knows what to make of this…until Asuka picks up a mic…to simply say…bye bye…
As Asuka makes her way to the ring apron, Gargano is left staring in confusion at what transpired…but suddenly, the lights go out! When they turn back on…a trio of masked men are destroying Johnny Wrestling! He tries to fight back, but he’s just overpowered, and left to be stomped on as Asuka just watches on from ringside, enjoying the carnage. The biggest of the three hits Gargano with a top rope splash, before what appears to be the leader hits…a wheelbarrow neckbreaker. As the individual hits this, Asuka comes back into the ring, standing alongside the figures. She whispers something to them, and they move their hand to the top of the masks, pulling them off to reveal…IT’S SAnitY! Eric Young, Alexander Wolfe, and Killian Dain are all back in WWE, and it appears they’ve aligned themselves with the Empress of Tomorrow. But the question left to be answered… Where is Nikki Cross in all of this?
Monday Night Raw (6/12/23):
In a backstage segment early in the show, the camera shows Nikki Cross backstage, alone and looking down, drowning in her own crazed thoughts…until Eric Young enters the shot. Cross raises her head, looking expressionless while a smile slowly creeps across the face of Young. He asks her…
“Won’t you join us?”
However, before Nikki can answer…HERE COMES JOHNNY GARGANO! He dives at Eric, looking to get revenge on one of the men who decimated him the week prior. He’s successful initially, but soon enough, Wolfe and Dain rush in, prying Johnny off Young and starting to beat him down. Luckily for Gargano, he came prepared, as he too has backup in the form of Dexter Lumis! SAnitY backs off as Dexter comes in with a steel chair, but not before Young mouths the words…This isn’t over…
Monday Night Raw (6/19/23): Johnny Gargano and Dexter Lumis vs. Eric Young and Killian Dain
With the tensions continuing to rise between the Way and SAnitY, it was inevitable they’d have to square off at some point, and Adam Pearce decides to see if a tag match can resolve this. The match starts off with Gargano and Young, Johnny Wrestling anxious to annihilate him while Young is more amused than scared. Johnny is able to get the upper hand initially, a superkick giving him the brief opportunity to then apply a Garga-No Escape. However, Killian Dain breaks up the hold by just hitting a Senton on Gargano’s back, a tactical maneuver to give Young the chance to gain control. However, Lumis enters the ring as well, grabbing Dain and trying to set him up for a side slam. However, Killian avoids it, and the pair move to the outside of the ring to brawl. By the end of the match, Gargano is weakened, but he’s still got the power of adrenaline on his side. He’s able to tag in for Lumis, getting in a flurry of offense against the big man Dain, including a pair of superkicks to knock him off his feet. However, as he goes for the One Final Beat, Young grabs his foot by the ring apron, preventing him from springboarding into the ring. Gargano’s able to kick him away, but when Johnny does go for the maneuver, Dain catches him, planting him in the center of the ring. He follows up on it with a splash from the top rope, with Young tagging in as he does so. And with Killian shoving Lumis off the apron, Young is able to hit the Wheelbarrow Neckbreaker to finish the match.
SAnitY def. Johnny Gargano and Dexter Lumis
After the match, Asuka makes her way to the ring, standing alongside SAnitY once again. She looks at the downed Gargano, now with a disgusted look on her face rather than an evil grin. She turns to Young, who nods and motions for Dain and Wolfe to pick Johnny up. But right before Asuka can seemingly hit him with the Mist…Here comes Nikki Cross! She rushes to the ring, sliding in and looking right at Asuka as she does so. Young walks up to her, asking her the question…
“Are you with us, Nikki?”
Cross stares at Young for a moment…then to Wolfe…then to Dain…then to Asuka. It’s to the Raw Women’s Champion that she gives the longest stare, Nikki’s eyes slowly growing wider and her expression becoming more intense. And with that, she mutters just a few words…
“You hurt my friends…she hurt my best friend… now she will pay.”
And with that, Cross dives onto Asuka, unleashing a flurry of strikes and catching everyone in the ring by surprise. However, Young pries Nikki off of the Empress, to which Cross responds by starting to attack him! However, it’s short lived, as Asuka runs up behind Nikki and drops her with a roundhouse kick. She quickly gets her locked in a crossface chickenwing as well, Nikki unable to escape and ultimately passing out. Before she fades, she’s left to only see the disappointed looks on the face of the SAnitY members…”You made the wrong choice Nikki”. But the attention soon shifts back to Gargano and Lumis now. They’ve slowly risen to their feet, and Gargano, looking directly at Young, demands another fight! Young sighs, seemingly bored at the prospect of SAnitY having to dismantle those two again…but it shall be done. However, before they can move in for the kill, we suddenly hear crashes echo throughout the arena. They happen for a few seconds, before the lights dim slightly. An unfamiliar melodic theme starts playing, sounding slightly reminiscent of that of a final boss, but as the lights turn back on, it changes back into the more recognizable song…
…NO ONE WILL SURVIVE! IT’S TOMMASO CIAMPA! After being on the shelf for months, he’s finally back, and as he gets into the ring, he looks at Johnny Gargano…there’s no shortage of history here. And while there’s a momentary tension as to what he’s gonna do, he sides with his former DIY partner, making it a more fair fight! Unfortunately, he doesn’t get the chance to lay into any of SAnitY, as they decide to make their exit, already having made a statement with the victory and assault on Asuka, nothing more needed to be done…tonight, at least.
Monday Night Raw (6/26/23): Indi Hartwell vs. Asuka - Non-Title Match
In her first match since beating Bianca at Night of Champions, Asuka looks to prove why she’s the champion. She starts off the match well, not letting Indi get any momentum by just rocking her with a series of kicks to the chest. After dragging Hartwell to the outside, Asuka begins going after the arm, slamming it several times into the ring post before deciding to inflict some pain to the skull with a tiger suplex. This momentarily causes the ref to check on her, potentially looking to end the match…but Asuka isn’t willing to let that happen. She gets Indi back in the ring, lining her up for a running hip attack…BUT HARTWELL TRANSITIONS IT INTO A GERMAN SUPLEX! Despite having just been on the ropes, Indi managed to use what she had left in the tank to take down Asuka, and as she gets to her feet, she feels the crowd surging behind her. She starts taking it to the Empress, getting her backed into the corner and landing a few solid chops. However, she gets a bit overzealous, trying to get Asuka on the top rope for a potential suplex attempt, only for the former Kana to kick her away and land a knee directly to the back of Indi’s neck. And with that, Asuka remains in the power position, eventually locking on the same Armbar that injured Candice LeRae and forcing Hartwell to tap or get snapped.
Asuka def. Indi Hartwell via submission
But before Asuka really has a chance to even get up…HERE COMES NIKKI CROSS! She runs out with a kendo stick, furious as to what transpired the week prior, and gets in a few shots on Asuka before Alexander Wolfe attempts to pry the weapon away. In response, Nikki shoves it into his gut, before hitting him with a swinging neckbreaker and sending a message to Asuka that she’s just as much of a force to be reckoned with. And it’s later announced that this match has been declared official for Money In the Bank: let’s see if these two dangerous competitors can live up to their classic from NXT…
Money In The Bank (7/1/23): Nikki Cross vs. Asuka (c) - Raw Women’s Championship
Despite not having a stipulation like their Last Woman Standing Match in 2017, the match is still intense from start-to-finish. Cross runs at Asuka immediately, getting in some shots with the elbow to the side of the face. Asuka is forced to a sitting position, allowing Nikki to gather some steam from running along the ropes before landing a kick to Asuka’s jaw! Unfortunately for Cross, her frenzied nature ends up backfiring, as when the action shifts to the outside, Asuka dodges a running attack and sends Nikki nearly head first into the barricade! With Nikki instinctively grabbing her head after the missed maneuver, Asuka sees what to target, dragging Cross to the ring apron and repeatedly crushing her skull into the ring post. And as the action shifts back into the ring, it’s just more of the same, Asuka being momentarily hit by mini-bursts of offense, but the damage inflicted on the skull clearly affecting her. This is evidenced when Cross has Asuka lined up for the swinging neckbreaker, potentially able to get her the win…only to collapse before she can properly hit it. With that, Asuka is able to apply the Asuka Lock, and as happened a couple of weeks ago, Cross passes out in the hold.
Asuka def. Nikki Cross via submission pass-out to retain the Raw Women’s Championship
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On the Raw after Money in the Bank, Candice LeRae would make her return from injury, calling out Asuka for a match…only to learn she isn’t in the building. But she decides to still issue a challenge, saying that while she wanted the Raw Women’s Title initially…now it’s about more than that. Asuka took out Candice’s friends and family, and left her away from the ring for too long…now, she wants to beat Asuka for vengeance first, gold later. And later on, it’s confirmed that the match will be taking place when Asuka returns…except it’ll be for the title as well! Pearce claims that the decision is due to Asuka’s recent actions, as after all, letting someone try to break someone’s limb after a match with no repercussions is a pretty bad look. But while this choice of action would normally upset some superstars…it might just put a smile on Asuka’s face…
Monday Night Raw (7/10/23): Candice LeRae vs. Asuka
Before making her entrance, Candice LeRae gets herself prepared with the rest of the Way, with Nikki Cross sitting in a corner nearby as well. Indi tells her to be cautious…Asuka’s a very dangerous competitor. LeRae of course knows this, but she’s caught off-guard by some words of wisdom from Nikki several feet away:
“Destroy her.”
Candice looks at Nikki, who’s staring back at her with something in her eyes…A look of needing something… wanting Candice to kill the Empress. LeRae nods, and she heads out to the ring, more confident than ever…And she truly gives it her all. LeRae’s strategy is simple: prevent Asuka from using her signature kicks. And for most of the match, she executes on her plan, moving herself back whenever she senses a roundhouse coming and catching Asuka off-balance. However, this was never going to last, and once Asuka lands a kick to the gut, she’s able to gather steam. And while this doesn’t finish LeRae, the “Poison Pixie” even managing to hit a springboard moonsault AND lock in a Garga-No Escape at various points, Asuka eventually locks in an Armbar on the previously-injured limb that Candice can’t overcome.
Asuka def. Candice LeRae via submission to retain the Raw Women’s Championship
After the match, the rest of the Way comes out, helping Candice to her feet. As they do so, Asuka stares at them, and then begins…counting them? The Way and the commentary team are confused, but as Asuka only counts four people…a maniacal expression overtakes her. She starts walking quickly to the back, and a few moments later, it becomes clear what her intentions were…
As the Way walks backstage, they’re horrified to discover a brutalized Nikki Cross! They rush over to her, asking who did this…and to no one’s surprise, she says it was Asuka. However, it soon becomes clear to Gargano…Ciampa might be next! While Indi and Candice stay with Nikki, Johnny (and Dexter to a lesser extent) start rushing through the halls, trying to get to the right locker room…but it’s too late, as SAnitY and Asuka are seen moving away from it! While Lumis stands guard, Gargano rushes inside, and finds Ciampa not just taken out…but also sprayed by Asuka’s mist! Johnny rushes over, giving Tommaso a towel, but as Tommaso wipes the mist off his face…there appears to be a dark look in his eyes, something not seen in him since when he destroyed DIY…
Remaining Build To SummerSlam:
While Ciampa, Gargano, and Lumis keep their attention towards SAnitY for a bit, Asuka shifts away from LeRae, Hartwell, and Cross, having beaten all three after all. With an open mic, she begins giving one of her standard energetic promos, seemingly wanting to know who her next challenger is gonna be…even though no one is ready for Asuka. It’s not long before someone interrupts though…and it’s someone who Asuka has grown familiar with in 2023…It’s Bianca Belair! The EST remained off television for several weeks following Night of Champions, but now, she’s back and angrier than ever. Bianca grabs the mic straight out of Asuka’s hand, and cuts a quick promo:
“Asuka… you say no one’s ready for you. But you’re wrong… because I’ve ALWAYS been ready for you. I proved that at WrestleMania 39, when I beat you clean in the center of this ring. And what did you do? You had to use that mist, that cursed, blinding mist. And you know what? Congratulations, it got you the title, but not for long. Because I say we have ONE MORE MATCH. But I think it’s time to have a match where no excuses can be made, and there are no rules to be broken. Asuka… At SummerSlam…I challenge you to HELL… IN A CELL!”
The crowd are clearly in favor of this stipulation…And it appears Asuka is too! She starts nodding repeatedly, and Bianca just stares on with a prepared look, perhaps fazed in the past by Asuka’s personality traits but now just ready to finally vanquish her and get the Raw Women’s Title back in her possession. In the remaining weeks, Bianca competes multiple times, getting the ring rust off with multiple victories, while Asuka is content with sitting at ringside for both contests…studying her competition…
SummerSlam (8/5/23): Bianca Belair vs. Asuka (c) - Hell in a Cell Match for the Raw Women’s Championship
We’ve finally made it to the Biggest Party of the Summer, and what better of a place to host it than in Detroit at Ford Field (definitely no bias as a Lions fan)! Once both Asuka and Belair are locked in the cage, the match starts at a feverish place, Bianca hitting a strong shoulder tackle only for Asuka to respond with a spinning backfist a few moments later! As the dust settles on the first fifteen seconds, the competitors look at each other, giving a momentary smirk and scoff apiece before continuing with the action. Bianca showcases her power, getting the Empress lifted in the Gorilla Press position and just hurling her at the cell wall! The several-foot fall to the floor certainly adds to the blow, and Bianca continues the assault outside the ring, slamming Asuka’s head repeatedly into the cage! However, she decides to look under the ring for a weapon, a table quickly catching her eye. She pushes it into the ring, but makes the mistake of turning her back to Asuka while doing so, the former Kana grabbing her from behind and hitting a Tiger Suplex onto the floor!
With Asuka now the lone woman standing, she follows up Bianca’s decision to look under the ring, pulling out a kendo stick. She feels it around in her grasp, getting a good feel for the damage she’s about to inflict. Once Bianca groggily gets to her feet, Asuka just decimates her back, hitting the stick ten times in immediate succession! However, Bianca’s able to dodge an eleventh shot targeted towards the throat, pulling the kendo stick to her and snapping it in half! Asuka looks briefly stunned, but not before she gives a condescending set of claps. In response, Belair grabs her, picking her up for a powerbomb and sending Asuka’s back to connect with the ring apron! Bianca then drags Asuka into the ring, proceeding to set up a table and initially primed to hit a K.O.D. through it. However, Asuka grabs Bianca’s hair, weakening her grip momentarily and presenting an opportunity to escape. Upon doing so, Asuka roundhouse kicks Belair, before getting her positioned on the table, climbing to the top rope…AND HITS A SPLASH ON BIANCA RIGHT THROUGH IT! 1-2-KICKOUT!
Despite the table spot being unable to put away Bianca, Asuka appears unfazed. She exits the ring, bringing a pair of steel steps back into the squared circle. Asuka picks Belair up, seemingly trying to hit a brainbuster on it…But Belair dodges, landing backwards on the steps before turning around and hitting a mini-elevated Spear! This leaves both women down for a few moments, but Bianca rises to her feet first. She gets in some of her signature offense, including a spinebuster on the steel steps! However, her attempt at a K.O.D. on the steps doesn’t work in her favor, with Asuka once again avoiding it. And unfortunately for Belair, Asuka is able to hit her with a suplex on the steps, this being the key factor for the rest of the match-up. With Bianca’s power lessened a bit AND Asuka’s submission hold targeting the back, she faces a tall task, and is ultimately unable to overcome it, the Asuka Lock resulting in a pass-out.
Asuka def. Bianca Belair via submission pass-out to retain the Raw Women’s Championship
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After an impressive victory at SummerSlam, Asuka has definitely proven that she’s going to be difficult to beat. But soon enough, she finds herself confronted by a potentially harmful numbers game…
Monday Night Raw (8/7/23): Damage CTRL Promo
Despite recent events not going so well for Damage CTRL, with Dakota Kai tearing her ACL and neither Iyo Sky nor Bayley able to capture the Money in the Bank briefcase, they’re still determined to get momentum back on their side. Bayley makes the bold decision to call out Asuka, saying that if she were actually a fighting champion, she’d consider accepting a match for the title. Asuka comes out, grinning at Bayley trying to goad her into a title opportunity. Asuka looks at Bayley as just another poor soul to be destroyed, but Iyo…Iyo has potential. Asuka even tells Sky…”Bayley isn’t your friend…but I am…”
This seems to get in Iyo’s head, as she begins looking questioningly at Bayley, who attempts to diffuse the situation by just pointing out Asuka being a freak who gets in people’s heads. In response, Asuka kicks Bayley square in the gut, and when Iyo instinctively goes to fight, Asuka shakes her head…I don’t want to fight you… You don’t need to be part of this…
Remaining Build To Extreme Rules:
Over the coming weeks, Bayley becomes a little more sympathetic, her intentions appearing less out of pure arrogance and more about striving to win championship gold back and improve her honor. She goes on a winning streak, but when confronting Adam Pearce about getting a confirmed title shot, he says there’s one more person she has to beat…Iyo Sky.
At this same time, Iyo looks perturbed whenever she’s on television, still at Bayley’s side but signs pointing to her being less convinced than when Damage CTRL began. And after Bayley does defeat Iyo to earn the #1 Contendership, Sky is just left sitting in the ring, staring down at the mat whilst utterly disappointed. Bayley offers her a handshake, but Asuka stands at ringside, motioning her to come roll out of the ring and stand tall with her. In response, Iyo moves in neither woman’s direction, rolling out to the entrance ramp and walking away alone, uncertain of what her future holds.
But with Extreme Rules approaching, there must also be a stipulation, and after a set of assaults from Asuka leave Bayley staring at the lights, Bayley decides it’s in both of their best interest to settle on…A Last Woman Standing Match! Asuka can try to keep putting her down, but she’s gotten back up each time, and come the PPV…The reign of the Empress will be history.
Extreme Rules: Bayley vs. Asuka (c) - Last Woman Standing Match for the Raw Women’s Championship
In a rematch of their TakeOver: Dallas encounter, the feel of the match is similar to what it was several years ago. Bayley, despite having been around in WWE longer, is the underdog, looking to prove herself against a terrorizing monster who we’re unsure can truly be beaten. The action quickly spills out of the ring, with Bayley even managing to hit a quick Bayley-To-Belly Suplex. Unfortunately, Asuka gets up before even a count of 5, disturbing Bayley. The action spills into the crowd for a while, with Asuka suplexing Bayley on the staircase and the former “Hugger” sent tumbling down for a solid five seconds. But eventually, Bayley recaptures the momentum, finding a trash can with weapons and using a kendo stick to start wailing on Asuka. And as the action approaches a set-up table, Bayley is able to not just prop her up on it, but successfully hit an Elbow Drop from a ledge through it as well! Bayley gets up at a count of three, and while Asuka is left stunned by the move, she recovers at a count of 8, continuing the match-up.
From there, the match spills back closer to the ring, with Bayley putting Asuka in the ring before grabbing a table. She sets it up, but Asuka manages to recover in time to avoid a Bayley-To-Belly through it, instead tossing Bayley to the side momentarily before going at her with a running hip attack. Asuka keeps control for a bit, but as she looks to put Bayley through the table…Here comes Iyo Sky! She slowly walks to the ring, not attacking Asuka initially, but giving Bayley enough time to send Asuka off the top rope and to the floor. However, with the action back on the outside, Asuka looks to be a bit desperate, using her signature Mist to blind Bayley! After this happens, Iyo rushes over to Bayley to try and help…But Bayley shoves her down hard to the floor, thinking it was Asuka! Meanwhile, the real Asuka appears behind Bayley, dragging her back into the ring. Asuka decides to lock on the crossface chickenwing, attempting to pass out Bayley, but this seems to only increase the fire in her spirit, Bayley able to back her into a corner to break the hold. Bayley rubs her eyes, improving her vision, and she drags Asuka to the table, seemingly able to hit the Bayley-To-Belly through the table this time…
…BUT IYO HITS BAYLEY IN THE BACK WITH A STEEL CHAIR FROM OUT OF NOWHERE! Bayley falls to her knees, slowly turning around with a look of heartbreak and pain on her face. Iyo returns the look with an icy cold stare, before Asuka pops-up behind Bayley, applying the Asuka Lock to pass the former “Role Model” out. But given this requires a ten count for Bayley to be down, and Asuka wanting to see what Iyo can do…she motions to the table. Iyo nods, getting Bayley set-up, climbing to the top rope, and hitting a Moonsault, crushing Bayley’s ribs, her friendship, and her hopes of winning the match in one fell swoop.
Asuka def. Bayley via KO to retain the Raw Women’s Championship
After the match, Sky raises Asuka’s hand, signifying the start of an absolutely lethal new duo in WWE…
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With Iyo Sky now having made her allegiance clear, Asuka would appear set-up to remain dominating moving forward. However, the enemies she’s made over the past several months aren’t so quick to forget what transpired, which could potentially create problems…
Build To Survivor Series:
Despite having already made an impact to this point, Asuka and Iyo Sky aren’t just going to put away challengers…it’s time to take out everyone. After a singles win on Raw, Becky Lynch would be blindsided by Iyo, being laid out with several shots of the Steel Chair before a Moonsault to cap things off. The following week, Bayley expresses her dismay at being left alone, to which Asuka and Iyo interrupt, immediately kickstarting a brawl that would seem to favor them once again…Until out comes Becky Lynch! Despite having been bitter rivals earlier in the year, Becky makes the save for Bayley, the pair nodding at each other afterwards to signify a slight respect…We don’t have to like each other… but there’s a bigger threat to be stopped…
But soon enough, this action spills past just being a two-on-two situation. Zoey Stark, the former tag team partner of Iyo Sky in NXT, decides that Becky didn’t suffer enough during their rivalry after helping Trish at Night of Champions, and that it’s worth it for these veterans like her and Bayley to be ousted. Along with that, Asuka’s power and general craziness draws the interest of the Unholy Union known as Alba Fyre and Isla Dawn, the pair pledging loyalty to The Empress and perfectly willing to destroy Becky and Bayley. However, there are several other competitors backstage sick of seeing Asuka gaining an army, with Bianca Belair and the Way coming to the save to help even the odds. And of course, after a brawl featuring all of these competitors, William Regal comes out briefly to make his patented announcement:
“WAR GAMES!”
To determine which team gets the advantage leading into Survivor Series, we get ourselves a strong match in Iyo Sky vs. Becky Lynch, really the catalyst of what’s led into a two-on-one situation into an upcoming 5v5 match inside a destructive steel structure. Becky more than holds their own, but Iyo Sky shines even brighter, a cheap shot by Stark eventually allowing Iyo to hit the Moonsault and give the “heels” the advantage.
Survivor Series: Bianca Belair, Bayley, Becky Lynch, Nikki Cross, and Candice LeRae vs. Asuka, Iyo Sky, Zoey Stark, Alba Fyre, and Isla Dawn - War Games Match
Kicking off the match is Zoey Stark and Becky Lynch, with Becky initially successful in getting Zoey downed, but Isla Dawn coming in presents a problem. She’s initially able to hold her off, but a chop block by Zoey Stark and a subsequent attack of the leg leaves Becky in a rough spot. She’s able to get some assistance, with Nikki Cross coming in with a trash can lid and just whacking Zoey and Isla around with ease. However, Alba Fyre is next to come out, and upon seeing Cross staring her down from inside the cage, she grabs a kendo stick, ready to defend herself. While Nikki initially gets the advantage, Stark and Dawn are able to pull Nikki back, sending her into the steel cage repeatedly. Bianca coming in next is a game changer however, the EST taking control of the match-up and getting a slight breather while awaiting the fourth competitor…which is Asuka!
But as the rest of the field comes in, with Asuka being the last entrant for her team and Bayley for the opposite side, the action starts to get more and more intense. With all of the competitors brawling in one ring, Iyo sees the chance to hit a Moonsault from the top of the cage, wiping out everybody (including herself)! However, a table being brought into the mix benefits the bayfaces, Bayley hitting Fyre with a Bayley-To-Belly through it (she finally got to hit it… just not on Asuka). However, the ending sequence comes down to Asuka and Iyo on their feet against Bayley and Becky, back where it essentially first started…AND IT ENDS WITH IO HITTING A MOONSAULT ON BAYLEY! 1-2-3!
Team Asuka def. Team Becky via pinfall
Just like that, Iyo Sky has once again proved her worth, defeating her former stablemate to win the match for her team and cementing herself as a force to be moving forward. And though a fairly small shot, we can see Asuka glance over at Iyo, a slight frown on her face for a moment before moving back to stand with the rest of her team. What could that mean…
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Build To Royal Rumble:
Despite the result of the War Games Match, Becky Lynch isn’t through with either Asuka nor Iyo by a long shot. She fights off both of them over the coming weeks, along with picking up several singles victory, establishing herself as the next #1 Contender. And as Lynch points out, she and Asuka have history at Royal Rumble. Asuka beat her in singles action in 2019…before Lynch went on to win the Royal Rumble and headline Mania. But this isn’t about the Rumble match now…it’s time to put away the Empress.
As for Iyo, she also has a run of singles success, carrying a lot of momentum heading into the Royal Rumble Match. And soon, we learn that she requested training from one of the most respected female competitors in the locker room, a former NXT UK Champion…Meiko Satomura! While Satomura doesn’t intend to compete right away, she’s more than willing to help Iyo, with vignettes being shown of them together and Satomura even being at ringside for her matches. However, as this keeps happening, Asuka’s looks towards Iyo become more and more strained. Sky is abandoning me… after all I did for her… something’s going to change soon enough…
Royal Rumble: Becky Lynch vs. Asuka (c) - Raw Women’s Championship
Earlier in the night, Iyo Sky does indeed win the Royal Rumble match, punching her ticket to WrestleMania. This doesn’t seem to affect Asuka’s thoughts however, the Empress looking as ruthless and as calculated as ever en route to using an Armbar to submit Becky after a pretty back-and-forth encounter. And while Asuka proved herself the master of the Armbar between the pairing, Iyo Sky coming out with Meiko Satomura to acknowledge the title win seems to aggravate something in Asuka. Her grin has become a definite frown, and she stares an icy dagger through the pairing. Something isn’t right here…
Asuka def. Becky Lynch via submission to retain the Raw Women’s Title
Build To WrestleMania:
In a conversation between Meiko Satomura and Iyo Sky on an episode of Raw, Satomura asks if Sky would be willing to use her Rumble Victory position to challenge Asuka. Sky doesn’t look too convinced about doing that, which Satomura says is fine, but it’s advisable to weigh all her options. However, in the background, Asuka can be seen, carefully listening to the conversation.
A week later, Satomura addresses the WWE Universe. She’s made the announcement that she wants to have one last run before she retires, and wants to face some of the best names this women’s division has to offer…which is why she’s challenging Asuka for Elimination Chamber! Asuka comes out, her face paint being more red than usual…but while it looks like she’s having to contain herself, she shakes Satomura’s hand, seemingly paying respect to a legend.
Elimination Chamber: Meiko Satomura vs. Asuka (c) - Raw Women’s Championship
Unfortunately for Satomura, this retirement run of sorts looked to hit the ground before it could even get going. While she catches the Empress off guard at the beginning of the encounter, as time moves on, Asuka appears to be getting more and more angry. This comes to a boiling point when after one Tiger Suplex, Asuka hits another…then another…then another…then another! The ref pleads for Asuka to quit the assault, which she does…only to pull a Bryan Danielson and just start repeatedly kicking Satomura in the face! This goes on for disturbingly long, and when it’s become clear that Satomura is passed out, the ref calls for the bell, him having made the discretion for the match to end.
Asuka def. Meiko Satomura via ref stoppage
After the match, Iyo Sky rushes to the ring, checking on the woman who’s helped her out tremendously over the past couple of months. Asuka looks down at Iyo, a look of disgust on her face, before demanding to know who Sky is facing at WrestleMania. And it better be a specific answer…
Iyo Sky: “I… CHALLENGE… YOU!”
The crowd roar in approval, Asuka somehow shocked initially…until a smile comes across her face. I’m not surprised you made that choice…but unfortunately, it’s the wrong one...it’s a shame this has to happen Iyo…so much potential…
WrestleMania 40: Iyo Sky vs. Asuka (c) - Raw Women’s Championship
Despite that inner monologue running through Asuka’s head at Elimination Chamber, Sky proves why she’s not to be taken lightly. On the Grandest Stage of them All, Iyo just looks…better. Having been around Asuka for several months, she knows the mechanics of her offense, doing a good job at avoiding those signature kicks while also having the speed advantage. And at the end of the match, Sky proves herself superior over The Empress of Tomorrow, hitting the second Moonsault of the match to pin Asuka, and end a spectacular title run while opening a new chapter for another one.
Iyo Sky def. Asuka via pinfall to win the Raw Women’s Championship

I came upon a lesser-known volume by Alfred Mann, The Great Composer as Teacher and Student: Theory and Practice of Composition, and thought it contained some interesting history and interpretation. Maybe some of you will find it informative. I've reproduced the first chapter below.

I. The Rise of Conventional Theory

During one of the opening scenes of Faust, Goethe merges the drama's principal characters: Mephistopheles poses as Faust. In a brief farce, the false teacher lectures a young student on theory and practice. Dismissing in turn logic, metaphysics, law, and theology, the conversation moves to medicine whose blunt advantages in meeting the fair sex are stressed by the master and readily grasped by the novice. Here the latter can see, as he says, the "wo und wie"—the "where and how," and Mephistopheles answers with the famous words, "Grau, teurer Freund, ist alle Theorie"—"Gray, my dear friend, is all theory."
A new attitude is caricatured in these lines, a criticism of theory that arose from the Age of Enlightenment. In an aside, the devil gives up "the dry tone" and with it the essence of his disguise—he turns from theory to practice. This attitude, so characteristic of the era, also began to play a major role in the teaching of musical composition. Commenting on this father's method of instruction, Carl Philipp Emanuel Bach wrote to the Bach biographer Johann Nicol;aus Forkel on January 13, 1775:

In composition he started his pupils right in with what was practical, and omitted all the dry species of counterpoint that are given in Fux and others.

Bach himself was reported to have used the same word, calling the fugues "of an old and hard-working contrapuntist dry and wooden."¹ But the fundamental distinction inherent in the son's remark is absent from the words of the father. Bach knew no theory of music, only practice, and the maligned species of counterpoint were presented in Johann Joseph Fux's celebrated Gradus ad Parnassum of 1725 as "musica activa"; the complementary term, "musica speculativa," was reserved by the author for the mathematical computations used to elucidate the nature of intervals.
"Speculation" is the equivalent of "theory." Derivatives from Latin and Greek, the two words designated the act of viewing, contemplating; and both "speculum" and "theoria" had served in earlier times as titles for musical treatises. Yet "music theory" in the sense that modern convention has given the term was not associated with instruction in the art of musical composition until the late eighteenth century; in fact, Mozart was not entirely conversant with this meaning of the term, whereas in Beethoven's studies it had gained importance.
What separated Bach and Handel from the masters of Viennese Classicism in their teaching of the craft was their exclusive commitment and individual orientation toward musical practice. Thus, C.P. E. Bach's judgment was based on a misconception. The four-part chorale harmonizations with which his father commenced the teaching of composition represented in fact a practice of musical performance conducted by the keyboard player, while the counterpoint species Fux devised for his students represented a purely vocal practice. Less well known than the Gradus ad Parnassum but closely related to its exercises is Fux's Singfundament, a collection of short motet studies, written without text and intended for the young musician in somewhat the same manner as Bach's Two-Part Inventions.
The concept of musical practice was in itself subjected to a radical division during the century preceding Bach and Handel. Attacked for his bold use of dissonance, Monteverdi declared his style of composition a "second practice" as opposed to the "first practice" of guarded dissonance treatment that marked the works of sixteenth-century composers. One might say that the two practices were eventually codified in the disciplines of harmony and counterpoint, but it took more than a century to arrive at precise didactic categories.
The seventeenth century witnessed a proliferation of musical styles, a widening of musical experience, that resulted from the rise of opera, accompanied solo song, and instrumental music. The first composer to be concerned not only with the clarification of styles but with their implications for the student of musical composition seems to have been Heinrich Schütz. In 1648, the aging composer published his Geistliche Chormusik, i.e. music in the old a cappella style, a series of motets to be performed, as he wrote, "without bassum continuum" (although by a stroke of curious irony his publisher, in the attempt to make the work more accessible, had a continuo part added in the printed score). As Schütz's preface indicated, the work was written with a decidedly pedagogical intent.
Continuo accompaniment had become the hallmark of the new style. Its use signalled the progressive tendencies of music drama, and an estrangement from firm contrapuntal control and the "requirements of a well-regulated composition," namely strict, free, and retrograde imitation, melodic inversion, invertible part-writing, and the simultaneous use of different themes.Schütz, who as a younger man had been one of the initiations of the "second" practice in the North, now found himself surrounded by a new generation of musicians well versed in the modern style. Unlike Schütz who had studied in Italy where the "first practice" remained a living tradition, the young practicioners of the art, working in a Germany physically and culturally exhausted by the Thirty Years War, lacked the "fundamenta" of their profession. Though it might seem like "heavenly harmony," music not founded in solid polyphonic technique was judged by Schütz to be no more than "an empty nutsehell," an he admonished the beginner to "bite open that hard nut whose real substance is the foundation of good composition."
His words represent a prophetic confrontation of the two terms. For a long time, "harmony" continued to be the word used to describe a fabric of independent part-writing. It was not until the publication of Jean-Philippe Rameau's Traite d'harmonie in 1722 that the modern meaning was introduced. Three years later, Fux's Gradus established the modern didactic tradition of counterpoint. Yet this was also the decade in which Handel published his first set of harpsichord lessons, and in which Bach wrote the Inventions and the Clavier Books for his son Wilhelm Friedemann and his wife Anna Magdalena—the decade in which the last two great Baroque composers undertook a systematic exposition of instruction in composition. Though they both made their point of departure the highly-developed execution of figured bass, the technique remained, in their hands, inseparable from polyphonic practice. It did not serve to illustrate how voices are placed but how the move within a harmonic texture. And the balanced blending of harmony and counterpoint was to become the foremost challenge of conventional theory.
The new meaning of the word "theory" entered the study of music largely through the influence of a work which, despite its mixed reception, attained epochal significance: Johann Georg Sulzer's General Theory of the Arts (Allgemeine Theorie der schönen Künste, 1771–1774). The author, director of the Faculty of Philosophy at the Berlin Academy of Sciences, was guided by the ideals of Rousseau in his thesis that the arts must both express and enhance nature. In an approach typical of his time, he attempted to define all artistic terms and concepts that would serve this purpose and gathered them in an encyclopedic dictionary. His musical advisors, Johann Philipp Kirnberger and Kirnberger's student Johann Abraham Peter Schulz, represented a lineage of Bach's teaching. The system of musical theory they devised, however, came under immediate attack; it was questioned above all because Sulzer's basic axiom, namely that music is a "sequence of tones guided by the passions of sentiments," resisted his own scheme of standardization. In the second volume of an Essay for the Instruction in Composition (Versuch einer Anleitung zur Composition, 1782–1793), Heinrich Chrisoph Koch, one of the eminent writers of the period, formulated the critical argument:

The young composer's endeavors in letting his soul form beautiful melodies can never be truly aided by theory.

Nevertheless, music theory—no longer in the old sense of the "science" of music but as the subject of college and conservatory courses—became an established abstraction that was to dominate the teaching of musical composition in succeeding generations. This is all the more understandable since vital musical styles and techniques were changing swiftly to meet the demands of taste and musical imagination. When thoroughbass and fugue no longer represented current practice, they were relegated to the realm of theory. They were perpetuated in didactice though much as the "stile antico" had been retained in the age of the second practice, but with a difference: the very terms "prima prattica" and "seconda prattica" implied that the old style had stayed alive, that it continued to be practicable and valid as an artistic expression. Counterpoint and fugue, as brances of modern theory, became "a metier, not an art."²
The dichotomy thus produced had more complex ramifications than this comparison might suggest. Beethoven, though he defied Johann Georg Albrechtsberger's teaching of fugue as an "art of creating musical skeletons,"³ had been his attentive and dedicated student, and the Beethoven biographer Alexander Wheelock Thayer gives a description, authenticated by contemporary accounts, of Beethoven's daily sessions with a colleague and neighbor in which "the conversation usually turned upon musical theory and composition."⁴
Theory must here still be understood in rather general terms as the study of eighteenth-century writers on various subjects, not in the sense of a more-or-less fixed course of studies in different techniques. Mozart seems to have arrived at the conventional sequence of harmony and counterpoint in his pedagogical experience empirically—this sequence, although practiced at the time, had not been fully established. In teaching the young composer Thomas Attwood during the years 1785 and 1786, he became increasingly aware of a lack of linear skill in his student's harmonizations and—apparently under the influence of Haydn—decided to direct the twenty-one-year-old back to the beginning of contrapuntal studies.⁵
The most striking case of a composer's awareness of the increasing importance of conventional theory is Schubert's legendary lesson, two weeks before his death, with the respected Viennese theorist Simon Sechter. In a letter responding to a request for biographical information, Sechter mentioned this lesson but we had no knowledge of its contents until the manuscript pages on which both Schubert and Sechter had worked were recently brought to light.⁶ Schubert turned to Sechter for advice because he was puzzled by certain technical details of fugal practice with which his generation was no longer conversant. The documentation of his lesson is all the more arresting since it shows that Schubert obtained the answers he sought. Sechter corrected the samples of fugal expositions that Schubert had submitted and added a clear exposition of the principles involved. The lesson was concluded with the assignment of a three-part fugue on which Schubert was no longer able to work. It is a touching postlude to this remarkable encounter that Sechter carried out the assignment and published it, nine days after Schubert's death, in homage to the illustrious student—doubly touching because the mediocre quality of Sechter's work shows that teacher and student met merely as theorist and composer, but not on equal terms.
What had been revealed to the dying composer was a certain historical perspective that the rapid development of the classical style had temporarily obscured, and it was this historical perspective that gave to nineteenth-century theory its most valuable contributions. Albrechtsberger, Beethoven's teacher, had taken an important step in his teaching by adapting the modal technique of counterpoint to the modern tonalities of major and minor. This orientation was subsequently reversed by a historian, Heinrich Bellermann, who, in his manual Der Contrapunkt (1862), returned to the letter and spirit of Fux's Gradus. Bellermann, successor to Adolf Bernard Marx, the first professor of music at the University of Berlin and himself the author of a standard manual on composition, was followed in his restoration of modal counterpoint by several other writers, but his book was denounced as "obsolete at its very appearance" by his distinguished colleague Hugo Riemann—as obsolete, one might add, as Bach's conscious use of modes in Clavierübung III.
In the end, neither historical nor analytical studies could solve the problems inherent in the ascendancy of theory. It was the departure from practice that undermined the textbook literature of the nineteenth century. Composers of the Romantic age in their writings did not deal with the question of how to teach composition—only orchestration. Not until the twentieth century were teaching manuals again produced by prominent composers. That the element of creative thought had been missing in didactic literature is indicated in a treatise by Heinrich Schenker, foremost among twentieth-century theorists: Neue Musikalische Theorien und Fantasien (1910–1920). Schenker, who had been torn in his early years between the careers of composer and theorist, eventually decided that the theorist's profession was for him a greater challenge. Though his work lives up to its title by offering a highly imaginative exposition of harmony and counterpoint, it inevitably points to the crux of the dilemma: in essence, composition must be taught by the composer; the theorist can only teach theory, no matter how refined the method.
Unlike theoretical guidance, practical guidance in the composer's craft is committed to the master-artisan relationship that was abandoned in textbook instruction. The didactic literature of earlier ages, too, was addressed to the individual, not to classes. The following chapters will thus be concerned with documents that show the time-honored direct and special exchange between teacher and student in an age when individualism, though strengthened in so many other ways, was abrogated in the teaching of musical composition.
¹ Frierich Wilhem Marpurg, in a letter to Johann Mattheson, Kritische Briefe über die Tonkunst (Berlin, 1760), I, 266. Translated in The Bach Reader, Hans T. David and Arthur Mendel, eds. (New York, 1966), p. 257.
² Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 974.
³ Letter to the publishers B. Schott's Söhne, January, 1825.
⁴ Thayer's Life of Beethoven. Rev. Elliot Forbes (Princeton, 1984), I. 262.
⁵ Cf. This writer's discussion of Haydn's and Mozart's contrapuntal teachings in Mozart-Jahrbuch 1978 / 79, pp. 197, ff.
⁶ The manuscript was discovered by the Schubert scholar Christa Landon; see her report "New Schubert Finds" in Music Review 31 (1970), pp. 215 ff.

I came upon a lesser-known volume by Alfred Mann, The Great Composer as Teacher and Student: Theory and Practice of Composition, and thought it contained some interesting history and interpretation. Maybe some of you will find it informative. I've reproduced the first chapter below.

I. The Rise of Conventional Theory

During one of the opening scenes of Faust, Goethe merges the drama's principal characters: Mephistopheles poses as Faust. In a brief farce, the false teacher lectures a young student on theory and practice. Dismissing in turn logic, metaphysics, law, and theology, the conversation moves to medicine whose blunt advantages in meeting the fair sex are stressed by the master and readily grasped by the novice. Here the latter can see, as he says, the "wo und wie"—the "where and how," and Mephistopheles answers with the famous words, "Grau, teurer Freund, ist alle Theorie"—"Gray, my dear friend, is all theory."
A new attitude is caricatured in these lines, a criticism of theory that arose from the Age of Enlightenment. In an aside, the devil gives up "the dry tone" and with it the essence of his disguise—he turns from theory to practice. This attitude, so characteristic of the era, also began to play a major role in the teaching of musical composition. Commenting on this father's method of instruction, Carl Philipp Emanuel Bach wrote to the Bach biographer Johann Nicol;aus Forkel on January 13, 1775:

In composition he started his pupils right in with what was practical, and omitted all the dry species of counterpoint that are given in Fux and others.

Bach himself was reported to have used the same word, calling the fugues "of an old and hard-working contrapuntist dry and wooden."¹ But the fundamental distinction inherent in the son's remark is absent from the words of the father. Bach knew no theory of music, only practice, and the maligned species of counterpoint were presented in Johann Joseph Fux's celebrated Gradus ad Parnassum of 1725 as "musica activa"; the complementary term, "musica speculativa," was reserved by the author for the mathematical computations used to elucidate the nature of intervals.
"Speculation" is the equivalent of "theory." Derivatives from Latin and Greek, the two words designated the act of viewing, contemplating; and both "speculum" and "theoria" had served in earlier times as titles for musical treatises. Yet "music theory" in the sense that modern convention has given the term was not associated with instruction in the art of musical composition until the late eighteenth century; in fact, Mozart was not entirely conversant with this meaning of the term, whereas in Beethoven's studies it had gained importance.
What separated Bach and Handel from the masters of Viennese Classicism in their teaching of the craft was their exclusive commitment and individual orientation toward musical practice. Thus, C.P. E. Bach's judgment was based on a misconception. The four-part chorale harmonizations with which his father commenced the teaching of composition represented in fact a practice of musical performance conducted by the keyboard player, while the counterpoint species Fux devised for his students represented a purely vocal practice. Less well known than the Gradus ad Parnassum but closely related to its exercises is Fux's Singfundament, a collection of short motet studies, written without text and intended for the young musician in somewhat the same manner as Bach's Two-Part Inventions.
The concept of musical practice was in itself subjected to a radical division during the century preceding Bach and Handel. Attacked for his bold use of dissonance, Monteverdi declared his style of composition a "second practice" as opposed to the "first practice" of guarded dissonance treatment that marked the works of sixteenth-century composers. One might say that the two practices were eventually codified in the disciplines of harmony and counterpoint, but it took more than a century to arrive at precise didactic categories.
The seventeenth century witnessed a proliferation of musical styles, a widening of musical experience, that resulted from the rise of opera, accompanied solo song, and instrumental music. The first composer to be concerned not only with the clarification of styles but with their implications for the student of musical composition seems to have been Heinrich Schütz. In 1648, the aging composer published his Geistliche Chormusik, i.e. music in the old a cappella style, a series of motets to be performed, as he wrote, "without bassum continuum" (although by a stroke of curious irony his publisher, in the attempt to make the work more accessible, had a continuo part added in the printed score). As Schütz's preface indicated, the work was written with a decidedly pedagogical intent.
Continuo accompaniment had become the hallmark of the new style. Its use signalled the progressive tendencies of music drama, and an estrangement from firm contrapuntal control and the "requirements of a well-regulated composition," namely strict, free, and retrograde imitation, melodic inversion, invertible part-writing, and the simultaneous use of different themes.Schütz, who as a younger man had been one of the initiations of the "second" practice in the North, now found himself surrounded by a new generation of musicians well versed in the modern style. Unlike Schütz who had studied in Italy where the "first practice" remained a living tradition, the young practicioners of the art, working in a Germany physically and culturally exhausted by the Thirty Years War, lacked the "fundamenta" of their profession. Though it might seem like "heavenly harmony," music not founded in solid polyphonic technique was judged by Schütz to be no more than "an empty nutsehell," an he admonished the beginner to "bite open that hard nut whose real substance is the foundation of good composition."
His words represent a prophetic confrontation of the two terms. For a long time, "harmony" continued to be the word used to describe a fabric of independent part-writing. It was not until the publication of Jean-Philippe Rameau's Traite d'harmonie in 1722 that the modern meaning was introduced. Three years later, Fux's Gradus established the modern didactic tradition of counterpoint. Yet this was also the decade in which Handel published his first set of harpsichord lessons, and in which Bach wrote the Inventions and the Clavier Books for his son Wilhelm Friedemann and his wife Anna Magdalena—the decade in which the last two great Baroque composers undertook a systematic exposition of instruction in composition. Though they both made their point of departure the highly-developed execution of figured bass, the technique remained, in their hands, inseparable from polyphonic practice. It did not serve to illustrate how voices are placed but how the move within a harmonic texture. And the balanced blending of harmony and counterpoint was to become the foremost challenge of conventional theory.
The new meaning of the word "theory" entered the study of music largely through the influence of a work which, despite its mixed reception, attained epochal significance: Johann Georg Sulzer's General Theory of the Arts (Allgemeine Theorie der schönen Künste, 1771–1774). The author, director of the Faculty of Philosophy at the Berlin Academy of Sciences, was guided by the ideals of Rousseau in his thesis that the arts must both express and enhance nature. In an approach typical of his time, he attempted to define all artistic terms and concepts that would serve this purpose and gathered them in an encyclopedic dictionary. His musical advisors, Johann Philipp Kirnberger and Kirnberger's student Johann Abraham Peter Schulz, represented a lineage of Bach's teaching. The system of musical theory they devised, however, came under immediate attack; it was questioned above all because Sulzer's basic axiom, namely that music is a "sequence of tones guided by the passions of sentiments," resisted his own scheme of standardization. In the second volume of an Essay for the Instruction in Composition (Versuch einer Anleitung zur Composition, 1782–1793), Heinrich Chrisoph Koch, one of the eminent writers of the period, formulated the critical argument:

The young composer's endeavors in letting his soul form beautiful melodies can never be truly aided by theory.

Nevertheless, music theory—no longer in the old sense of the "science" of music but as the subject of college and conservatory courses—became an established abstraction that was to dominate the teaching of musical composition in succeeding generations. This is all the more understandable since vital musical styles and techniques were changing swiftly to meet the demands of taste and musical imagination. When thoroughbass and fugue no longer represented current practice, they were relegated to the realm of theory. They were perpetuated in didactice though much as the "stile antico" had been retained in the age of the second practice, but with a difference: the very terms "prima prattica" and "seconda prattica" implied that the old style had stayed alive, that it continued to be practicable and valid as an artistic expression. Counterpoint and fugue, as brances of modern theory, became "a metier, not an art."²
The dichotomy thus produced had more complex ramifications than this comparison might suggest. Beethoven, though he defied Johann Georg Albrechtsberger's teaching of fugue as an "art of creating musical skeletons,"³ had been his attentive and dedicated student, and the Beethoven biographer Alexander Wheelock Thayer gives a description, authenticated by contemporary accounts, of Beethoven's daily sessions with a colleague and neighbor in which "the conversation usually turned upon musical theory and composition."⁴
Theory must here still be understood in rather general terms as the study of eighteenth-century writers on various subjects, not in the sense of a more-or-less fixed course of studies in different techniques. Mozart seems to have arrived at the conventional sequence of harmony and counterpoint in his pedagogical experience empirically—this sequence, although practiced at the time, had not been fully established. In teaching the young composer Thomas Attwood during the years 1785 and 1786, he became increasingly aware of a lack of linear skill in his student's harmonizations and—apparently under the influence of Haydn—decided to direct the twenty-one-year-old back to the beginning of contrapuntal studies.⁵
The most striking case of a composer's awareness of the increasing importance of conventional theory is Schubert's legendary lesson, two weeks before his death, with the respected Viennese theorist Simon Sechter. In a letter responding to a request for biographical information, Sechter mentioned this lesson but we had no knowledge of its contents until the manuscript pages on which both Schubert and Sechter had worked were recently brought to light.⁶ Schubert turned to Sechter for advice because he was puzzled by certain technical details of fugal practice with which his generation was no longer conversant. The documentation of his lesson is all the more arresting since it shows that Schubert obtained the answers he sought. Sechter corrected the samples of fugal expositions that Schubert had submitted and added a clear exposition of the principles involved. The lesson was concluded with the assignment of a three-part fugue on which Schubert was no longer able to work. It is a touching postlude to this remarkable encounter that Sechter carried out the assignment and published it, nine days after Schubert's death, in homage to the illustrious student—doubly touching because the mediocre quality of Sechter's work shows that teacher and student met merely as theorist and composer, but not on equal terms.
What had been revealed to the dying composer was a certain historical perspective that the rapid development of the classical style had temporarily obscured, and it was this historical perspective that gave to nineteenth-century theory its most valuable contributions. Albrechtsberger, Beethoven's teacher, had taken an important step in his teaching by adapting the modal technique of counterpoint to the modern tonalities of major and minor. This orientation was subsequently reversed by a historian, Heinrich Bellermann, who, in his manual Der Contrapunkt (1862), returned to the letter and spirit of Fux's Gradus. Bellermann, successor to Adolf Bernard Marx, the first professor of music at the University of Berlin and himself the author of a standard manual on composition, was followed in his restoration of modal counterpoint by several other writers, but his book was denounced as "obsolete at its very appearance" by his distinguished colleague Hugo Riemann—as obsolete, one might add, as Bach's conscious use of modes in Clavierübung III.
In the end, neither historical nor analytical studies could solve the problems inherent in the ascendancy of theory. It was the departure from practice that undermined the textbook literature of the nineteenth century. Composers of the Romantic age in their writings did not deal with the question of how to teach composition—only orchestration. Not until the twentieth century were teaching manuals again produced by prominent composers. That the element of creative thought had been missing in didactic literature is indicated in a treatise by Heinrich Schenker, foremost among twentieth-century theorists: Neue Musikalische Theorien und Fantasien (1910–1920). Schenker, who had been torn in his early years between the careers of composer and theorist, eventually decided that the theorist's profession was for him a greater challenge. Though his work lives up to its title by offering a highly imaginative exposition of harmony and counterpoint, it inevitably points to the crux of the dilemma: in essence, composition must be taught by the composer; the theorist can only teach theory, no matter how refined the method.
Unlike theoretical guidance, practical guidance in the composer's craft is committed to the master-artisan relationship that was abandoned in textbook instruction. The didactic literature of earlier ages, too, was addressed to the individual, not to classes. The following chapters will thus be concerned with documents that show the time-honored direct and special exchange between teacher and student in an age when individualism, though strengthened in so many other ways, was abrogated in the teaching of musical composition.
¹ Frierich Wilhem Marpurg, in a letter to Johann Mattheson, Kritische Briefe über die Tonkunst (Berlin, 1760), I, 266. Translated in The Bach Reader, Hans T. David and Arthur Mendel, eds. (New York, 1966), p. 257.
² Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 974.
³ Letter to the publishers B. Schott's Söhne, January, 1825.
⁴ Thayer's Life of Beethoven. Rev. Elliot Forbes (Princeton, 1984), I. 262.
⁵ Cf. This writer's discussion of Haydn's and Mozart's contrapuntal teachings in Mozart-Jahrbuch 1978 / 79, pp. 197, ff.
⁶ The manuscript was discovered by the Schubert scholar Christa Landon; see her report "New Schubert Finds" in Music Review 31 (1970), pp. 215 ff.

Debbie was working at Thorncrest Ford in August 1978 and went to lunch with 3 work friends the afternoon before she vanished. Over lunch, the friends (two male & one female) decided they’d go out together to the disco after work. They ended up at the Camelot Steak House & Tavern because the other two venues they tried had long line ups to enter.
Various news reports from the day tell us that the two couples (it was a double date) were there until the place closed and then Pam was driven home in Deb’s car (a Cordoba) by Deb and the two men.
After dropping Pam off, Debbie took the two men to one of their houses in Mississauga. Apparently one man went to play pool in another room for two hours and the other man spent that time talking with Debbie. She became quite tired but declined to spend the night.
She then was said to have driven herself home to her apt on Bathurst in Toronto which she shared with her mother. She appeared to have parked in her usual spot and locked the car then walked to and entered the building from a side door using her key.
It’s here that a struggle seems to have occurred at around 5:30am. Parts of her gold chain with hair attached were found inside the narrow hallway near the side door and outside. Buttons from her shirt were found as well. Her purse with wallet and keys and panties was also later found in a the hallway.
Unfortunately, a neighbour who was also a tenant found the purse before police did and he stole some things from it before putting the purse with the panties inside it by Debbie’s apt door.
Police found neighbours heard screams but they were then thought to have come from party guests at a party still going on in another apt at that time.
No one realized she was missing until around 11am when her sister went to get the mail or the paper. Police were called but Debbie couldn’t be found until 3 months later when she was found along the side of the road near Sunderland, Ont by a teen boy on a hike who spotted her leg and arm sticking out. She was found wearing a bra, with halter top around her neck. We weren’t told if she had bottoms or panties on or even shoes.
Questions - if she drove the friends to the venue or even just home from the venue, how did the second man who didn’t live with the first man (that we know of) get home and when did he do so? - the panties found in the purse - did the neighbor pack them in there or were they found there? - why didn’t the neighbor call police. Or alert the family to the scene he encountered in the hallway shortly after the abduction was said to have happened? - why was she taken and left in Sunderland? It’s about 45m from the apt to where she was found. Sunrise was 6:12am that morning. - could one of the party guests at the apt have encountered her and made a rash decision to abduct her? - did her dare drive her home and then a struggle happened with her and someone else? Or did it happen after she got herself home? - any chance she never made it home and the scene was staged? - how did the abductor get her all the way to where she was found without her becoming aggressive or hard to control in the car on a 45m drive? - was she killed where she was found or transported while dead already?
Read more here:
https://beta.ctvnews.ca/national/canada/2018/11/9/1_4170351.amp.html

(Disclaimer: Apologies if I forgot anything as this game was my longest playthrough of a Trails game to date, so I might have forgotten some details. Plus, I was playing Tears of the Kingdom in between. :D)
WOOOO! This game was an absolute treat! Just like the second game in the previous arcs, things started ramping up FAST, and they did an amazing job in this game. It wasn't that long ago that I played CS1, but the moment of reuniting with my classmates at the start of the game filled me with so much emotion and nostalgia. That first encounter in Celdic with Machias, Eliot, and Fie was very emotional but cute and I loved how Fie interacted with Rean. And then we meet Gaius, Alisa, and Millium. Can I just say, even though Alisa isn't my preferred pairing for Rean, their meeting was so adorable? Also, Gaius and Millium are amazing characters. I didn't care for them as much in CS1, but they really grew on me in CS2.
And then we meet some of my favorite characters, Laura and Emma. It's great to see Emma opening up more about herself. I always wanted to know more about her, and this game definitely delivered. Laura is my second favorite pairing for Rean and one of my favorite characters overall. I was extremely happy to see her, and boy, does she still pack a punch! The final member we meet is Jusis, and wow, he is such a strong-willed guy to have gone through all that he has. I loved the fight we had to convince him to join us again (sorry, Jusis, but I destroyed you :D), and then we faced McBurn and Duvalie!! Seeing Duvalie make a return made me so happy, and she is absolutely adorable, even though she probably wouldn't appreciate me saying that. As for McBurn, he was incredibly strong, and that's not even his peak performance. He has definitely become one of my favorite Enforcers, or just people in Ouroboros in general.
Before I continue, I just have to say how cool it is to be able to play as Toval, Elise, Claire, and Sharon. I love new characters so much, and I thoroughly enjoyed testing all of their skills and crafts. I used Sharon extensively from the moment I got her until she left, and I was genuinely sad when she left the group. Later on, we also get to play as Alfin and TOWAAAAAAA. If she doesn't become a mandatory member in CS3, I will cry.
Anyway, I won't go into too much detail about the whole game because if you're reading this, you've probably played through CS2 or maybe even the entire series. So, I'll share my closing thoughts now, or if you want more, I can reply to a comment with more of my thoughts on specific moments. Anyway, let's talk about the Divine Knight battles... They were interesting. I really enjoyed seeing Rean being overpowered with the Knights. I wish we had more customization options, but then again, they are divine knights. I doubt Valimar would be happy with me putting Fairy Wings on his back if I could.
The fights in the Infernal Castle dungeon were so cool! It was nice to see everyone come back to help Class 7 when the Big Boys got too strong. And holy shit, McBurn really lives up to his name. I'm very scared for when we'll have to fight him again one day. Now, the final battles. Fighting against Crow and Vita was honestly easier than I expected, probably because I used delay spam with Rean and Fie, but it was still an incredibly cool fight. I even went back and watched someone do it on Nightmare because it was such an awesome fight. The final Divine Knight moment with Crow, the one the whole game was building up to... Well, it really delivered. I expected a big moment, and I got it. Also, can I just say, fuck you, Duke Cayenne. He pissed me off so much. What a pathetic scum. I wished Vita had just killed him right then and there. And then we fight the Vermillion Knight with ALL of Class 7. Such a beautiful fight, and I loved using all my classmates. And then, for the final showdown, and I believe my favorite part of CS2, fighting with Crow in our Divine Knights. ALSO, ORDINE TALKED! That final battle with Crow was stunning, and I would play it a thousand times over, well until... Crow... :( And here come the tears. And then Rufus shows up?? And Lechter and Claire! And Rufus is part of the Ironbloods! And then Osborne reveals himself, and it turns out he's Rean's father??? My god... the emotions I felt in that last hour of gameplay, what the fuck, Falcom.
Just when you think the game couldn't get any crazier, then Divertissement hits. You don't understand how quickly my sadness disappeared, and I was filled with so much happiness seeing Lloyd and Rixia. What a wonderful and incredible little section with them. It's so cool to see them in 3D and hear them in English voices. I think I still prefer the Japanese voices for Lloyd and Rixia, but then again... Lloyd is good old Akechi from P5, so I'm now happy, haha. That final fight we had against Rean and Altina, you could just feel that Rean had lost all his happiness. He felt so empty with what he was doing. That line he uttered as Lloyd and Rixia ran away, about being jealous of them, was a real punch in the gut.
The Epilogue turned out to be much longer than I expected. I remember thinking, "When the hell is this going to end?" Not because I wanted the game to be over, but because I was amazed at how much content was still left to explore. Also, Thomas and Rosine... Wow, there were some signs that something was off with Thomas, but I never gave much thought to Rosine. That revelation caught me completely off guard, and it was quite scary to see Thomas behaving the way he did. However, it was also awesome in its own way. I have a deep appreciation for the Gralsritter, and I've enjoyed every member we've encountered so far who is a part of it. It's gotten to the point where my girlfriend and I even have an ongoing joke about Gaius being a Dominion due to his overwhelming love for the Church and the Goddess.
Moving on, I was genuinely pleased with the Final Dungeon. It was fascinating to witness the old schoolhouse transform into that, and being able to play as literally everyone who has appeared in the game so far, including Crow, Vita, Altina, Lloyd, and Rixia, was simply incredible. I feel like the final dungeon was designed for pure enjoyment because although the enemies were more challenging, they didn't pose a significant threat. Although I must admit, the final boss did manage to make me nervous a few times, but it was still an immensely satisfying battle.
Honestly, I couldn't have asked for a better send-off for Class 7. I was teary-eyed throughout the entire ending, and that final picture you receive is now my wallpaper. :D This game has left a profound impact on me, and I would rank it as my third favorite Trails game, just behind Trails to Azure at number one and Trails in the Sky SC at number two. Now, onto the next game! I can't wait to see what else Falcom has in store for me.
P.S. I apologize for the lengthy text. It's unlikely that anyone will read this, but if you do, I simply wanted to share my thoughts with someone because I truly adore these games and don't have anyone else to rant to. Thank you. <3

Neil previously became very stuck in religious politics, and had to explain why he is fully Agnostic not Atheist. Here is a short video:
https://www.youtube.com/watch?v=CzSMC5rWvos
People try to bring him down with lists of everything he said that is wrong like "blind as a bat" and others. I myself left a comment on one of his YouTube videos to cool it on the "Theory of Intelligent Design" being scientifically impossible, because I have one and resources are now at Reddit IDTheory.
I could have held a grudge for indirectly making my work look unscientific. But in science a person has to get used to the science arena accidents that can happen, especially during a wedge war. Have to lick our wounds then get back into battle.
The universe likely always was and always will be, as in modern Cyclic Models. Big Bang Theory is wrongly believed to be suggesting energy came out of nowhere when the model uses math to squeeze the already existing energy into a tiny point in space then lets it go bang. Physicists including Albert Einstein have for decades been working on what happened before any "bang" or "whoosh".
You may have not known all this either, in which case everything you ever said about this was was wrong. You have to add all that to your list, for yourself. How long is that one?
I have to go by the percentage of time a person is right, and how they self-correct. In that case Neil is way ahead.
I'm also very much an Agnostic. In my case mostly because its founding father (Darwin's Bulldog) Thomas Huxley describing the methodology I was using, to write the 100% scientific ID theory. I have to be separate from the philosophical Theist versus Atheist arguments like "bad design" versus "good design" reasoning. Testable scientific grounds only. Agnosticism makes this easy:

Agnosticism is of the essence of science, whether ancient or modern. It simply means that a man shall not say he knows or believes that which he has no scientific grounds for professing to know or believe. Consequently, agnosticism puts aside not only the greater part of popular theology, but also the greater part of anti-theology. On the whole, the "bosh" of heterodoxy is more offensive to me than that of orthodoxy, because heterodoxy professes to be guided by reason and science, and orthodoxy does not. --- Thomas Huxley
https://en.wikipedia.org/wiki/Agnosticism#Defining_agnosticism

Emerging Systems Biology led to an emerging Cognitive Biology and we all now need to understand cell intelligence, just to conceptualize how biological development works.
The biofilm in your toilet tank is now known to be wired up much like a brain. Bacterial cells grow their own long relatively high speed electrochemical communication pipelines, share genetic information too. I would not be surprised by some of them detecting our arrival then letting the rest know they just heard the seat go down, and prepare for another flush! While you thought you were all alone eh?
Being current in science as of 2023 is a whole new world view, where a theory that even Neil thought was impossible is no longer an issue. Became part of the science fun of Thomas Huxley level Agnosticism where there is a (scientific) method.
The scientific community putting all the thought they could into proving my hypotheses concerning "intelligent cause" to be false, is in a way like me using them to find out what can on scientific grounds be professed about such a thing. In turn helps to write the theory. The "scientific method" on steroids. No shame in that, at all. And I have to thank them, thank you.
Neil can roll his eyes and be thankful for the way it helped leave the past behind, while winning a wedge war with their own damn premise for a theory, using the same methodology Thomas Huxley was using by inviting heated debates with the best around. A traveling scientific arena, for before the communication age.
Agnosticism is this way destined have a very bright future. What it was, is now history.

I'm a second year mechanical engineering student going into my third year.
Right now I'm working two internships. We'll call them "manufacturing internship" and "design internship."
I started the manufacturing internship at the beginning of May for $17/hour x 40 hours per week. I really had my hopes up because in the job description, and during the interview process, my supervisor played up the role. I was under the impression that about 50% of the job would be tooling design, and the rest would be a combination process design, and other bits and bobs. Then I started the internship. I've done almost none of what was in the job description - I don't even have a Solidworks license to do tooling design. At the beginning, I did maybe a couple hours of tooling design because another engineer let me work on his computer ... and that's it, that's the only mechanical design experience I've gotten from this internship. When they say "process design," they mean "make travelers for the production runs." Then the other "bits and bobs" are literally 90% of the job: datasheets, organizing things, "verifying" information, and straight up faking missing data.
That's the other thing I dislike about this company: they're dishonest with the work they do. They're months behind on work, so to compensate, they outsource some products to outside vendors and resell it marked up 500%, and pass it off as their own. This in and of itself isn't bad, especially since it is pretty common practice... The problem comes when they fake data - they need to scan their products to make sure they meet certain optical requirements, but when they get something from an outside vendor, they just straight up fake the data... which is especially frustrating because they literally have the equipment to scan it, they just don't. This applies to their own products as well. Missing a scan? Fake data. The scan shows the product isn't up to spec? They "adjust" it. A customer requires a scan they're not capable of taking? More fake data. And they push a lot of this "faking" and "adjusting" onto me. It feels like the only reason they hired me was so they can push liability onto someone less significant, which is probably the case.
I can't get myself to stare at/make fake datasheets for 40 hours a week so I've been using python scripts to fast track the process. This opened up a huge amount of time in my schedule to do other stuff so I was hoping leverage that fact to get me on some tooling design projects or something of the like... but when I talked to them, they just told me they're having trouble getting a Solidworks license. So I've been following up (both via email and in person) literally every two days and I still don't have a CAD software to use... which is a common pattern. I bring something up and they'll "put me on a project," but I'll need XYZ to do that project and they'll never give me XYZ regardless of how many times I follow up... so I end up doing busywork.
To be honest, working here really beats me down. I'm barely getting any mechanical engineering experience, this position won't help me in my career, and I just feel very mislead and used. I hate this company and I'm here for no other reason than the money, and I will happily take it from them.
The design internship, on the other hand, has been much better. I got the offer about 1.5 weeks ago. I requested to be put on second shift with the manufacturing internship supervisor so I could take the first shift position at the design internship, and I started working at the new place a week ago. This past week I worked about 35 hours with the design internship and 25 hours with the manufacturing internship.
I'm confident that this new internship is better: I learned more there on my first day than I learned in my entire manufacturing internship. They pay $22/hour. For interns, they target about 50% of hours being billable work and 50% paid learning through various courses they have internally, and with other companies. I also get a 401k and health insurance. They have several other interns who have been there a while and can attest to the job being pretty accurate to the job description, and the whole team seems pretty honest in their work.
So anyway... my question is: do I keep my old manufacturing internship, or should I just migrate entirely over to the new design internship? Part of my motive for keeping the manufacturing internship is that I still (for some reason) have hope that I'll get some decent manufacturing experience / mechanical design experience related to manufacturing. Even though I plan on going more into the design side of things in my career, I think having some background in manufacturing is valuable because it gives you a more intimate understanding of how a factory floor works, which can help guide design decisions. I can also leverage that in future internships/jobs/interviews. My other main motive is money. I know money is not everything, but keeping the manufacturing internship means I'll have an additional $3000 in my pocket at the end of summer. This is the first time in my life I've been doing better than just breaking even and having that $3000 in my pocket is a lot to me. If I only work for the design internship, I'll still have a decent surplus for these next few months, but I kind of want to just suck it up this summer and work both internships for the extra $3000... even though just this one week at 60 hours + classes has kinda been eating away at me.
What would you do in my shoes? Any advice is appreciated
TLDR: I have a toxic relationship with an employer, then a new employer finally showed me what it's like to be treated right. I plan to pursue things with the new employer, but I'm not sure whether I should continue to dig gold from my first employer.

I'm a second year mechanical engineering student going into my third year.
Right now I'm working two internships. We'll call them "manufacturing internship" and "design internship."
I started the manufacturing internship at the beginning of May for $17/hour x 40 hours per week. I really had my hopes up because in the job description, and during the interview process, my supervisor played up the role. I was under the impression that about 50% of the job would be tooling design, and the rest would be a combination process design, and other bits and bobs. Then I started the internship. I've done almost none of what was in the job description - I don't even have a Solidworks license to do tooling design. At the beginning, I did maybe a couple hours of tooling design because another engineer let me work on his computer ... and that's it, that's the only mechanical design experience I've gotten from this internship. When they say "process design," they mean "make travelers for the production runs." Then the other "bits and bobs" are literally 90% of the job: datasheets, organizing things, "verifying" information, and straight up faking missing data.
That's the other thing I dislike about this company: they're dishonest with the work they do. They're months behind on work, so to compensate, they outsource some products to outside vendors and resell it marked up 500%, and pass it off as their own. This in and of itself isn't bad, especially since it is pretty common practice... The problem comes when they fake data - they need to scan their products to make sure they meet certain optical requirements, but when they get something from an outside vendor, they just straight up fake the data... which is especially frustrating because they literally have the equipment to scan it, they just don't. This applies to their own products as well. Missing a scan? Fake data. The scan shows the product isn't up to spec? They "adjust" it. A customer requires a scan they're not capable of taking? More fake data. And they push a lot of this "faking" and "adjusting" onto me. It feels like the only reason they hired me was so they can push liability onto someone less significant, which is probably the case.
I can't get myself to stare at/make fake datasheets for 40 hours a week so I've been using python scripts to fast track the process. This opened up a huge amount of time in my schedule to do other stuff so I was hoping leverage that fact to get me on some tooling design projects or something of the like... but when I talked to them, they just told me they're having trouble getting a Solidworks license. So I've been following up (both via email and in person) literally every two days and I still don't have a CAD software to use... which is a common pattern. I bring something up and they'll "put me on a project," but I'll need XYZ to do that project and they'll never give me XYZ regardless of how many times I follow up... so I end up doing busywork.
To be honest, working here really beats me down. I'm barely getting any mechanical engineering experience, this position won't help me in my career, and I just feel very mislead and used. I hate this company and I'm here for no other reason than the money, and I will happily take it from them.
The design internship, on the other hand, has been much better. I got the offer about 1.5 weeks ago. I requested to be put on second shift with the manufacturing internship supervisor so I could take the first shift position at the design internship, and I started working at the new place a week ago. This past week I worked about 35 hours with the design internship and 25 hours with the manufacturing internship.
I'm confident that this new internship is better: I learned more there on my first day than I learned in my entire manufacturing internship. They pay $22/hour. For interns, they target about 50% of hours being billable work and 50% paid learning through various courses they have internally, and with other companies. I also get a 401k and health insurance. They have several other interns who have been there a while and can attest to the job being pretty accurate to the job description, and the whole team seems pretty honest in their work.
So anyway... my question is: do I keep my old manufacturing internship, or should I just migrate entirely over to the new design internship? Part of my motive for keeping the manufacturing internship is that I still (for some reason) have hope that I'll get some decent manufacturing experience / mechanical design experience related to manufacturing. Even though I plan on going more into the design side of things in my career, I think having some background in manufacturing is valuable because it gives you a more intimate understanding of how a factory floor works, which can help guide design decisions. I can also leverage that in future internships/jobs/interviews. My other main motive is money. I know money is not everything, but keeping the manufacturing internship means I'll have an additional $3000 in my pocket at the end of summer. This is the first time in my life I've been doing better than just breaking even and having that $3000 in my pocket is a lot to me. If I only work for the design internship, I'll still have a decent surplus for these next few months, but I kind of want to just suck it up this summer and work both internships for the extra $3000... even though just this one week at 60 hours + classes has kinda been eating away at me.
What would you do in my shoes? Any advice is appreciated
TLDR: I have a toxic relationship with an employer, then a new employer finally showed me what it's like to be treated right. I plan to pursue things with the new employer, but I'm not sure whether I should continue to dig gold from my first employer.

I'm a second year mechanical engineering student going into my third year.
Right now I'm working two internships. We'll call them "manufacturing internship" and "design internship."
I started the manufacturing internship at the beginning of May for $17/hour x 40 hours per week. I really had my hopes up because in the job description, and during the interview process, my supervisor played up the role. I was under the impression that about 50% of the job would be tooling design, and the rest would be a combination process design, and other bits and bobs. Then I started the internship. I've done almost none of what was in the job description - I don't even have a Solidworks license to do tooling design. At the beginning, I did maybe a couple hours of tooling design because another engineer let me work on his computer ... and that's it, that's the only mechanical design experience I've gotten from this internship. When they say "process design," they mean "make travelers for the production runs." Then the other "bits and bobs" are literally 90% of the job: datasheets, organizing things, "verifying" information, and straight up faking missing data.
That's the other thing I dislike about this company: they're dishonest with the work they do. They're months behind on work, so to compensate, they outsource some products to outside vendors and resell it marked up 500%, and pass it off as their own. This in and of itself isn't bad, especially since it is pretty common practice... The problem comes when they fake data - they need to scan their products to make sure they meet certain optical requirements, but when they get something from an outside vendor, they just straight up fake the data... which is especially frustrating because they literally have the equipment to scan it, they just don't. This applies to their own products as well. Missing a scan? Fake data. The scan shows the product isn't up to spec? They "adjust" it. A customer requires a scan they're not capable of taking? More fake data. And they push a lot of this "faking" and "adjusting" onto me. It feels like the only reason they hired me was so they can push liability onto someone less significant, which is probably the case.
I can't get myself to stare at/make fake datasheets for 40 hours a week so I've been using python scripts to fast track the process. This opened up a huge amount of time in my schedule to do other stuff so I was hoping leverage that fact to get me on some tooling design projects or something of the like... but when I talked to them, they just told me they're having trouble getting a Solidworks license. So I've been following up (both via email and in person) literally every two days and I still don't have a CAD software to use... which is a common pattern. I bring something up and they'll "put me on a project," but I'll need XYZ to do that project and they'll never give me XYZ regardless of how many times I follow up... so I end up doing busywork.
To be honest, working here really beats me down. I'm barely getting any mechanical engineering experience, this position won't help me in my career, and I just feel very mislead and used. I hate this company and I'm here for no other reason than the money, and I will happily take it from them.
The design internship, on the other hand, has been much better. I got the offer about 1.5 weeks ago. I requested to be put on second shift with the manufacturing internship supervisor so I could take the first shift position at the design internship, and I started working at the new place a week ago. This past week I worked about 35 hours with the design internship and 25 hours with the manufacturing internship.
I'm confident that this new internship is better: I learned more there on my first day than I learned in my entire manufacturing internship. They pay $22/hour. For interns, they target about 50% of hours being billable work and 50% paid learning through various courses they have internally, and with other companies. I also get a 401k and health insurance. They have several other interns who have been there a while and can attest to the job being pretty accurate to the job description, and the whole team seems pretty honest in their work.
So anyway... my question is: do I keep my old manufacturing internship, or should I just migrate entirely over to the new design internship? Part of my motive for keeping the manufacturing internship is that I still (for some reason) have hope that I'll get some decent manufacturing experience / mechanical design experience related to manufacturing. Even though I plan on going more into the design side of things in my career, I think having some background in manufacturing is valuable because it gives you a more intimate understanding of how a factory floor works, which can help guide design decisions. I can also leverage that in future internships/jobs/interviews. My other main motive is money. I know money is not everything, but keeping the manufacturing internship means I'll have an additional $3000 in my pocket at the end of summer. This is the first time in my life I've been doing better than just breaking even and having that $3000 in my pocket is a lot to me. If I only work for the design internship, I'll still have a decent surplus for these next few months, but I kind of want to just suck it up this summer and work both internships for the extra $3000... even though just this one week at 60 hours + classes has kinda been eating away at me.
What would you do in my shoes? Any advice is appreciated
TLDR: I have a toxic relationship with an employer, then a new employer finally showed me what it's like to be treated right. I plan to pursue things with the new employer, but I'm not sure whether I should continue to dig gold from my first employer.

I really liked it overall. You really felt Julia's building paranoia. I was especailly happy to see that she made the right choices and stood up for herself for the most part. I think the last shot was a real "I told you so" look she gives to her husband.
Maika Monroe was great. This movie doesnt work without her I think. Clair Okuno directed and co-wrote with Zack Ford. I think they delivered a tight script that avoided the damsel in distress tropes for the most part.
Julia was a character that you symphasized with and Maika Monroe really drew you into the movie. I think she is part of this new golden age of horror and we should be thankful for whats happening right now. Pay attention because we are in a hot spot in the genre. We are getting good movies like this. Hopefully this trend of good horror continues.

​
Developed by Hangar 13, DICE, Ripple Effect Studios, EA Gothenburg, and Criterion Games and published by EA.
Additionally former EA Black Box and Ghost Games employees who would help access game assets and code from previous NFS titles to streamline the development)
Cartel (or alternatively as “Cartel: Palm City” or "Cartel: Miami" ) would be an open world title based on the Mafia Games, the GTA games and the Saints Row games, with elements of Battlefield: Hardline thrown in with an array of weapons and vehicles based on their real life counterparts.
Gameplay wise the driving would be like Need for Speed titles, and on foot and shooting mechanics like BF: Hardline and Saints Row. Plus you can customize your cars and weapons to the same extent in BF: 2042 and some cars would allow for mounted weapons,on foot you can execute people with your equipped weapon like in The Godfather games. On foot would be an FPS view (you can change to a third person view as well) same with having an FPS view in your car.
There would an single player experience point system (like in BF Hardline single player) you gain XP from killing gangsters, and cops blowing up or capturing enemy vehicles and completing main missions, side missions and activities also there will be 15 levels to achieve with each level up unlocking new weapons, vehicles and customization for your weapons and vehicles. As well as a New Game Plus (NG+) where everything you unlocked is carried over and you can also play on the higher difficulties through NG+.
Also there would be five wanted levels for police and five vendetta levels for the gangs should you reach level five gang vendetta you start a Gang War there are three ways to stop a Gang War either bribe the feds, blow up a gang stronghold, or hide out in a safe house. Police wanted levels one and two local units would come after the player, at police wanted level two or three the state police would come after the player. At wanted level four and five the feds would come after the player. The military will only come after the player if they trespass in Fort Rockport or the Palmount Naval Shipyard
The Storyline
In Cartel: Palm City; in a different universe and timeline where there's a total prohibition of all narcotics in the United States in 2010; tells the story of Jack Rourke (the player character) a hardworking rideshare driver at day and a street racer at night who's scraping by in Palm City circa 2019. One fateful night, Jack Rourke has an inadvertent brush with the Blackwell Syndicate (mainly Carl Stoddard and that showcases a life of reward too big to ignore. As he joins the Blackwell Syndicate who are fighting for control of Palm City against five other criminal groups and take the city for the Blackwell Syndicate including recovering evidence that could not only convict the Blackwell Syndicate, as well as a network of crime lords in many countries, (including the other gang’s backers) including the Blackwell Syndicate's backers the Mob and it would also directly implicate the CIA in Palm City’s drug trade with Jack Rourke earning the nickname “El Sicario” for his efforts in driving the other gangs out of Palm City. When he learns how much the drugs were hurting the people of Palm City and all over the country as well as learning that the Blackwell Syndicate had gotten into the drug trade themselves, he contacts FBI agent Chase Linh who relays the story to her and offers the evidence and his testimony in exchange for full immunity for him and his associates, and the evidence on the computer was enough to convict everyone form all the five gangs, but also their crime lord backers from at least half a dozen countries, as well implicating the CIA in this as well as lobbying efforts to keep all narcotics prohibited, leading to a new administration repealing the Narcotics Prohibition law and legalizing low level cannabis. However six months later after the repeal of the Narcotics Prohibition Jack Rourke would be gunned down by Russian Mafia hitmen, Dimitri "Dima '' Mayakovsky and Henry "Black" Blackburn.
The Cast

• Sean Faris - Jack Rourke
• Erik Armando Alvarez - Marcus Blackwell
• Kieth David - Julian “Julius” Little
• Philip Anthony-Rodriguez - Nick Mendoza
• Kelly Hu - Khai Minh Dao
• Travis Willingham - Carl Stoddard
• Eugene Byrd - Marcus “Boomer” Boone
• Adam J. Harrington - Tyson Latchford
• Jack Derges - Tyler "Ty" Morgan
• David Ajala - Sean "Mac" McAlister
• Jessica Madsen - Jessica "Jess" Miller
• Ramon Tikaram - Ravindra "Rav" Chaudhry
• Brooke Burke - Rachel Teller
• Josie Maran - Mia Townsend
• Jonny Cruz - Lucas Rivera
• Ana Marte - Ana Rivera
• Maggie Q - FBI Agent Chase Linh
• Bentino Martinez - CIA Agent Julian Dawes
• Coolie Ranx - Benny King
• Jason Michael Zumwalt - Roman Barkov
• Michael Andrew Hollick - Niko Barkov
• Fred Tatasciore - Tony Alpert
• Josh Coxx - Frank Mercer
• Shontae Saldana - Eva Torres
• Josh Collins - Danny Shaw
• Moti Margolin - Dimitri Glebov
• Jack Yang - Chan Wu
• Graham Shiels - Leo Ray
• Mark Rolston - Neil Roark
• Dean McKenzie - Jonathan Cross
• David Rees Snell - Gregory "GMAC" MacDonald
• Heather Fox - Rose Largo
• Joshua Alba - Zack Maio
• Kurt Caceres - Hector Maio
• Lawrence B. Adisa - Brad Rogers
• Dominique Tipper - Lina Navarro
• David Palffy - Caleb Reece
• David Menkin - Hector "Ming" Domingo
• Bruce Johnson - Wes "Webster" Allen
• William Roberts - Joe "JV" Vega
• Jun-Yamazaki - Toru "Bull" Sato
• Derek Hamilton - Clarence "Razor" Callahan
• Chuck Norris - Chief Norris
• Paul Pape - Jack Keller
• Christina Hendricks - Sam Harper

List of activities

• Story Mission: Missions that advance the plot
• Side Mission: Missions that do not advance the plot but earns extra experience/money
• Street Race: Just like it is in Need for Speed, finish first.
• Combat Race: Just like Street Race, but weapon use is allowed.
• Mayhem: Cause as much destruction as possible and get the highest Cost to State score.
• Car Snatch: Steal a car from the cops or one of the four gangs and bring it to a chop shop and also unlock the car you stole for free.
• Drug/CigaWeapon Trafficking: Deliver drugs/military-grade weapons/Cuban cigars to dealers and avoid the cops and rival gangs.
• Car Delivery: Deliver a load of high-end cars to car dealers.
• Assassination: Find and kill a named character, bonus if you fulfill a special condition

Vehicles
Civilian

• Acura NSX '17, Acura RSX-S '04,
• Alfa Romeo Giulia Quadrifoglio '16,
• Aston Martin DB5 '64, Aston Martin DB11 '17, Aston Martin DB11 Volante '19, Aston Martin Vulcan '16,
• Audi R8 V10 Performance '19, Audi S5 Sportback '17,
• BMW i8 Coupé '18, BMW i8 Coupé K.S. '18, BMW i8 Roadster '18, BMW M2 Competition '19, BMW M3 '06, BMW M3 '10, BMW M3 Evolution II '88, BMW M3 GTR L.E. '06, BMW M4 '18, BMW M4 Convertible '17, BMW M4 GTS '16, BMW M5 '18, BMW X6 M '16, BMW Z4 M40i '19,
• Buick Grand National '87, Buick Cascada '16
• Chevrolet Bel Air '55, Chevrolet C10 Sidestep Pickup '65, Chevrolet Camaro SS '67, Chevrolet Camaro Z28 '14, Chevrolet Colorado ZR2 '17, Chevrolet Corvette Grand Sport '17, Chevrolet Corvette Z06 '13, Chevrolet Corvette ZR1 '19, Chevrolet Corvette Stingray (2020), Chevrolet Corvette Stingray Convertible (2020), Chevrolet Corvette ZO6 (Cross’ ZO6)
• Dodge Challenger SRT8 '14, Dodge Charger '69, Dodge Challenger SRT Hellcat ‘18
• Ferrari 458 Italia '09, Ferrari 458 Spider '11, Ferrari 488 GTB '15, Ferrari 488 Pista '19, Ferrari F40 '87, Ferrari FXX-K Evo '18, Ferrari LaFerrari '13, Ferrari Testarossa Coupé '84,
• Ford F-150 Raptor '17, Ford F-150 SVT Raptor L.E. '17, Ford Focus RS '16, Ford GT '17, Ford Mustang '65, Ford Mustang BOSS 302 '69, Ford Mustang Foxbody '90, Ford Mustang GT '15, Ford Crown Victoria ‘08
• Honda Civic Type-R '00, Honda Civic Type-R '15, Honda NSX Type-R '92, Honda S2000 '09,
• Infiniti Q60 S '17,
• Jaguar F-Type R Convertible '19, Jaguar F-Type R Coupé '16,
• Koenigsegg Regera '16 (Roman’s Regera)
• Lamborghini Aventador S '18, Lamborghini Aventador S Roadster '17, Lamborghini Aventador SVJ Coupe '19, Lamborghini Aventador SVJ Roadster '19, Lamborghini Countach '89, Lamborghini Diablo SV '95, Lamborghini Huracán '18, Lamborghini Huracán Performante '18, Lamborghini Huracán Performante Spyder '18, Lamborghini Huracán Spyder '18, Lamborghini Murciélago SV '10, Lamborghini Gallardo LP 560-4 '08
• Land Rover Defender 110 '15, Land Rover Range Rover Sport SVR '15,
• Lotus Exige S '06,
• Mazda MX-5 '15, Mazda MX-5 '96, Mazda RX-7 Spirit R '02,
• McLaren 570S '15, McLaren 570S Spider '18, McLaren 600LT '18, McLaren F1 '93, McLaren P1 '14, McLaren P1 GTR '15
• Mercedes-AMG A 45 '16, Mercedes-AMG C 63 Coupé '18, Unlocked at REP LVL 18, Mercedes-AMG C 63 Coupé K.S. '18, Mercedes-AMG G 63 '17, Mercedes-AMG GT '15, Mercedes-AMG GT R '17, Mercedes-AMG GT S Roadster '19
• Mercury Cougar '67
• Mini JCW Countryman '17
• Mitsubishi Lancer Evolution IX '07, Mitsubishi Lancer Evolution X '08, Mitsubishi Lancer Evolution X K.S. '08
• Nissan 180SX Type X '96, Nissan 240SX '98, Nissan 350Z ‘03, Nissan 370Z ‘09, Nissan GT-R ‘07, Nissan Fairlady 240ZG '71, Nissan GT-R '17, Nissan Silvia Spec-R Aero '02, Nissan Skyline 2000 GT-R '71, Nissan Skyline GT-R V-Spec '93, Nissan Skyline GT-R V-Spec '99, Nissan Skyline GT-R V-Spec '02,
• Opel Astra '09
• Pagani Huayra BC '17
• Plymouth Barracuda '70
• Polestar 1 '20
• Pontiac Firebird '77, Pontiac Firebird '99, Pontiac GTO '05, Pontiac G8 '08
• Porsche 718 Cayman GTS '18, Porsche 911 Carrera GTS '18, Porsche 911 Carrera GTS Cabriolet '18, Porsche 911 Carrera RSR 2.8 '73, Porsche 911 Carrera S '97, Porsche 911 GT2 RS '18, Porsche 911 GT3 RS '19, Porsche 911 Targa 4 GTS '18, Porsche 911 Turbo S Cabriolet Ex '18, Porsche 911 Turbo S Exclusive '18, Porsche 918 Spyder '15, Porsche Cayman GT4 '15, Porsche Panamera Turbo '17, Porsche 911 Carrera S (991) '12
• SRT Viper GTS '14
• Subaru BRZ Premium '14, Subaru Impreza WRX STI '06, Subaru Impreza WRX STI '10,
• Volkswagen Beetle '63, Volkswagen Golf GTI '76, Volkswagen Golf GTI Clubsport '16,
• Volvo 242 DL '75, Volvo Amazon P130 '70

Military

• Light Vehicles: M1161 ITV, VDV Buggy, LYT2021, MRAP, SPM-3, ZFB-05, Quad Bike, Dirt Bike. Desert Patrol Vehicle. Skid Loader
• Infantry Fighting Vehicles: LAV-25, BTR-90, ZBD-09, AAV-7A1. AMTRAC
• Main Battle Tanks: M1 Abrams, T-90A, Type 99 MBT, HT-95 Levkov
• Anti-Aircraft Vehicles: LAV-AD, 9K22 Tunguska-M, Type 95 AA
• Mobile Artillery: HIMARS
• Helicopters: AH-1Z Viper, Mi-28 Havoc, Z-10W, AH-6 Little Bird, Z-11W, KA-60 Kasatka, UH-1Y Venom, Z-9 Haitun
• Naval Craft: DV-15 Interceptor, RCB-90, RHIB Boat, PWC, ACV
• Emplacements: .50 Cal, M220 TOW Launcher, 9M133 Kornet Launcher, HJ-8 Launcher, Centurion C-RAM, Pantsir-S1, LD-2000 AA, Schipunov 42. Launch Pod

Weapon attachments

• Optics (Pistols): Iron Sights, Improved Iron Sights, Ghost Ring, Mini (RDS), Deltapoint (RDS), Comp M4S (1X) Magnum Scope (2x)
• Optics (Rifles): Short Range; Barska Reflex (RDS), Kobra (RDS), Coyote (RDS), EOTech Sight (1x), PKA-S (1x), HD-33 (1x), F2000 (1.6x) (F2000 only). Medium Range; M145 (3.4x), PK-A (3.4x), PRISMA (3.4x), Mark 4 HAMR (3.5x) ACOG (4x), PSO-1 (4x), JGM-4 (4x). Long Range: CL6x (6x), PKS-07 (7x), Rifle Scope (8x), Hunter (20x), Ballistic (40x), IRNV (1x), FLIR (2x)
• Accessories: Canted Iron Sights, Magnifier (2x), Variable Zoom (2x-14x), Flash Light, Tactical Light, Laser Sight, Tri Beam Laser, Green Laser Sight, LaseLight Combo, Range Finder, Target Detector, Stabilizer.
• Barrel: Standard Barrel, Heavy Barrel, Light Barrel
• Muzzle (ARs/Carbines, DMRs, LMGs, PDWs, and Sidearms): Muzzle Brake, Compensator, Suppressor, Flash Hider, Flash Enhancer.
• Muzzle (shotgun): Duckbill, Full Choke, Modified Choke
• Underbarrel: Underslung Rail (M320, GP-30, M26 MASS), Bipod, Ergo Grip, Angled Grip, Stubby Grip, Vertical Grip, Folding Grip, Potato Grip
• Auxiliary: Straight Pull Bolt, Bipod
• Ammunition: Shotshells, 12 Gauge Buckshot, 12 Gauge Dart, 12 Gauge Frag, 12 Gauge Slug

40mm Grenades, 40mm HE, 40mm Incendiary, 40mm CS, 40mm Dart, 40mm Flashbang, 40mm LVG, 40mm Smoke, 40mm 3GL.

• 25mm Grenades - 25mm Airburst, 25mm Dart, 25mm Smoke.
• Arrows - Broadhead Arrow, Bullet Point Arrow, Explosive Tipped Arrow (Tek Arrows), Poison Arrow

Weapon list
Key: Base weapon (special variant)

• Melee Weapons: Blunt Weapons, Knives, Collapsible Baton, Machete (L.S 16 Machete), Breaching Hammer, Sledge Hammer, Axe, Inquisition Sword, Shovel, Bayonet, ACB-90, Shank, Machete, Bowie, Carbon Fiber, Scout, Survival, Trench, Boot, SEAL, Dive, Tactical, BJ-2, Precision, Baseball Bat, 2x4, Lead Pipe
• Light Pistols; P226, M9, QSZ-92, MP443, G17 (Street Racer Special), FN57. Machine Pistols; CZ-75. G18, TEC-9, MAC-10, MP9, 93R.
• Heavy Pistols: M1911, Compact 45, SW40, DEagle .38, DEagle .357, DEagle .44, DEagle .50, DEagle .501, DEagle .700, 45T (Mercer’s 45T), .40
• Revolvers; Unica 6 .38, Unica 6 .357, Unica 6 .44, Unica 6 .50, Unica 6 .501, Unica 6 .700, .38 Snub, .38 Special, .357 RS, MP412 REX, .44 Magnum (.44 Magnum Force), .501 Magnum Enforcer, .700 Magnum
• Short Rifles/Shotguns; Mare's Leg, Lupara, Shorty 12G (Modern Lupara)
• Personal Defense Weapons/SMGs: MP5, MX4, PP-2000, UMP-45, CBJ-MS, PDW-R, CZ-3A1, JS2, P90, UMP-9, MP7 (Combine MP7) , AS VAL, SR-2, MPX, Groza-4, K10 (Dillinger II), M1A1, M1928 (Dillinger), MP5SD
• Shotguns: QBS-09, 870 MCS, M1014, Hawk 12G, Saiga 12K, SPAS-12, UTS-15, DBV-12, DAO-12, USAS-12, AA-12, 870P Magnum, 37 Stakeout (Cross’ 37 Stakeout), Double-Barrel Shotgun, KSG12, M26 MASS
• Carbines: AK5C, ACW-R, SG553, AKU-12, A-91, ACE 52 CQB, G36C, M4, ACE 21 CQB, Type-95B-1, MTAR-21, Phantom, Groza-1, RO933, AKS-74U, CAR-556, ACWR.
• Assault Rifles: AK-12 (Shovak AK-12), SCAR-L, SCAR-H, M416, SAR-21, AEK-971 (Russian Dillinger), FAMAS, AUG A3, CZ-805, QBZ-95-1, ACE 23, L85A2, F2000 (SC-20K), ARX-160, Bulldog, AN-94, M16A3, M16A4, AKM, L85A2, ARM, MDC, SAR-21, AUG A3, HCAR, SA-58 OSW, HK51, FN FAL, SG510.
• Light Machine Guns: U-100 MK5 (Modern Dillinger), Type 88 LMG, LSAT, PKP Pecheneg, QBB-95-1, M240B, MG4, M249, M60-E4 (M60-ULT), AWS, L86A2, RPK, RPK-74, RPK-12,
• Designated Marksman Rifles: RFB, Mk11 Mod 0, SKS, SVD-12, QBU-88, M39 EMR, ACE 53 SV, SCAR-H SV, M39 EMR
• Sniper Rifles: R700PPS, TRG-42P, CS-LR4, M40A5, Scout Elite, SV-98, JNG-90, 338-Recon, M98B, SRR-61, FY-JS, Dragunov SVD, L115, GOL Magnum, SR338, CS5, .300 Knockout, M200 Intervention, M82A3 .416, M82A3 .50, M82A3 .501, M82A3 .700, M82A3 .900, M82A3 20mm Vulcan, AMR-2 .416, AMR-2 .50, AMR-2 .501, AMR-2 .700, AMR-2 .900 AMR-2 20mm Vulcan, HVM-II, M136 CS, Vidhwansak, Rorsch Mk-1, Rorsch Mk-4, 20mm Vulcan Grenares: M67 Frag, V40 Mini, RGO Impact, M34 Incendiary, M18 Smoke, M84 Flashbang, Hand Flare, CS Gas Grenade, Molotov, AA Mine, AT Mine, SLAM, C4 Explosive, M18 Claymore
• Launchers: M32 MGL, M203, M320, GP-30, M26 MASS, RPG,MBT LAW, FIM-92 Stinger, RPG-7V2, SA-18 Igla, Mk153 SMAW, FGM-148 Javelin, FGM-172 SRAW, XM-25
• Gadgets: Defibrillator, First Aid Pack, Medic Bag, Repair Tool, Ammo Box, Ammo Pack, M224 Mortar, MP-APS, XM25, UCAV, Ballistic Shield, MAV, Motion Sensor, PLD, Radio Beacon, SOFLAM, T-UGS, SUAV, RAWR M240B, RAWR M203, XD-1 Accipiter

Other: Nail Gun
Mission Structure
Prolog (2019)

1. The Birth of Art - After winning a big race, Jack Rourke collects the winnings at the Palm City Historical Museum
2. An Offer you Can't Refuse - Jack Rourke must evade Volk sicarios with Tyson Lachford and Carl Stoddard members of the Blackwell Syndicate
3. Race Day - After the events of the last mission, Jack Rourke partakes in a race day event and wins three events with his Porsche 911 Carrera S (991) '12
4. Running Man - Volk sicarios Niko and Dimitri crashes the race day and Jack must get to the Blackwell Garage

Chapter 1 (2019-2021)

1. M34 Party - Jack Rourke joins the Blackwell Syndicate and gets acquainted with everyone before going with Tyson in a Pontiac GTO '05 to burn the Volk's cars with M34 Incendiary Grenades as well as stealing GMAC's Lamborghini Gallardo LP 560-4
2. Standard Routine - Jack Rourke rolls with Tyson, Stoddard and Jonathan Cross to collect protection money but things go south when they collect from a hotel out of town and Jack Rourke chases after the hotel owner in Cross' car.
3. Fair Play - Jack Rourke is tasked with stealing Ryan Cooper's Nissan 240SX and sabotaging it on the eve of the biggest Speedhunter race of the year, the SpeedHunter Championship Finals and in a last minute swap Jack Rourke has to race in place of Tyler Morgan
4. Mia Townsend - Jack Rourke is tasked with taking Mia Townsend out for a night at the city... until a gang of Wraith street racers led by Caleb Reece hassles her and Jack Rourke takes them on in a fight
5. Get Used To It - After the events of the previous mission Jack Rourke and Tyson Latchford are sent to teach the Wraiths a lesson But Caleb Reece makes it serious and Caleb Reece is wound up being killed by Tyson after a chase around the city alongside Danny Shaw.
6. The Saint and The Sinner - It's revealed thtat Caleb Reece was Chief Norris' best friend, and Danny Shaw survives the crash however Stoddard would handle Shaw as Jack Rourke is tasked with infiltrating the Elmore Plaza Hotel and has to kill the manager, Nikki Morris and bomb the hotel before escaping to a funeral and confronts, Danny Shaw and Frank Mercer who are also in attendance. Jack Rourke kills Shaw and nearly kills Frank as well. But Frank tasers Rourke and escapes. It would be revealed that some of the Volk sicarios recognized Sotddard and had to deal with them, then the two escaped in a hearse.

Chapter 2 (2021)

1. A Trip to the Countryside - In order to get a large supply of cannabis from Mexico, Jack Rourke takes a team to retrieve the Mexican from Mexican smugglers only to be ambushed by Los Zetas L.S 16 and Volk sicarios, then it's revealed that Roman had paid off the FBI to go after Rourke and his teammates then they came off with the cannabis killing their pursuers in the process.
2. Code of Silence - The evidence that Tyson and Stoddard had ripped from the Volk had fallen in the hands of Hector Maio who cut a deal with the FBI, total immunity for the evidence and Jack Rouke is tasked with killing him and retrieving the evidence
3. Visiting Rich People - Jack Rourke is tasked with sabotaging a federal proscutor's case against The Mob, the Blackwell Syndicate's backers as well as killing the federal prosecutor in charge of the case.
4. Visiting Powerful People - Jack Rourke is tasked with meeting and protecting a powerful member of Palm City's elite, the owner of Prefered Outcomes Julian Daws... though he more than meets the eyes of Jack Rourke
5. Agent Dawes - Julian Daws is revealed to be a CIA agent who is tasked with keeping the flow of drugs to Jack's surprise and that he is backing the Blackwell Syndicate through Prefered Outcomes.
6. The Drug Trade - Julian Daws walks Jack Rourke through Palm City's drug trade and how the illicit street racing scene is used as a cover to smuggle drugs.
7. Great Deal - Tyson Lachford scores a major deal with a drug farm in Georgia who promises to supply them with large amounts of drugs in exchange for access to databases concerning highway patrol routes; however when the deal goes down at a parking garage, the Volk and L.S 16 ambush them.
8. Bon Appetit - Jack Rourke drives Eva Torrez, Marcus Blackwell and Julian Daws to the rebuilt Elmore Plaza Hotel for brunch only for Niko and Dimirti with a Volk hit squad to blast the entire lobby with gunfire and C4 explosives, Jack Rourke vaults over with Eva Torrez, Marcus Blackwell and Julian Daws, there Jack Rourke and Eva Torrez rush out through the side entrance and confronts the hit squad with Jack Rourke killing both Niko and Dimirti. However Blackwell wants Jack to confront Jonathan Cross at a doughnut store and reveals that the Volk threatened to turn him over to IAD and is chased throughout the city with Marcus Blackwell putting Cross on permanent retirement by killing him with a Lupara.

Chapter 3 (Finishing the other gangs and downfall of Jack Rourke) (late 2021)

1. Happy Anniversary - Jack Rourke is tasked with completing a contract hit against Frank Mercer at the fifth anniversary of the formation of the High-Speed Task Force by firing a sniper rifle stashed in a bathroom
2. You Lucky Bastard - After a failed attempt to kill Razor; Roman's personal driver and #2 of the Volk, Jack Rourke is given the contract to kill Razor, first by car bomb but ends up killing Deputy Chief Jack Keller. instead of Razor. Jack Rourke, Tyson and Stoddard would later find Razer at a Burger King. In this Rourke can choose to kill or spare Razor. Rourke would spare him after he tells him that the CIA is deeper in Palm City's drug trade than Jack Rourke is led to believe
3. Creme de la Creme - Marcus Blackwell plans to kill Roman, Niko, Demintri and Chan Wu in front of the city's Creme de la Creme, the mayor, the police chief, the FBI director and even the city's richest elite. However things go south and Jack Rourke chases Roman and Niko at the airport where they get to a private jet but is shot down and crash lands on the Cross Mermeroral Bridge Chan Wu is still alive and Jack Rourke executes him and leaves before the cops show up.
4. Plugging the Chief - After the events of Creme de la Creme; Chief Norris places to take on the Blackwell Syndicate and to dismantle them, and a contract hit is placed on him where Jack Rourke accepts the contract and kills Chief Norris.
5. Election Campaign - The State Governor had launched his reelection bid with the promise get tough on the cartels that had plagued Palm City and like Chief Norris has a contract hit out on him which Jack Rourke is tasked with taking, using a sniper rifle
6. Just for Relaxation - Marcus Blackwell tells Jack Rourke about a shipment of Cuban cigars as well as a hidden shipment of diamonds (hot ice) straight from Africa however and Jack Rourke takes a crew to retrieve the shipment from federal customs however it's revealed that instead of diamonds it's Cold Shot... the same drug being pushed by the other gangs.
7. The Truth - Jack Rourke and Kahi Minh Dao eavesdrop on Marcus Blackwell and Julain Daws and they learn the truth.
8. Moonlighting - Jack Rourke after knowing about the truth takes Tyson to rob the Palm CIty First National in order to retire from the sicario lifestyle and gets into a massive shootout with the PCPD Heat-style.
9. The Death of Art - After the heist of Palm City First National Jack Rourke finds Tyson dead and meets Stoddard at the museum only to find out that Stoddard knew about the heist, and used his share of the drug money and clout at Prefered Outcomes to buy out The7 as his personal hit squad, however Jack Rourke manages to kill every member of The7 but spares Stoddard (the player can also kill him but canonically Jack Rourke spares him)

Epilogue (2022)
After the trial and the repeal of the Jack Rurke is placed in the Witness Protection Program in Lakeshore City but six months later after the repeal of the Narcotics Prohibition Jack Rourke would be gunned down by members of the West Side Club, Dimitri "Dima" Mayakovsky and Henry "Black" Blackburn.
The Gangs of Palm City
L.S 16 (Los Salmos 16) - Also known as The Salmos. Backed by the most powerful Mexican drug lords and the most powerful arms traffickers in the world, L.S 16 once ruled all of Palm City In fear until The House stepped in. They’re also the strongest gang in the game with access to military grade weapons and vehicles and each gang kill from them awards 500-1,500 XP depending on the enemy type. They are led by Neil Roark.
The House - The House is a gambling gang with strong ties and backed by the Sicilian Mafia; they run the street scene and the casinos in Palm City. They’re pretty strong but weaker than L.S 16, and they have access to military grade weapons and vehicles each gang kills from them awards 250-800 XP depending on the enemy type. Headed by Lina Navarro.
The Volk - The Volk is a Chinese-Russian gang led by Roman Barkov with Niko Barkov as their enforcer backed by the Triads (Chan Wu), the Russian Mob (Dimitri Glebov), and GMAC's crew (Gregory "GMAC" MacDonald, Rose Largo) for cars who control the weapon smuggling and arms dealing in Palm City. With this backing and access to military grade weapons. They are a mid tier gang and each gang kill from them awards 200-600 XP depending on the enemy type. They are also the ones who go after the Blackwell Syndicate the most.
Palm Kings - The Palm Kings (PKs) is a Black gang made up of Black nationalists who controls Palm Harbor’s rackets and extorts store owners. Led by Benny King, they’re equipped with police-grade weaponry and has strong ties with the PCPD despite this, they are the second weakest gang in the game and each gang kill from them awards 150-500 XP depending if it's a regular to elite
Dixie Paladins - The Dixie Paladins are a white supremacy gang and a militarized version of the Ku Klux Klan (KKK) who controls the Gold Coast Mountains in the mountainous regions of Palm City. they’re the weakest gang in the game and each gang kill from them awards 100-250 XP from regular to elite members. They are led by Tony Alpert
Blackwell Syndicate - The Blackwell Syndicate is a underground criminal organization based in Palm City and is led by Marcus Blackwell with Julian “Julius” Little as underboss, Hector Maio before "Code of Silence" and Zack Maio after "Code of Silence". Nick Mendoza. Khai Minh Dao and Carl Stoddard are caporegimes and Tyson Latchford, Tyler "Ty" Morgan, Sean "Mac" McAlister, Jessica "Jess" Miller as soldiers. Other members include Ravindra "Rav" Chaudhry as the gang's car expert Rachel Teller as the gang's customization expert, Marcus “Boomer” Boone as the gang's weapon experts. The Blackwell Syndicate would be the gang that the player would join. In Act 1, they're an outside and fast tracked to soldier, but in Act 2 the player would be a capo until the end of the game. They are secretly backed by both The Mob and the CIA through Agent Dawes. Jonathan Cross and Mia Townsend are also on the gang's payroll until "Bon Appetit" where Marcus Blackwell executes him with a 870P Magnum to the head. Also Mia would also go with Jack Rourke as well
The police/military force
PCPD - the police force of Palm City/Miami if the player does hostile acts (killing civilians, firing unsuppressed weapons in public, etc) will attract police attention and each kill from them awards 50 XP for regular members and 100 XP for armored members, However the player can bribe the PCPD to look the other way or will even help the player fight the other gangs but would be the target of higher level police forces. (Sort of like it was in The Godfather game) The player can also buy favors from them as well. Also they’ll deploy stronger units at higher heat level alongside the FBI. The cars PCPD drives are the Ford Crown Victoria, Dodge Challenger, Pontiac GTO, and the Chevy Grand Sport
Florida Highway Patrol (FHP) - The state police force and Only appears in wanted levels 3 and above, Each kill from them awards 75 XP for regular state troopers and 150 XP for tactical state troopers. Regular state troopers drives Ford Mustang GTs tactical state troopers drives Nissan GT-R
FBI - Only appears in wanted level 5 the FBI will be called in if the player continues to retaliate against the PCPD. Each kill from them awards 125 XP for regular agents, 250 XP for FBI SWAT and 375 XP for FBI HRT, Like the PCPD the player can bribe the FBI to look the other way, or even help the player fight gangs, or the PCPD but at the second highest price. The FBI also has the second widest array of favors the player can buy. regular agents drives the Nissan 350Z or Porsche 911 GT3 RS, FBI SWAT drives the - Lamborghini Aventador SVJ Roadster or Ford F-150 SVT Raptor L.E. and FBI HRT drives the Mitsubishi Lancer Evolution X or Land Rover Range Rover Sport SVR
Military - Only goes after the player if they trespass in Fort Rockport or the Palmount Naval Shipyard. Each kill from them awards 200 XP for regs, 400 XP for experienced troops and 600 XP for elite troops. Like the PCPD, State Police and the FBI, the player can bribe the military to look the other way, or even help the player fight gangs, the PCPD, State Police or even the FBI but at the highest price and The military also has the widest array of favors the player can buy in large part due to Agent Dawes’ connections in Washington.
Multiplayer portion of the game would take place during the five cartels war where the Blackwell Syndicate, The Volk, Palm Kings, Dixie Paldines, Los Salmos 16, and The House (basically where Jack Rourke glosses over saying "It was non-stop chaos for weeks")
Also there would be a free ride mode where the player can explore the city at their leisure or pick a fight with either other cartels or the cops.

I found this old beer crate filled with tools under my my grandfathers work bench after he passed. I thought it deserved to be displayed so I built a tv stand around it.

Hi! I’m looking to buy a new to me car. I currently have a 2015 ford fusion se that I bought when it was 1 year old. I don’t wish to get a car that new again lol. And I don’t want another ford.
I am considering 2 different routes:
1) an old small coupe/suv. Ideally something 1990-1998 in the $2000-$8000 range. Easy to build out how I like as I replace the engine and transmission. Good bones, cheap easy to find parts, customizable. I’ve looked at Lexus sc 300/400, Toyota rav4, and crv picnic table model. If it’s a small car I’d like rwd and if it’s a suv I’d like awd. And sunroof!! Lol
2) something newerish sedan/hatchback/suv. 2005-2012 $5000-$12000. Reliable and won’t need to do work for awhile. Like will last me til 2035 without maaajor work so long as I care for it. Hybrid is cool but not necessary. Cheap parts, tires, good gas mileage. Honda fit or civic maybe? Idk
Do you have any recommendations besides what I’ve mentioned? Would you recommend any that I’ve mentioned over the others? I appreciate all input! Thank you!!

He talks about a DIY lens he built but I think he may be referring to a different film.
Just wondering what zoom focal lengths he may have been using shooting on 16mm handheld
https://www.soundandvision.com/content/da-pennebaker-50-years-bob-dylan-dont-look-back-part-i

Phillies @ Nationals - Fri, Jun 02

Game Status: Final - Score: 8-7 Nationals

Links & Info

• MLB Gameday
• Game Graphs
• Savant Gamefeed

	Phillies Batters	AB	R	H	RBI	BB	K	LOB	AVG	OBP	SLG
1	Schwarber - LF	5	1	2	0	0	1	1	.166	.314	.392
2	Stott - 2B	4	2	2	0	1	0	1	.288	.325	.397
3	Harper - DH	4	0	0	0	1	2	3	.292	.395	.448
4	Castellanos, N - RF	5	2	4	5	0	0	2	.311	.354	.500
	2-Guthrie - PR	0	0	0	0	0	0	0	.118	.211	.176
5	Turner - SS	5	1	1	0	0	2	5	.235	.278	.370
6	Realmuto - C	5	0	0	0	0	0	4	.249	.298	.409
7	Marsh - CF	3	1	2	1	1	0	0	.282	.381	.479
8	Clemens - 1B	4	0	0	0	0	2	3	.244	.306	.436
9	Ellis - 3B	3	0	1	0	1	1	0	.250	.400	.250
	1-Sosa, E - 3B	0	0	0	0	0	0	0	.254	.276	.410
	Totals	38	7	12	6	4	8	19

Phillies
1-Ran for Ellis in the 8th. 2-Ran for Castellanos, N in the 9th.
BATTING: 2B: Turner (13, Gray, Js); Schwarber (6, Edwards Jr.); Castellanos, N (19, Finnegan). HR: Castellanos, N 2 (7, 4th inning off Gray, Js, 0 on, 0 out, 6th inning off Gray, Js, 1 on, 1 out). TB: Castellanos, N 11; Ellis; Marsh 2; Schwarber 3; Stott 2; Turner 2. RBI: Castellanos, N 5 (34); Marsh (23). 2-out RBI: Marsh. Runners left in scoring position, 2 out: Turner; Realmuto 3. Team RISP: 3-for-12. Team LOB: 8.

	Nationals Batters	AB	R	H	RBI	BB	K	LOB	AVG	OBP	SLG
1	Thomas, L - RF	4	1	1	1	1	0	2	.283	.342	.452
2	García, L - 2B	5	2	2	1	0	1	2	.273	.313	.399
3	Candelario - 3B	4	2	2	3	0	1	0	.269	.339	.471
4	Meneses - DH	3	0	2	1	1	0	0	.305	.346	.394
5	Dickerson - LF	3	0	1	1	0	0	1	.275	.333	.500
	1-Garrett, S - LF	0	0	0	0	0	0	0	.263	.320	.347
6	Smith, Do - 1B	4	0	0	0	0	2	3	.264	.346	.303
7	Ruiz, K - C	4	0	0	0	0	1	0	.232	.303	.387
8	Abrams - SS	4	1	1	0	0	1	0	.236	.287	.407
9	Call - CF	3	2	2	1	1	0	0	.214	.313	.310
	Totals	34	8	11	8	3	6	8

Nationals
1-Ran for Dickerson in the 7th.
BATTING: 2B: Candelario 2 (17, Wheeler, Wheeler); Abrams (9, Wheeler). HR: García, L (5, 4th inning off Wheeler, 0 on, 2 out). TB: Abrams 2; Call 2; Candelario 4; Dickerson; García, L 5; Meneses 2; Thomas, L. RBI: Call (20); Candelario 3 (28); Dickerson (9); García, L (25); Meneses (30); Thomas, L (27). 2-out RBI: Meneses; García, L; Thomas, L; Candelario 2. Runners left in scoring position, 2 out: Smith, Do 2. SF: Dickerson. Team RISP: 5-for-6. Team LOB: 6.
FIELDING: E: Abrams (11, throw). Pickoffs: Ruiz, K (Ellis at 1st base).

Phillies Pitchers	IP	H	R	ER	BB	K	HR	P-S	ERA
Wheeler	3.2	8	7	7	1	3	1	90-58	4.33
Vasquez	1.1	0	0	0	0	2	0	22-14	1.35
Marte, Y	1.0	1	0	0	0	0	0	14-9	7.94
Hoffman	1.0	1	0	0	1	0	0	23-14	0.84
Brogdon (L, 2-1)	1.0	1	1	1	1	1	0	19-10	3.54
Totals	8.0	11	8	8	3	6	1

Nationals Pitchers	IP	H	R	ER	BB	K	HR	P-S	ERA
Gray, Js	5.1	6	4	4	2	4	2	94-58	3.09
Edwards Jr.	1.0	3	2	2	0	2	0	20-14	3.28
Harvey, H (H, 11)	0.2	1	0	0	1	1	0	16-9	3.33
Thompson, M (H, 2)	0.1	1	1	0	1	0	0	11-7	4.08
Finnegan (W, 3-2)(BS, 4)	1.2	1	0	0	0	1	0	34-20	4.56
Totals	9.0	12	7	6	4	8	2

Game Info
WP: Hoffman.
Pitches-strikes: Wheeler 90-58; Vasquez 22-14; Marte, Y 14-9; Hoffman 23-14; Brogdon 19-10; Gray, Js 94-58; Edwards Jr. 20-14; Harvey, H 16-9; Thompson, M 11-7; Finnegan 34-20.
Groundouts-flyouts: Wheeler 2-4; Vasquez 2-0; Marte, Y 2-0; Hoffman 2-1; Brogdon 2-0; Gray, Js 4-4; Edwards Jr. 1-0; Harvey, H 1-0; Thompson, M 0-1; Finnegan 1-1.
Batters faced: Wheeler 20; Vasquez 4; Marte, Y 4; Hoffman 5; Brogdon 5; Gray, Js 23; Edwards Jr. 6; Harvey, H 4; Thompson, M 3; Finnegan 6.
Inherited runners-scored: Edwards Jr. 1-1; Harvey, H 2-2; Finnegan 2-1.
Umpires: HP: Chris Segal. 1B: Ben May. 2B: Brian Walsh. 3B: CB Bucknor.
Weather: 90 degrees, Partly Cloudy.
Wind: 7 mph, In From RF.
First pitch: 7:06 PM.
T: 3:18.
Att: 29,827.
Venue: Nationals Park.
June 2, 2023

Inning	Scoring Play	Score
Bottom 1	Jeimer Candelario doubles (16) on a fly ball to left fielder Kyle Schwarber. Lane Thomas scores.	1-0 WSH
Bottom 1	Corey Dickerson out on a sacrifice fly to center fielder Brandon Marsh. Jeimer Candelario scores.	2-0 WSH
Bottom 2	Alex Call singles on a ground ball to right fielder Nick Castellanos. CJ Abrams scores.	3-0 WSH
Bottom 2	Jeimer Candelario doubles (17) on a sharp fly ball to right fielder Nick Castellanos. Alex Call scores. Luis Garcia scores.	5-0 WSH
Bottom 2	Joey Meneses singles on a line drive to left fielder Kyle Schwarber. Jeimer Candelario scores.	6-0 WSH
Top 4	Nick Castellanos homers (6) on a fly ball to right center field.	6-1 WSH
Bottom 4	Luis Garcia homers (5) on a fly ball to left field.	7-1 WSH
Top 6	Nick Castellanos homers (7) on a fly ball to center field. Bryson Stott scores.	7-3 WSH
Top 6	Brandon Marsh singles on a ground ball to left fielder Corey Dickerson. Trea Turner scores.	7-4 WSH
Top 7	Nick Castellanos singles on a ground ball to center fielder Alex Call. Kyle Schwarber scores. Bryson Stott scores. Bryce Harper to 3rd.	7-6 WSH
Top 8	Kyle Schwarber grounds into a force out, fielded by shortstop CJ Abrams. Brandon Marsh scores. Edmundo Sosa out at 2nd. Kyle Schwarber to 1st. Throwing error by shortstop CJ Abrams.	7-7
Bottom 8	Lane Thomas singles on a fly ball to center fielder Brandon Marsh. Alex Call scores.	8-7 WSH

Team	Highlight
WSH	Bullpen availability for Washington, June 2 vs Phillies (00:00:07)
PHI	Bullpen availability for Philadelphia, June 2 vs Nationals (00:00:07)
WSH	Starting lineups for Phillies at Nationals - June 2, 2023 (00:00:09)
PHI	Analyzing Nick Castellanos's home run through bat tracking (00:00:09)
WSH	Jeimer Candelario's RBI double (00:00:27)
WSH	Corey Dickerson's sacrifice fly (00:00:20)
WSH	Alex Call's RBI single (00:00:22)
WSH	Jeimer Candelario's two-run double (00:00:34)
WSH	Joey Meneses' RBI single (00:00:17)
PHI	Nick Castellanos' solo homer (6) (00:00:29)
WSH	Luis García's solo home run (5) (00:00:29)
PHI	Zack Wheeler fans CJ Abrams (00:00:07)
PHI	Castellanos' second home run (7) (00:00:29)
PHI	Brandon Marsh's RBI single (00:00:17)
PHI	Nick Castellanos' two-run single (00:00:30)
PHI	Nick Castellanos' five-RBI game (00:01:29)
PHI	Phillies tie game on error (00:00:53)
WSH	Lane Thomas' RBI single (00:00:30)
WSH	Nationals secure 8-7 victory (00:00:13)
WSH	Alex Call steals second (00:00:25)
WSH	Martinez on Nationals' 8-7 win (00:01:05)
WSH	Upon review, Alex Call ruled safe (00:00:49)
WSH	Josiah Gray's four strikeouts (00:01:32)

	1	2	3	4	5	6	7	8	9		R	H	E	LOB
Phillies	0	0	0	1	0	3	2	1	0		7	12	0	8
Nationals	2	4	0	1	0	0	0	1			8	11	1	6

Decisions

• Winner: Kyle Finnegan (3-2, 4.56)
• Loser: Connor Brogdon (2-1, 3.54)

Division Scoreboard

OAK 0 @ MIA 4 - Final
TOR 3 @ NYM 0 - Final
ATL 2 @ AZ 3 - Final
Next Phillies Game: Sat, Jun 03, 04:05 PM EDT @ Nationals
^{Last Updated: 06/03/2023 12:07:17 AM EDT}

I live in Utah. I specifically live in a progressive community apartment complex. People have all sorts of pride flags hung in their windows, there are protect trans kids, blm posters, abortion finder flyers up all over. I feel safe in my complex for the most part.
For context, the complex is situation between a gas station and a Fiz. Fiz is one of the many fountain drink drive thru chains that are advertised to Mormons who can’t drink coffee or tea for their caffeine intake so they instead cannot live without soda. I took my dog out to go potty one afternoon though. I get out my door and onto the grass latch by my parking space and I heard a boy yell “Kill Your Self F****t”
I don’t pass so I know I look like a woman right now, I’ve just gotten my first gender affirming haircut and it’s not shorter than a bob would be. It is so strange because after the fear of being screamed at so vulgarly, and taking the long way back inside so they don’t know where I live, I also felt dysphoric. I knew they saw me as a lesbian when I am actually just masc presenting and married to a man. I took note of the car and saw that there were 5 men of all ages in the car.
After this I’ve been more diligent about my safety, but it’s getting worse. I am getting harassed all the time. People who drive on my street will make a point to honk, stare, make a very dramatic face of disgust or mockery at me. I didn’t think I was even visibly trans yet. I feel like this is the repercussions of unsafe laws and rhetoric. I know women who look like me and are cis and straight. I worry for myself and others with everything getting so hateful.

I live in Utah. I specifically live in a progressive community apartment complex. People have all sorts of pride flags hung in their windows, there are protect trans kids, blm posters, abortion finder flyers up all over. I feel safe in my complex for the most part.
For context, the complex is situation between a gas station and a Fiz. Fiz is one of the many fountain drink drive thru chains that are advertised to Mormons who can’t drink coffee or tea for their caffeine intake so they instead cannot live without soda. I took my dog out to go potty one afternoon though. I get out my door and onto the grass latch by my parking space and I heard a boy yell “Kill Your Self F****t”
I don’t pass so I know I look like a woman right now, I’ve just gotten my first gender affirming haircut and it’s not shorter than a bob would be. It is so strange because after the fear of being screamed at so vulgarly, and taking the long way back inside so they don’t know where I live, I also felt dysphoric. I knew they saw me as a lesbian when I am actually just masc presenting and married to a man. I took note of the car and saw that there were 5 men of all ages in the car.
After this I’ve been more diligent about my safety, but it’s getting worse. I am getting harassed all the time. People who drive on my street will make a point to honk, stare, make a very dramatic face of disgust or mockery at me. I didn’t think I was even visibly trans yet. I feel like this is the repercussions of unsafe laws and rhetoric. I know women who look like me and are cis and straight. I worry for myself and others with everything getting so hateful.

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DC League of Super-Pets (2022) (MA/4K) $8 (MA/HD) $5
Deadpool (2016) (MA/4K) $6 (iTunes/4K) (MA/HD) $2
Deadpool 2 (2018) (MA/4K) $6.25 (MA/HD) $3.25
Death on the Nile (2022) (MA/HD) $5 (GP/HD) $3.50
Deepwater Horizon (2016) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $2.50
Dentist Collection 1-2 (1996-1998) (Vudu/HD) $5.25
Detective Knight Collection 1-3 (iTunes/4K) (Vudu/HD) $15 $5.75 Each
Devotion (2022) (iTunes/4K) $6.50
Diary of a Wimpy Kid (2010) (MA/HD) $4.50
Die Hard (1988) (MA/4K) $7 (MA/HD) $4
Die Hard 1-5 (MA/HD) $16 $4.75 Each
Dirty Dancing (1987) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $4.50
Dirty Grandpa (2016) (Vudu/4K) (iTunes/4K) $6
District 9 (2009) (MA/4K) $6.50
Django Unchained (2012) (Vudu/HD) $2.50
Do the Right Thing (1989) (MA/4K) $6
Doctor Strange (2016) (MA/4K) $6.50 (iTunes/4K) $4 (MA/HD) $3.50 (GP/HD) $1.75
Doctor Strange in the Multiverse of Madness (2022) (MA/4K) $6 (MA/HD) $2.75 (GP/HD) $2
Dog (2022) (Vudu/HD) $3
Dolittle (2020) (MA/4K) $6 (MA/HD) $3.50
Don't Worry Darling (2022) (MA/HD) $5.50
Doors (1991) (Vudu/4K) (iTunes/4K) $4.50
Dora and the Lost City of Gold (2019) (Vudu/HD) $5.25 (iTunes/4K) $4.25
Downsizing (2017) (iTunes/4K) (Vudu/HD) $1.25
Downton Abbey (2019) (MA/HD) $5.50
Downton Abbey: A New Era (2022) (MA/HD) $3.75
Dr. Seuss' How The Grinch Stole Christmas (2000) (iTunes/4K) $5.50 (MA/HD) $5
Dracula 2000 (2000), II: Ascension (2003) (Vudu/HD) (iTunes/HD) $10.50
Dracula Untold (2014) (MA/4K) $7 (MA/HD) $2.75 (iTunes/4K) $4
Draft Day (2014) (Vudu/HD) $3.25 (iTunes/HD) $2.50
Dragged Across Concrete (2019) (iTunes/4K) (Vudu/HD) $3.25
Dragonheart 5-Movie (MA/HD) $15
Drive (2011) (MA/HD) $4.25
Dumbo (2019) (MA/4K) $6 (iTunes/4K) $5.25 (GP/HD) $2.50
Dune (2021) (MA/4K) $5.50
Dungeons & Dragons: Honor Among Thieves (2023) (Vudu/HD) (iTunes/4K) $8
Dunkirk (2017) (MA/4K) $6.50
Dying of the Light (2014) (Vudu/HD) $2.25
E.T. the Extra-Terrestrial (1982) (MA/4K) $6 (iTunes/4K) $5 (MA/HD) $3
Earth Girls Are Easy (1988) (Vudu/HD) $5.75
Edward Scissorhands (1990) (MA/HD) $3
Eighth Grade (2018) (Vudu/HD) $5.75
Elvis (2022) (MA/4K) $6.75 (MA/HD) $4
Elysium (2013) & District 9 (2009) (MA/HD) $7.75
Elysium (2013) (MA/4K) $6.50 (MA/HD) $3.25
Emoji Movie (2017) (MA/HD) $2.25
Encanto (2021) (MA/4K) $6.50 (MA/HD) (GP/4K) $3.50
Epic (2013) (MA/HD) $1.75 (iTunes/SD) $1.25
Equalizer 2 (2018) (MA/4K) $7.25 (MA/HD) $2.75
Escape from L.A (1996) (Vudu/4K) (iTunes/4K) $6
Eternals (2021) (MA/4K) $6.75 (MA/HD) $4.50 (GP/HD) $3
Everest (2015) (MA/4K) $6.50 (MA/HD) $3 (iTunes/4K) $4
Everything Everywhere All at Once (2022) (Vudu/4K) $7.50
Ex Machina (2015) (Vudu/4K) $6.50 (Vudu/HD) $4
Exodus: Gods and Kings (2014) (iTunes/4K) (MA/HD) $3
Expendables 1-3 (Vudu/HD) $4.50
Eyes of Tammy Faye (2021) (GP/HD) $4.25
F9: The Fast Saga + Director's Cut (2021) (MA/4K) $5.25 (MA/HD) $3.25
Fabelmans (2022) (MA/HD) $6.50
Fahrenheit 451 (2018) (Vudu/HD) (iTunes/HD) $4.50 (GP/HD) $3
Fantastic Beasts Collection 1-3 (MA/HD) $7.75
Fantastic Beasts: The Secrets of Dumbledore (2022) (MA/4K) $5.25 (MA/HD) $3
Fantastic Four (2015) (iTunes/4K) (MA/HD) $4.50
Farewell, The (2019) (Vudu/HD) $5.50
Fast & Furious Collection 1-9 (MA/HD) $10
Fatale (2020) (Vudu/4K) (iTunes/4K) $3.75
Father Stu (2022) (MA/HD) $5.50
Fatherhood (2021) (MA/HD) $3.75
Fault in Our Stars (2014) (MA/HD) $1.75
Fences (2016) (iTunes/4K) (Vudu/HD) $1.75
Ferris Bueller's Day Off (1986) (Vudu/HD) (iTunes/HD) $6
Field of Dreams (1989) (MA/4K) $7.50 (iTunes/4K) (MA/HD) $6
Fifth Element (1997) (MA/4K) $6.50 (MA/HD) $6
Fifty Shades of Grey 3-Movie + Unrated (MA/HD) $9.75
Finding Dory (2016) (MA/4K) $5.75 (iTunes/4K) $3.50 (GP/HD) $1.25
Finding Nemo (2003) (MA/4K) $6.75 (iTunes/4K) $5.25 (GP/HD) $3
Finest Hours, The (2016) (MA/HD) $6.25 (GP/HD) $3.75
First Cow (2019) (Vudu/HD) $6.50
First Man (2018) (MA/4K) $6.75 (MA/HD) $4.25
Flashdance (1983) (Vudu/4K) $6.75
Flatliners (2017) (MA/HD) $4.25
Footloose (2011) (Vudu/HD) $5 (iTunes/HD) $3.50
Ford v Ferrari (2019) (MA/4K) $7.75 (MA/HD) $4.75
Forever My Girl (2018) (Vudu/HD) (iTunes/HD) $3.75
Forrest Gump (1994) (iTunes/4K) (Vudu/HD) $5.50
Fox and the Hound (1981) (MA/HD) $6.50 (GP/HD) $5
Frankenstein (1931) (MA/4K) $6.50 (MA/HD) (iTunes/HD) $4.50
Free Guy (2021) (MA/4K) $7.50 (MA/HD) $4.75 (GP/HD) $3.25
Fruitvale Station (2014) (Vudu/HD) $4
Full Metal Jacket (1987) (MA/4K) $6.50
Fury (2014) (MA/4K) $6.50 (MA/HD) $4.50
G.I. Joe: Retaliation (2013) (iTunes/4K) (Vudu/HD) $3.75
Gamer (2009) (iTunes/4K) (Vudu/HD) $5.50
Gemini Man (2019) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $2.25
Ghost Rider: Spirit of Vengeance (2012) (MA/HD) $6.75
Ghostbusters: Afterlife (2021) (MA/4K) $7.50 (MA/HD) $3.50
Girl on the Train (2016) (iTunes/4K) $2.25 (MA/HD) $2.50
Gladiator (2000) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $5
Glass (2019) (MA/4K) $6.50 (MA/HD) $4.50
Glory (1989) (MA/4K) $7.75
Godfather Trilogy (iTunes/4K) (Vudu/HD) $14
Gods of Egypt (2016) (Vudu/4K) $5.25 (Vudu/HD) $2 (iTunes/4K) $1.50
Godzilla (1998) (MA/4K) $6.50
Good Will Hunting (1997) (Vudu/HD) $5.25
Goosebumps 2 (2018) (MA/4K) $7.50 (MA/HD) $6.50
Gotti (2018) (Vudu/HD) $2
Grand Budapest Hotel (2014) (MA/HD) $3.75
Grease (1978), 2 (1982), Live! (2016) (Vudu/HD) (iTunes/HD) $14
Greatest Showman (2017) (MA/HD) $2.25
Green Book (2018) (MA/4K) $7.25 (MA/HD) $5
Green Hornet (2011) (MA/HD) $6.50
Green Knight (2021) (Vudu/4K) $5.50
Green Lantern: Beware My Power (2022) (MA/HD) $3
Green Mile, The (1999) (MA/4K) $6
Greta (2019) (MA/HD) $5.25
Grey, The (2012) (MA/HD) (iTunes/HD) $2.75
Groundhog Day (1993) (MA/4K) $8
Guardians of the Galaxy (2014) (MA/4K) $7.25 (iTunes/4K) $4.75 (MA/HD) $4 (GP/HD) $1.75
Guardians of the Galaxy Vol. 2 (2017) (MA/4K) $6.75 (iTunes/4K) $4.25 (GP/HD) $1.25
Hacksaw Ridge (2016) (Vudu/4K) $4.50 (iTunes/4K) $3.50 (Vudu/HD) $2.25
Halloween (2018) (MA/4K) $6.25 (MA/HD) $4.25
Halloween Ends (2022) (MA/4K) $6.25 (MA/HD) $4.50
Halloween Kills (2021) (MA/4K) $6 (MA/HD) $4.25
Hancock (2008) (MA/4K) $6.50
Hansel and Gretel: Witch Hunters (2013) (Vudu/HD) (iTunes/HD) $2.50
Hardcore Henry (2016) (MA/HD) (iTunes/HD) $3.50
Harriet (2019) (MA/HD) $4.25
Hate U Give (2018) (MA/4K) $7.75 (MA/HD) $4.50
Haunting in Connecticut (2009) (Vudu/HD) $6.50
Heat, The (2013) (MA/HD) $2.25 (iTunes/SD) $1
Heat: Director's Definitive Edition (1995) (MA/4K) $6 (MA/HD) $5.25
Heaven is for Real (2014) (MA/HD) $2.75
Heavy Metal (1981) (MA/4K) $6.50
Hell Fest (2018) (Vudu/4K) (iTunes/4K) $3.75
Hell or High Water (2016) (Vudu/4K) $5.25 (Vudu/HD) $2.25 (iTunes/4K) $3.75
Hellboy (2019) (Vudu/4K) (iTunes/4K) $4.25
Hellboy (Director's Cut) (2004) (MA/4K) $6.50
Hercules (2014) (iTunes/4K) (Vudu/HD) $1.50
Hereditary (2018) (Vudu/HD) $3.75
Highlander (1986) (Vudu/4K) $5
Hitman's Bodyguard (2017) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $4.25
Hitman's Wife's Bodyguard (2021) (Vudu/4K) (iTunes/4K) $4.75
Hobbs & Shaw (2019) (MA/4K) $5.75 (MA/HD) $3.75
Hocus Pocus (1993) (MA/4K) $6.75 (iTunes/4K) (MA/HD) $4.75 (GP/HD) $2.25
Holmes And Watson (2018) (MA/HD) $3.75
Home (2015) (MA/HD) $2
Home Alone 1-2 (MA/HD) $7.50
Hope Springs (2012) (MA/HD) $2.50
Hostiles (2017) (Vudu/4K) $4.75 (iTunes/4K) (Vudu/HD) $3.25
Hotel Mumbai (2019) (MA/HD) $5.25
Hotel Transylvania 3: Summer Vacation (2018) (MA/4K) $6.75 (MA/HD) $4.50
House of 1,000 Corpses (2003), Devil's Rejects (2005), 3 From Hell (2019) (Vudu/HD) $6
House of the Dragon: Season 1 (2022) (Vudu/4K) $9 (Vudu/HD) $5.50
House with a Clock in Its Walls (2018) (MA/4K) $6 (MA/HD) $3.75
How to Train Your Dragon (2010) (MA/4K) $6.50
How to Train Your Dragon Collection 1-3 (MA/HD) $7.50 $4.75 Each
How to Train Your Dragon: The Hidden World (2019) (MA/4K) $6 (MA/HD) $4.25
Howard the Duck (1986) (MA/4K) $7
Hunger Games Collection 1-4 (Vudu/HD) $6 (iTunes/4K) $12
Hunt for Red October (1990) (Vudu/4K) (iTunes/4K) $4.50
Hunter Killer (2018) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $2.75
Hurt Locker (2008) (Vudu/4K) (iTunes/4K) $6.25
Hustle, The (2019) (iTunes/4K) $2.75
Hustlers (2019) (iTunes/4K) $3
I Feel Pretty (2018) (iTunes/HD) $1
I Now Pronounce You Chuck & Larry (2007) (MA/HD) $4
I See You (2019) (iTunes/HD) $2.50
I, Frankenstein (2014) (Vudu/HD) (iTunes/HD) $1.75
I, Tonya (2017) (MA/HD) $5.75
If I Stay (2014) (iTunes/4K) (Vudu/HD) $5.75
Imitation Game, The (2014) (Vudu/HD) $3.25
Immortal Life Of Henrietta Lacks (2017) (iTunes/HD) $3.50
In the Heights (2021) (MA/4K) $5
Incredible Hulk (2008) (MA/4K) $7 (MA/HD) $5.25
Incredibles (2004) (MA/4K) $7.75 (iTunes/4K) $6.25 (GP/HD) $4.75
Incredibles 2 (2018) (MA/4K) $6.25 (iTunes/4K) $4.50 (GP/HD) $2
Independence Day (1996) (MA/4K) $7.75 (iTunes/4K) (MA/HD) $5.50
Indiana Jones 1-4 (iTunes/4K) (Vudu/HD) $20
Infinite (2021) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $5
Inglorious Bastards (2009) (MA/4K) $7
Inside Out (2015) (MA/4K) $5.75 (iTunes/4K) $4.25 (GP/HD) $1.50
Instant Family (2018) (Vudu/HD) $2 (iTunes/4K) $1.50
Insurgent (2015) (Vudu/4K) (iTunes/4K) $4.25 (Vudu/HD) $3.50
Interstellar (2014) (Vudu/4K) $6 (iTunes/4K) $5.75 (Vudu/HD) $4
Invisible Man (2020) (MA/4K) $6.50 (MA/HD) $3.75
Iron Man (2008) (MA/4K) $7.25 (iTunes/4K) $7 (GP/HD) $3
Iron Man 1-3 (MA/4K) $21 (iTunes/4K) $16 (GP/HD) $7.50
Iron Man 2 (2010) (MA/4K) $7.25 (iTunes/4K) $6.50 (GP/HD) $3
Iron Man 3 (2013) (MA/4K) $7.25 (iTunes/4K) $3 (MA/HD) $2.25 (GP/HD) $1.50
Iron Man and Hulk: Heroes United (2013) (MA/HD) $5.50
It's a Mad, Mad, Mad, Mad World (1963) (Vudu/HD) $6.75
It's a Wonderful Life (1946) (Vudu/4K) $5.25 (iTunes/4K) (Vudu/HD) $5
Jack and Jill (2011), Just Go with IT (2011) & That's My Boy (2012) (MA/SD) $9
Jack Reacher Collection 1-2 (iTunes/4K) (Vudu/HD) $7
Jack Reacher: Never Go Back (2016) (Vudu/4K) $5.50 (iTunes/4K) (Vudu/HD) $2.75
Jack Ryan: Shadow Recruit (2014) (iTunes/4K) (Vudu/HD) $3.25
Jackass Forever (2022) (iTunes/4K) (Vudu/HD) $4
Jaws (1975) (MA/4K) $6.25 (iTunes/4K) (MA/HD) $4.75
Jaws (1975) Jaws 2 (1978) Jaws 3 (1983) Jaws: The Revenge (1987) (MA/HD) $15.50
Jexi (2019) (Vudu/4K) (iTunes/4K) $4.50
Jigsaw (2017) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $2
JOBS (2013) (MA/HD) (iTunes/HD) $3.75
John Wick Collection 1-3 (Vudu/4K) $16.50 (iTunes/4K) $14.50 (Vudu/HD) $8
John Wick: Chapter 3 - Parabellum (2019) (Vudu/4K) (iTunes/4K) $4
Judy (2019) (Vudu/4K) (iTunes/4K) $3.75
Juice (1992) (Vudu/4K) (iTunes/4K) $6.50
Jumanji (1995) (MA/4K) $6.50 (MA/HD) $6
Jumanji: Next Level (2019) & Welcome to the Jungle (2017) (MA/HD) $7.50
Jumanji: The Next Level (2019) (MA/4K) $7.75 (MA/HD) $5.50
Jumanji: Welcome To The Jungle (2017) (MA/4K) $5.50 (MA/HD) $2 (MA/SD) $1
Jungle Book (1967) (MA/HD) $6 (GP/HD) $4
Jungle Book (2016) (iTunes/4K) (MA/HD) $5.25 (GP/HD) $2.75
Jungle Book 2 (2003) (MA/HD) $6.50 (GP/HD) $5.50
Jungle Cruise (2021) (MA/4K) $6 (MA/HD) $3.75 (GP/HD) $3
Jurassic Park (1993) (MA/4K) $5.25 (iTunes/4K) $3.75 (MA/HD) $3
Jurassic Park III (2001) (MA/4K) $6.50 (iTunes/4K) $3.75 (MA/HD) $3.50
Jurassic Park: The Lost World (1997) (MA/4K) $6.50 (iTunes/4K) $3.75 (MA/HD) $3
Jurassic World (2015) (MA/4K) $5.25 (iTunes/4K) $3.75 (MA/HD) $2.75
Jurassic World Collection 1-5 (MA/4K) $20 (iTunes/4K) $17.50 (MA/HD) $10
Jurassic World Collection 1-6 (MA/4K) $23.50 (MA/HD) $11.50
Jurassic World: Dominion + Extended Cut (2022) (MA/4K) $6.50 (MA/HD) $4.25
Jurassic World: Fallen Kingdom (2018) (MA/4K) $5.75 (MA/HD) $1.75
Justice League x RWBY Super Heroes and Huntsmen Part One (2023) (MA/HD) $4
Justice Society: World War II (2021) (MA/4K) $5.50
Kick-Ass (2010) (Vudu/4K) $5.75 (Vudu/HD) (iTunes/HD) $4.50
Kid Who Would Be King (2019) (MA/4K) $5.75 (MA/HD) $4.75
Kid, The (2019) (Vudu/4K) (iTunes/4K) $5.25
Killing Kennedy (2013) (MA/HD) $6.50
Kin (2018) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $3
King Kong (2005) (MA/4K) $5.75 (iTunes/4K) $3.75 (MA/HD) $3.50
Kingsman: The Golden Circle (2017) (iTunes/4K) (MA/HD) $2.75
Kingsman: The Secret Service (2015) (iTunes/4K) (MA/HD) $4.25
Knight and Day (2010) (MA/HD) $6.50
Knives Out (2019) (Vudu/4K) (iTunes/4K) $5.25
Kung Fu Panda Collection 1-3 (MA/HD) $12.50
La La Land (2016) (Vudu/HD) $2.25 (iTunes/4K) $3.75
Lady and the Tramp (1955) (MA/HD) $5.75 (GP/HD) $3.75
Last Duel, The (2021) (MA/HD) $5.25 (GP/HD) $4
Last Night in Soho (2021) (MA/4K) $7 (MA/HD) $5.75
Last Witch Hunter (2015) (iTunes/4K) (Vudu/HD) $1.50
Last Word (2017) (iTunes/HD) Ports to MA $4.75
Law Abiding Citizen (2009) (Vudu/4K) $7
Legion of Super Heroes (2023) (MA/HD) $5.50
Leprechaun Collection 1-7 (Vudu/HD) $14
Les Miserables (1998) (MA/HD) $7
Life of Pi (2012) (MA/HD) $2.50
Lightyear (2022) (MA/4K) $5 (MA/HD) $2.75 (GP/HD) $2
Lilo & Stitch (2002) & Stitch Has a Glitch (2005) (MA/HD) $10.50 (GP/HD) $6
Lincoln Lawyer (2011) (Vudu/4K) $5.25 (iTunes/4K) (Vudu/HD) $4.50
Little (2019) (MA/HD) $4.50
Little Mermaid (1989) (MA/4K) $7.25 (iTunes/4K) (MA/HD) $5.75 (GP/HD) $3.75
Live Die Repeat: Edge Of Tomorrow (2014) (MA/4K) $6.50
Lock Up (1989) (Vudu/4K) $5
Logan (2017) (iTunes/4K) (MA/HD) $2.75
Lone Ranger (2013) (MA/HD) $4.50 (GP/HD) $2.50
Lone Survivor (2013) (MA/4K) $6.75 (iTunes/4K) $2 (MA/HD) $1.50
Looper (2012) (MA/4K) $5.75 (MA/HD) $3
Lord of War (2005) (Vudu/4K) (iTunes/4K) $5.50
Lost City, The (2022) (Vudu/4K) (iTunes/4K) $6
Love and Monsters (2020) (Vudu/4K) (iTunes/4K) $7
Luca (2021) (MA/4K) $6.50 (MA/HD) $3.75 (GP/HD) $3.25
Lyle, Lyle, Crocodile (2022) (MA/HD) $5.50
Mad Max Collection 1-4 (Vudu/4K) $20
Madagascar Collection 1-4 (MA/HD) $14
Magnificent Seven (2016) (Vudu/4K) $6 (Vudu/HD) $2.50
Maleficent (2014) (MA/4K) $5.75 (iTunes/4K) (MA/HD) $3 (GP/HD) $1.25
Maleficent: Mistress of Evil (2019) (MA/4K) $6 (iTunes/4K) $3.75 (GP/HD) $1.75
Mamma Mia! Here We Go Again (2018) (MA/4K) $6.50 (MA/HD) $1.75
Man on a Ledge (2012) (Vudu/4K) (iTunes/4K) $6.50
Marry Me (2022) (MA/HD) $6.50
Marshall (2017) (MA/HD) $4.75
Martian - Extended Cut (2015) (MA/4K) $7.75 (MA/HD) $5.25
Martian (Theatrical) (2015) (MA/4K) $7.25 (MA/HD) $3.25
Mary Poppins Returns (2018) (MA/4K) $6.50 (iTunes/4K) (MA/HD) $4.50 (GP/HD) $2
Matrix: Resurrections (2021) (MA/4K) $5
Maze Runner (2014) (iTunes/4K) (MA/HD) $5.50
Maze Runner: The Scorch Trials (2015) (iTunes/4K) (MA/HD) $6
Mechanic: Resurrection (2016) (iTunes/4K) (Vudu/HD) $3
Megan Leavey (2017) (MA/HD) (iTunes/HD) $1.75
Memory (2022) (MA/HD) $3.50
Men (2022) (Vudu/HD) $3.75
Men in Black (1997) (MA/HD) $6.50
Men in Black 3 (2012) (MA/HD) $2.50
Men in Black Collection 1-3 (MA/HD) $15.50
Men in Black II (2002) (MA/HD) $6.75
Menu (2022) (MA/HD) $5.50 (GP/HD) $4
MIB: International (2019) (MA/4K) $5.75 (MA/HD) $4.75
Mickey & Minnie 10 Classic Shorts - Volume 1 (2023) (MA/HD) $5.75 (GP/HD) $4
Midway (2019) (Vudu/4K) (iTunes/4K) $4
Mile 22 (2018) (iTunes/4K) $1.75
Minions: The Rise of Gru (2022) & Minions (2015) (MA/HD) $8
Minions: The Rise of Gru (2022) (MA/4K) $6.75 (MA/HD) $5.25
Miss Bala (2019) (MA/HD) $3.75
Miss Peregrine’s Home for Peculiar Children (2015) (iTunes/4K) (MA/HD) $2
Mission: Impossible Collection 1-6 (Vudu/4K) $25 (iTunes/4K) (Vudu/HD) $20
Mission: Impossible Fallout (2018) (Vudu/4K) $2.75 (iTunes/4K) (Vudu/HD) $2.50
Moana (2016) (MA/4K) $7 (iTunes/4K) (MA/HD) $4.75 (GP/HD) $2
Moneyball (2011) (MA/HD) $2.75
Monster Hunter (2020) (MA/4K) $6.75 (MA/HD) $4.25
Monsters University (2013) (MA/4K) $6.75 (iTunes/4K) $5.75 (GP/HD) $3.50
Monty Python's The Meaning of Life (1983) (MA/4K) $7.25
Moonfall (2022) (Vudu/4K) (iTunes/4K) $5
Moonlight (2016) (Vudu/HD) $4
Moonrise Kingdom (2012) (MA/HD) $4.75
Morbius (2022) (MA/4K) $5.25 (MA/HD) $3.25 (MA/SD) $2.25
Mortal Engines (2018) (MA/4K) $7 (MA/HD) $3.25
Mortal Kombat Legends: Snow Blind (2022) (MA/HD) $5.50
Mother's Day (2016) (MA/HD) (iTunes/HD) $5
Mr. Peabody & Sherman (2014) (MA/HD) $3.25
Mulan (1998) (MA/4K) $6.75 (iTunes/4K) $5.75 (GP/HD) $3
Mulan (2020) (MA/4K) $6.25 (MA/HD) $4 (GP/HD) $2.25
Mulan 2 (2005) (MA/HD) $3.75 (GP/HD) $2.75
Mummy, The (2017) (iTunes/4K) (MA/HD) $2.75
Muppets Most Wanted (2014) (MA/HD) $6.25 (GP/HD) $4.50
Murder on The Orient Express (2017) (MA/HD) $2.75
My Boss's Daughter (2003) (Vudu/HD) $6
My Little Pony: The Movie (2017) (Vudu/HD) (iTunes/HD) $3.25
National Lampoon's Animal House (1978) (MA/4K) $6.25 (MA/HD) $5.25
Natural, The (1984) (MA/4K) $5
New Mutants (2020) (MA/4K) $6.75 (MA/HD) $5.25 (GP/HD) $2.75
News of the World (2020) (MA/4K) $6.25 (MA/HD) $3.75
Night at the Museum 3-Movie (MA/HD) $13.50 $6 Each (MA/SD) $9
Night School (Extended) (2018) (MA/4K) $7 (MA/HD) $3.75
Nightmare Alley (2021) (MA/HD) $4.50 (GP/HD) $3.50
Noah (2014) (Vudu/HD) $1.75 (iTunes/HD) $1.50
Nope (2022) (MA/4K) $8 (MA/HD) $5.75
Nope (2022), Get Out (2017) & Us (2019) (MA/HD) $10
Northman (2022) (MA/4K) $7.25 (MA/HD) $4.50
Notting Hill (1999) (MA/HD) (iTunes/HD) $3.75
Now You See Me 1-2 (Vudu/HD) $4 (iTunes/HD) $6.50
Nut Job (2014) (iTunes/HD) Ports to MA $1.75
Nutcracker and the Four Realms (2018) (MA/4K) $6 (MA/HD) $3 (GP/HD) $2.50
Oblivion (2013) (MA/4K) $7 (iTunes/4K) $3.50 (MA/HD) $2.25
Office Space (1999) (MA/HD) $7
Once Upon A Time... In Hollywood (2019) (MA/4K) $6.75 (MA/HD) $5
One Direction: This is Us + Extended Fan Edition (2013) (MA/HD) $3.25
Only The Brave (2017) (MA/HD) $5.50
Onward (2020) (MA/4K) $5.50 (MA/HD) $4 (GP/HD) $2.25
Operation Finale (2018) (iTunes/4K) $2.75
Ouija (2014) (MA/HD) (iTunes/HD) $2.50
Our Kind of Traitor (2016) (Vudu/HD) $3.25
Overlord (2018) (Vudu/4K) $5 (Vudu/HD) $2.75 (iTunes/4K) $4
Oz the Great and Powerful (2013) (MA/HD) $2 (GP/HD) $1
Pacific Rim Uprising (2018) (MA/4K) $7.75 (MA/HD) $4.50
Parasite (2019) (MA/HD) $4.75
Passengers (2016) (MA/4K) $6.50 (MA/HD) $2.75
Paterno (2018) (Vudu/HD) (iTunes/HD) $4.25 (GP/HD) $2.75
Patriot Games (1992) (Vudu/4K) (iTunes/4K) $5.50
Patriots Day (2017) (iTunes/4K) (Vudu/HD) $2.50
Paul, Apostle Of Christ (2018) (MA/HD) $4.50
Paws of Fury: The Legend of Hank (2022) (iTunes/4K) (Vudu/HD) $6
Peanuts Movie (2015) (iTunes/4K) (MA/HD) $2.25
Pearl (2022) (Vudu/HD) $5.50
Penguins of Madagascar (2014) (MA/HD) $2.75
Pet Sematary (1989) (Vudu/4K) $6 (iTunes/4K) $4 (Vudu/HD) $3.75
Pet Sematary (2019) (Vudu/4K) $4.25 (iTunes/4K) (Vudu/HD) $2.50
Pete’s Dragon (2016) (MA/HD) $6.25 (GP/HD) $4.25
Peter Pan (1953) (MA/HD) $6.25 (GP/HD) $4.75
Peter Pan: Return to Neverland (2002) (MA/HD) $6 (GP/HD) $4.50
Peter Rabbit (2018) & 2 (2021) (MA/HD) $8.50 $4.75 Each
Peter Rabbit (2018) (MA/4K) $5.75 (MA/HD) $4.75
Philadelphia (1993) (MA/4K) $7.75
Pineapple Express (Unrated Edition) (2008) (MA/HD) $6.50
Pitch Black - Unrated Director's Cut (2000) (MA/HD) $6
Pitch Perfect (2012) (MA/4K) $5.75 (MA/HD) $2.75 (iTunes/4K) $3.75
Pitch Perfect Collection 1-3 (MA/HD) $11.50
Pixels (2015) (MA/4K) $6.50 (MA/HD) $5.50
Planet of the Apes 1-3 (Newer) (iTunes/4K) (MA/HD) $12
Power Rangers (2017) (Vudu/4K) $5.50 (iTunes/4K) $3.25 (Vudu/HD) $2.75
Precious (2009) (Vudu/HD) (iTunes/HD) $6.25
Predator (1987), 2 (1990), Predators (2009), Predator (2018) (MA/HD) $11
Predator (2018) (MA/4K) $6.25 (MA/HD) $3.50
Pretty in Pink (1986) (iTunes/4K) (Vudu/HD) $4.75
Prey for the Devil (2022) (Vudu/4K) (iTunes/4K) $6
Priceless (2016) (iTunes/HD) Ports to MA $5
Pride and Prejudice and Zombies (2016) (MA/HD) $6.50
Prophecy Collection 1-5 (Vudu/HD) (iTunes/HD) $14.50
Protege, The (2021) (Vudu/4K) (iTunes/4K) $5.75
Proud Mary (2018) (MA/HD) $4.25
Psycho (1960), Rear Window (1954), The Birds (1963), Vertigo (1958) (MA/4K) $17
Pulp Fiction (1994) (Vudu/4K) $5.50 (Vudu/HD) $4.25 (iTunes/HD) $5.25
Punisher, The (2004) (Vudu/4K) $5.75 (Vudu/HD) $5.25
Punisher: War Zone (2008) (Vudu/4K) $5.75
Purge, The (2013) (MA/4K) $6.50 (iTunes/4K) (MA/HD) $3
Purge: Anarchy (2014) (MA/4K) $5.75 (iTunes/4K) (MA/HD) $4.75
Puss in Boots (2011) (MA/4K) $6.75
Queen of Katwe (2016) (MA/HD) $3.50 (GP/HD) $2.50
Raid 2 (2014) (MA/HD) $5.75
Raid: Redemption + Unrated (2012) (MA/HD) $5.75
Rambo Collection 1-5 (Vudu/HD) $12.50
Raya and the Last Dragon (2021) (MA/4K) $6.25 (MA/HD) $4.50 (GP/HD) $2.50
Ready or Not (2019) (MA/HD) $6.25
Red (2010) (Vudu/4K) $6.25
Red 2 (2013) (Vudu/4K) (iTunes/4K) $6.25 (iTunes/4K) (Vudu/HD) $1.50
Red Sparrow (2018) (MA/HD) $4.50
Replicas (2019) (Vudu/4K) $5.50
Requiem for a Dream - Director's Cut (2000) (Vudu/4K) (iTunes/4K) $6.25
Rescuers, The (1977) (MA/HD) $6.50
Resident Evil: The Final Chapter (2017) (MA/4K) $7.25 (MA/HD) $3.25
Resident Evil: Welcome to Raccoon City (2021) (MA/4K) $6.50 (MA/HD) $4.50
Revenant, The (2015) (MA/4K) $5.25 (iTunes/4K) (MA/HD) $3.25
Rhythm Section (2020) (iTunes/4K) (Vudu/HD) $4.25
Richard Jewell (2019) (MA/4K) $6.50
Riddick Collection 1-3 (Unrated) (MA/HD) $14
Ride Along 1-2 (MA/HD) (iTunes/HD) $5 $2.75 Each
Rings (2017) (Vudu/HD) $2.75 (iTunes/HD) $1.50
Rise of the Guardians (2012) (MA/HD) $3.25
Robin Hood (2010) (MA/4K) $6.25
Robin Hood (2018) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $3.25
RoboCop (2014) (Vudu/HD) $2
Rocketman (2019) (Vudu/4K) $4.75 (iTunes/4K) $2.50 (Vudu/HD) $2.25
Rocky Horror Picture Show (1975) (MA/HD) $5.25
Rogue (2020) (Vudu/4K) (iTunes/4K) $3.50
Roman J. Israel, Esq. (2017) (MA/HD) $3.50
Ron's Gone Wrong (2021) (MA/4K) $7 (MA/HD) $5.25 (GP/HD) $3.50
Rookie of the Year (1993) (MA/HD) $7.50
Room (2015) (Vudu/HD) $5
Rough Night (2017) (MA/HD) $4.25
Rumble (2022) (iTunes/4K) (Vudu/HD) $5.75
Run Lola Run (1998) (MA/HD) $6.50
Same Kind of Different as Me (2017) (Vudu/HD) (iTunes/HD) $2
Sandlot, The (1993) (iTunes/4K) (MA/HD) $5
Saturday Night Fever (1977) (Vudu/4K) (iTunes/4K) $6.25
Sausage Party (2016) (MA/HD) $4.75
Savages (2012) (iTunes/HD) Ports to MA $2.25
Saving Private Ryan (1998) (Vudu/4K) (iTunes/4K) $6.50
Saw (2004) (Vudu/4K) (iTunes/4K) $5.50
Saw Collection 1-7 (Vudu/HD) $10
Scarface (1983) (iTunes/4K) (MA/HD) $5.25
Scary Movie 3 (2003) (Vudu/HD) (iTunes/HD) $4
Scary Stories to Tell in the Dark (2019) (Vudu/4K) (iTunes/4K) $3
Schindler's List (1993) (MA/HD) $4.75
Scott Pilgrim vs. The World (2010) (MA/4K) (iTunes/4K) $5.75 (MA/HD) $5.25
Scouts Guide to the Zombie Apocalypse (2015) (Vudu/HD) $3.75 (iTunes/HD) $2.75
Scream (1996) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $3.75
Scream 5 (2022) (iTunes/4K) (Vudu/HD) $5.50
Scream Collection 1-3 (Vudu/HD) (iTunes/HD) $13.50
Secret Headquarters (2022) (Vudu/HD) (iTunes/4K) $6
Secret in Their Eyes (2015) (MA/HD) (iTunes/HD) $2.25
Secret Life of Pets 2 (2019) (MA/4K) $6.25 (MA/HD) $5
Selma (2015) (Vudu/HD) $3 (iTunes/HD) $2.25
Serenity (2005) (MA/HD) $3.50
Seriously Red (2022) (Vudu/HD) $6.75
Shack (2017) (Vudu/HD) (iTunes/HD) $1.50
Shallows, The (2016) (MA/4K) $6.75 (MA/HD $4
Shang-Chi (2021) (MA/4K) $6.25 (MA/HD) $4.75 (GP/HD) $3
Shape of Water (2017) (MA/HD) $3.25
Shaun of the Dead (2004), Hot Fuzz (2007), World's End (2013) (MA/HD) $10
Shawshank Redemption (1994) (MA/4K) $6
Shazam! Fury of the Gods (2023) (MA/4K) $10
Sherlock Gnomes (2018) (Vudu/HD) $2.75 (iTunes/4K) $2.25
She's the Man (2006) (Vudu/HD) (iTunes/HD) $3.25
Shutter Island (2010) (Vudu/4K) (iTunes/4K) $6.50
Sicario (2015) (Vudu/4K) $6 (Vudu/HD) $1.75 (iTunes/4K) $3
Sicario: Day of the Soldado (2018) (MA/4K) $7.75 (MA/HD) $3.75
Silent Night, Deadly Night: 3-Film Collection (1989-1991) (Vudu/HD) $6
Sin City (2005) (Vudu/HD) $5.75
Sing (2016) (iTunes/4K) (MA/HD) $2.75
Sing 2 (2021) (MA/4K) $6.50 (MA/HD) $3.50
Sing Collection 1-2 (MA/HD) $6
Singin' in the Rain (1952) (MA/4K) $6.50
Skyscraper (2018) (MA/4K) $5.25 (MA/HD) $1.75
Sleeping Beauty (1959) (MA/HD) $3.50 (GP/HD) $2.50
Slender Man (2018) (MA/HD) $5.25
Smile (2022) (Vudu/HD) (iTunes/4K) $6.75
Smokey and the Bandit (1977) (MA/4K) $6.50 (MA/HD) $3.75
Smokin' Aces (2007) (iTunes/4K) $5.75
Snow White and The Seven Dwarfs (1937) (MA/HD) $6 (GP/HD) $3.75
Snowden (2016) (MA/HD) $3.50 (iTunes/HD) $4
Snowman (2017) (MA/HD) $2.75
Sonic the Hedgehog (2020) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $4.25
Sonic the Hedgehog 2 (2022) (Vudu/4K) $6.50 (iTunes/4K) (Vudu/HD) $4.50
Sorry to Bother You (2018) (MA/HD) $4.75
Soul (2020) (MA/4K) $6.25 (MA/HD) $3.75 (GP/HD) $2.25
Source Code (2011) (Vudu/4K) (iTunes/4K) $6
Space Jam (1996) (MA/4K) $5
Space Jam: A New Legacy (2021) (MA/4K) $5
Sparkle (2012) (MA/HD) $3.50 (MA/SD) $2.25
Speed (1994) (MA/4K) $5.25
Spider-Man (2002) (MA/4K) $6.50 (MA/HD) $5.50
Spider-Man 2 (2004) (MA/4K) $6.50 (MA/HD) $5.50
Spider-Man 3 (2007) (MA/4K) $6.50 (MA/HD) $5.50
Spider-Man Collection 1-8 (MA/HD) $26
Spider-Man: Far From Home (2019) (MA/4K) $8 (MA/HD) $4
Spider-Man: Homecoming (2017) (MA/4K) $8 (MA/HD) $1.75
Spider-Man: Into The Spider-Verse (2018) (MA/HD) $5.25
Spider-Man: No Way Home (2021) (MA/4K) $6.75 (MA/HD) $3.75
Spiral (Vudu/4K) (iTunes/4K) $5.50
Spirit Untamed: The Movie (2021) (MA/HD) $4.25
Split (2017) (MA/4K) $6.75 (iTunes/4K) (MA/HD) $2.75
SpongeBob Movie: Sponge Out of Water (2015) (Vudu/HD) $4.75 (iTunes/HD) $3.50
Spotlight (2015) (MA/HD) $5 (iTunes/HD) $3
Spy Who Dumped Me (2018) (iTunes/4K) (Vudu/HD) $4.25
Star Trek 1-3 (Vudu/4K) $18 (Vudu/HD) $9.50 (iTunes/4K) $13.50
Starship Troopers (1997) (MA/4K) $6.50
Stir of Echoes (1999) (Vudu/HD) $4.75
Straight Outta Compton (Unrated Director’s Cut) (2015) (MA/4K) $7.50 (MA/HD) (iTunes/HD) $2.50
Strange World (2022) (GP/HD) Ports to MA $4.25
Studio 666 (2022) (MA/HD) $6.75
Suburbicon (2017) (iTunes/4K) (Vudu/HD) $3.25
Suffragette (2015) (iTunes/HD) Ports to MA $3
Suicide Squad, The (2021) (MA/4K) $5
Sully (2016) (MA/4K) $6.50
Sum of All Fears, The (2002) (Vudu/4K) (iTunes/4K) $5.75
Super 8 (2011) (Vudu/4K) $5.75 (Vudu/HD) $3.25 (iTunes/4K) $5
Super Buddies (2013) (MA/HD) $5 (GP/HD) $3.50
Super Troopers 2 (2018) (MA/HD) $3
Survive the Night (2020) (Vudu/4K) $4 (iTunes/4K) (Vudu/HD) $3
SW: A New Hope (1977) (MA/4K) $7 (iTunes/4K) $6.25 (GP/HD) $3.50
SW: Empire Strikes Back (1980) (MA/4K) $7 (iTunes/4K) $6.50 (GP/HD) $3.50
SW: Force Awakens (2015) (MA/4K) $5.25 (iTunes/4K) $3.50 (GP/HD) $1
SW: Last Jedi (2017) (MA/4K) $5.75 (iTunes/4K) $3.75 (GP/HD) $1
SW: Phantom Menace (1999) (MA/4K) $7.50 (iTunes/4K) $6.50 (GP/HD) $3.50
SW: Return of the Jedi (1983) (MA/4K) $7.25 (iTunes/4K) $6.50 (GP/HD) $3.50
SW: Revenge of the Sith (2005) (MA/4K) $7.50 (GP/HD) $3.50
Taken Collection 1-3 (MA/HD) $9
Tangled (2010) (MA/4K) $8 (MA/HD) $5 (GP/HD) $3.75
Teen Titans Go! & DC Super Hero Girls: Mayhem in the Multiverse (2022) (MA/HD) $4.75
Teenage Mutant Ninja Turtles (2014) (iTunes/4K) (Vudu/HD) $3.25
Ten Commandments (1956) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $5.75
Terminator 2: Judgment Day (1991) (Vudu/4K) (iTunes/4K) $4.25
Terminator: Dark Fate (2019) (Vudu/4K) $6.50 (Vudu/HD) $3 (iTunes/4K) $2.50
Terms of Endearment (1983) (Vudu/HD) (iTunes/HD) $5
Think Like a Man (2012) & Two (2014) (MA/HD) $9
This Is The End (2013) (MA/HD) $5
Thor: Love and Thunder (2022) (MA/4K) $6.75 (MA/HD) $3.25 (GP/HD) $2
Thor: Ragnarok (2017) (iTunes/4K) (MA/HD) $3.50 (GP/HD) $1.75
Thor: The Dark World (2013) (MA/4K) $7 (iTunes/4K) $4.50 (GP/HD) $2.25
Three Billboards Outside Ebbing, Missouri (2017) (MA/HD) $3.50
Till (2022) (iTunes/4K) $6.50
To Kill a Mockingbird (1962) (MA/4K) $6.25 (iTunes/HD) $4.50
Top Five (2014) (Vudu/HD) $4.75 (iTunes/HD) $3.50
Top Gun (1986) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $4.25
Top Gun: Maverick (2022) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $5.75
Total Recall (1990) (Vudu/4K) (iTunes/4K) $5.25
Tower Heist (2011) (iTunes/HD) Ports to MA $3.75
Toy Story 1-4 (MA/4K) $23 (iTunes/4K) $21 (GP/HD) $11.50
Training Day (2001) (MA/4K) $6.50
Transformers 1-5 (Vudu/4K) $30 (Vudu/HD) $23
Transformers: Last Knight (2017) (Vudu/4K) $4.75 (iTunes/4K) $2.25 (Vudu/HD) $2
Transporter, The (2002) (MA/HD) $6.25
Trolls Collection 1-2 (MA/HD) $6
Trolls World Tour (MA/HD) $5.50
Turbo (2013) (MA/HD) $2.25 (iTunes/SD) $1.25
Turning Red (2022) (MA/4K) $6.25 (MA/HD) $4 (GP/HD) $2.75
Umma (2022) (MA/HD) $4.75
Unbearable Weight of Massive Talent (2022) (Vudu/4K) (iTunes/4K) $6.75
Unbreakable (2000) (MA/4K) $6 (GP/HD) $3.75
Uncharted (2022) (MA/4K) $5.50 (MA/HD) $3.25
Uncle Drew (2018) (Vudu/4K) $6.25 (Vudu/HD) (iTunes/HD) $3
Uncut Gems (2019) (Vudu/HD) $4.25
Underworld: Awakening (2012) (MA/HD) $1.75
Underworld: Blood Wars (2016) (MA/4K) $5.75 (MA/HD) $2.25
Unforgiven (1992) (MA/4K) $6.50
Untouchables, The (1987) (Vudu/4K) (iTunes/4K) $6
Us (2019) (MA/4K) $6.75 (MA/HD) $5.25
Van Helsing (2004) (MA/4K) $6 (iTunes/4K) (MA/HD) $4.75
Venom (2005) (Vudu/HD) (iTunes/HD) $4.50
Venom (2018) (MA/4K) $6.75 (MA/HD) $3.25
Venom: Let There Be Carnage (2021) (MA/4K) $7 (MA/HD) $3.50
Vertigo (1958) (MA/HD) $4.75
Vice (2018) 'Christian Bale' (MA/HD) $4.25
Victor Frankenstein (2015) (MA/HD) $5.75
Vivo (2021) (MA/HD) $4
Vow, The (2012) (MA/HD) $3.50
Voyagers (2021) (Vudu/4K) (iTunes/4K) $6.50
Walk, The (2015) (MA/HD) $4.75
Walking Dead: Season 11 (2021) (Vudu/HD) $6
Walking with Dinosaurs (2013) (MA/HD) (iTunes/HD) $2.50
Wallace & Gromit in the Curse of the Were-Rabbit (2005) (MA/HD) $6.75
Wanted (2008) (iTunes/HD) Ports to MA $6
War Dogs (2016) (MA/4K) $6.50
War for the Planet of the Apes (2017) (iTunes/4K) (MA/HD) $3
War of the Worlds (1953) (Vudu/4K) (iTunes/4K) $6.75
Warcraft (2016) (MA/4K) $5 (iTunes/4K) (MA/HD) $2.25
Warm Bodies (2013) (iTunes/4K) (Vudu/HD) $2
Warrior (2011) (Vudu/4K) (iTunes/HD) $4
Waterworld (1995) (MA/4K) $6.75 (MA/HD) $6
Wayne's World (1992) (Vudu/4K) (iTunes/4K) $6.25
Welcome to Marwen (2018) (MA/4K) $4
West Side Story (2021) (MA/4K) $5.75 (MA/HD) (GP/HD) $2.50
When the Bough Breaks (2016) (MA/HD) $4.50
Where the Crawdads Sing (2022) (MA/HD) $4.50
Where'd You Go Bernadette (2019) (MA/HD) $5.50
Whiskey Tango Foxtrot (2016) (Vudu/HD) $2.75 (iTunes/HD) $2
White Boy Rick (2018) (MA/HD) $5.25
Whitney Houston: I Wanna Dance With Somebody (2022) (MA/HD) $5.75
Why Him? (2016) (iTunes/4K) (MA/HD) $2
Widows (2018) (MA/4K) $6.50 (MA/HD) $1.75
Wild Card (2015) (Vudu/HD) $4
Willow (1988) (MA/HD) $6.75
Willy Wonka and the Chocolate Factory (1971) (MA/4K) $5.25
Wizard of Lies (2017) (Vudu/HD) $5 (iTunes/HD) $4.25 (GP/HD) $3
Wolf Man (1941) (MA/4K) $6.50
Wolf of Wall Street (2013) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $3.50
Woman in Gold (2015) (Vudu/HD) $2.75
Woman King (2022) (MA/4K) $6.50 (MA/HD) $5.50
Wonder (2017) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $3
Wonder Park (2019) (Vudu/HD) $3 (iTunes/4K) $2.25
Wonder Woman 1984 (2020) (MA/4K) $5
Woodlawn (2015) (MA/HD) (iTunes/HD) $3.75
Wraith, The (1986) (Vudu/HD) $5
X (2022) (Vudu/HD) $6.75
X-Men (2000), X2 (2003), X-Men: The Last Stand (2006) (MA/HD) $15
X-Men Origins: Wolverine (2009) (MA/HD) $7
X-Men: Dark Phoenix (2019) (MA/HD) $6
X-Men: Days of Future Past (2004) (iTunes/4K) (MA/HD) $2.50 Rogue Cut (MA/HD) $5
X-Men: First Class (2010), Days of Future Past (2004), Apocalypse (2014) (MA/HD) $11
Zootopia (2016) (MA/4K) $7.25 (iTunes/4K) $5 (MA/HD) $4.50 (GP/HD) $3.25