Earnest attempt at recapturing the early magic of the franchise, but despite the modern spin and updated social commentary, it's not something I see myself revisiting ten to thirty years down the line.
Forgive me, I'm high off my Rocket Pop energy drink (4th of July flavor), but this must be discussed.
Why Todd should make a Trainwreckord video about Nelly's Brass Knuckles album:
This album marked the end of Nelly's time as a dominant hitmaker," it was his first major flop album and it lead to his subsequent albums flopping.
It arrived after years of delays and changing plans. The album was repeatedly postponed, with early singles scrapped and the release strategy constantly shifting. By the time it came out in 2008, much of the momentum had evaporated. It underperformed compared with Nelly's peak. Although Brass Knuckles debuted at No. 3 on the Billboard 200, its first-week sales (about 84,000) were far below the blockbuster numbers of albums like Country Grammar and Nellyville. It also dropped quickly on the charts. It reflected an identity crisis.
Critics often described the album as polished but unfocused. Instead of defining a new direction, it alternated between harder rap tracks and glossy pop collaborations without creating a compelling artistic statement. The hitmaking formula was fading. Songs like "Party People" and "Body on Me" achieved some success, but none became era-defining hits in the way "Hot in Herre," "Dilemma," or "Grillz" had. It became clear that Nelly was no longer setting pop-rap trends. Even Nelly later criticized the album. In a later interview, he said Brass Knuckles "wasn't my best work," explaining that he wasn't mentally prepared and accepting responsibility for the disappointing result.
Overall, Brass Knuckles has many elements that make for a compelling Trainwreckords-style story: delayed release, declining commercial returns, mixed critical reception, and an artist struggling to adapt to a changing musical landscape. The main complication is that it probably didn't kill Nelly's career outright—it marked the point where his run as one of pop music's biggest stars gave way to a more intermittent, legacy-artist phase. Plus it lead to him moving away from rap, and mostly doing country music collabs with Georgia Florida Line, which is where he made his most appearances on stage in recent years. Plus the video would be epic, tracing the downfall of who used to be one of the biggest artists in the world, and how they ended up being a MAGA puppet performing for Trump.
For someone who has yet to download and try it, this piqued my curiosity and it made me look up that PT remake that was made on there, which looks really impressive. I grew up with and loved Little Big Planet, but I didn't know the same people made Dreams until fairly recently (shame on me). Looks like there's a lot of cool usermade content on there that will unfortunately be lost with time due to the game not being ported elsewhere. :(
Backrooms fails as a film because it mistakes atmosphere for storytelling. Although its unsettling setting is visually distinctive, the movie relies almost entirely on eerie visuals and prolonged silence instead of developing compelling characters or a meaningful plot. Horror is most effective when audiences care about the people on screen, but Backrooms gives viewers little reason to become emotionally invested.
The film's pacing is another major flaw. Rather than building suspense through escalating tension, it stretches scenes far beyond what is necessary, making the experience feel repetitive and tedious. Slow pacing can be effective when it serves the story, but in Backrooms, it often seems to replace the story altogether. The result is a film that feels longer than it actually is, despite relatively little happening.
Supporters may argue that the movie's ambiguity is intentional and artistic. However, ambiguity should encourage thought, not substitute for coherent storytelling. Backrooms leaves so many questions unanswered that the mystery becomes frustrating instead of intriguing. A film should challenge its audience while still providing enough narrative structure to make the experience satisfying.
Ultimately, Backrooms is an example of a strong premise weakened by poor execution. Its atmosphere cannot compensate for its weak narrative, underdeveloped characters, and sluggish pacing. While some viewers may appreciate its experimental style, these artistic choices do not excuse its failure to tell a compelling story. A horror film should be both unsettling and engaging, and Backrooms struggles to achieve either in a meaningful way.
Backrooms fails as a film because it mistakes atmosphere for storytelling. Although its unsettling setting is visually distinctive, the movie relies almost entirely on eerie visuals and prolonged silence instead of developing compelling characters or a meaningful plot. Horror is most effective when audiences care about the people on screen, but Backrooms gives viewers little reason to become emotionally invested.
The film's pacing is another major flaw. Rather than building suspense through escalating tension, it stretches scenes far beyond what is necessary, making the experience feel repetitive and tedious. Slow pacing can be effective when it serves the story, but in Backrooms, it often seems to replace the story altogether. The result is a film that feels longer than it actually is, despite relatively little happening.
Supporters may argue that the movie's ambiguity is intentional and artistic. However, ambiguity should encourage thought, not substitute for coherent storytelling. Backrooms leaves so many questions unanswered that the mystery becomes frustrating instead of intriguing. A film should challenge its audience while still providing enough narrative structure to make the experience satisfying.
Ultimately, Backrooms is an example of a strong premise weakened by poor execution. Its atmosphere cannot compensate for its weak narrative, underdeveloped characters, and sluggish pacing. While some viewers may appreciate its experimental style, these artistic choices do not excuse its failure to tell a compelling story. A horror film should be both unsettling and engaging, and Backrooms struggles to achieve either in a meaningful way.
Backrooms fails as a film because it mistakes atmosphere for storytelling. Although its unsettling setting is visually distinctive, the movie relies almost entirely on eerie visuals and prolonged silence instead of developing compelling characters or a meaningful plot. Horror is most effective when audiences care about the people on screen, but Backrooms gives viewers little reason to become emotionally invested.
The film's pacing is another major flaw. Rather than building suspense through escalating tension, it stretches scenes far beyond what is necessary, making the experience feel repetitive and tedious. Slow pacing can be effective when it serves the story, but in Backrooms, it often seems to replace the story altogether. The result is a film that feels longer than it actually is, despite relatively little happening.
Supporters may argue that the movie's ambiguity is intentional and artistic. However, ambiguity should encourage thought, not substitute for coherent storytelling. Backrooms leaves so many questions unanswered that the mystery becomes frustrating instead of intriguing. A film should challenge its audience while still providing enough narrative structure to make the experience satisfying.
Ultimately, Backrooms is an example of a strong premise weakened by poor execution. Its atmosphere cannot compensate for its weak narrative, underdeveloped characters, and sluggish pacing. While some viewers may appreciate its experimental style, these artistic choices do not excuse its failure to tell a compelling story. A horror film should be both unsettling and engaging, and Backrooms struggles to achieve either in a meaningful way.
During an AEW Dynamite main event segment, AEW wrestler Swerve Strickland is addressing his disappointing loss to Will Ospreay at Forbidden Door when the lights cut out. When they come back up, a red warning symbol flashes across the screen.
Out walks Yota Tsuji, unannounced and uninvited.
He doesn’t speak. He doesn’t pose. He just storms the ring and lays out Swerve with a spear-like charging lariat and a Gene Blaster to follow. Security rushes in, but Tsuji wipes them out too. The message is simple: NJPW is not visiting AEW—it is invading it.
Over the next two weeks:
For AEW's WrestleMania equivalent show "All In", Swerve Strickland vs Yota Tsuji is officially set.
The story going in:
The match itself is stiff, athletic, and escalating:
Winner: Yota Tsuji
Post-match: Tsuji doesn’t celebrate. He stands over Swerve and simply raises a finger toward the sky—signaling he’s aiming higher than AEW.
Back in NJPW, Tsuji enters the G1 Climax.
His character shifts from invader to unstoppable tournament force:
Key story beat:
Final:
He grabs the microphone:
>
He declares his right to challenge whoever he wants for the biggest stage in wrestling.
At Wrestle Kingdom, Tsuji’s G1 victory earns him the right to call out his dream opponent for the main event. Tony Khan and Hiroshi Tanahashi come to an agreement to put both of their company's top titles on the line. It will be a title for title match in the biggest main event in Wrestle Kingdom history.
The framing:
Final segment of the build:
Ospreay finally responds:
>
This arc accomplishes three things:
I'm a GTA 6 fan and I know it will live up to the hype. I also love gaming and Rockstar is one developer who deserves your money.
But back to the point of the post:
The haters ruin gaming more because instead of taking the time to celebrate and support the games and developers they do like, they have to remind everyone on every social media platform they use that they will not be purchasing or playing GTA 6 (trying to downplay its inevitable greatness), and this is something they repeat over and over and over again, which causes more harm than good to gaming discourse and gaming communities in general because these people are a dime a dozen, doing everything they can to counter the people who will knowingly buy and love GTA 6, but they spend more time doing this than supporting the games they like if they're even gamers at all. The people hating think they're starting a revolution by countering all the love and support for the biggest game of all time, so you'll see more haters ruining gaming discourse moving forward trying and failing to drown out all the glowing support for the most anticipated game of everybody's lifetime.
Newsflash, it's fine if you don't care about the game, but by constantly telling everybody you don't care, you're really telling everyone the opposite and making a fool out of yourself, wasting precious time that could go towards doing things you enjoy.
Also, I hate to break it to the haters, but as someone whose favorite game is The Witcher 3, GTA 6 is the one game that could actually be just as great quality-wise as its sales numbers. I guess we'll all see.
Marco Polo
The forgotten temu Game of Thrones knockoff that notoriously changed writers for its second season and was cancelled soon after that season aired on Netflix. Never met a fan of this show in real life and haven't heard anybody on Reddit mention it in any capacity, which says it all.
Franklin from the original Texas Chainsaw Massacre, the original 70s masterpiece that shocked the world and had people howling and screaming simultaneously. A rare masterpiece that's just as funny as it is scary, which, if the sequel was anything to go by, was the point of the series all along.
Who had any of the 6 movies on VHS? I remember I only had like three and had to catch the others on TV at some point. These were a fever dream. The effects in that first movie were soooo bad LOL, but it had a charm to it that I miss and the story was pretty intriguing for a youngin even though it's obviously taking a lot from Back to the Future. Crazy how much the "villain" (before the twist) looks like Jonathan Majors. I don't know what else to say, I thought these were kinda cool when I was a kid despite the budget limitations and it feels like not a lot of people know of its existence, kind of like the movie "Kid Cop" (1996) lol
They're all on YouTube in full now, which I never thought would happen since some of the tapes were hard to track down years back.
When you complete certain quests or quest objectives, a button prompt will appear allowing you to automatically fast travel back to the quest giver after you complete the objective (by HOLDING the start button), instead of having you retrace your steps halfway across the map again dealing with all the random encounters you likely don't want or need to do. Now, I know this isn't the first game to do this, but it's one of the only JRPG's I've seen have this particular form of fast travel where you don't have to open the map to get back to the quest giver and it should be the new norm going forward.
How many RPG's, particularly JRPG's have you played have that feature? Even a lot of people's game of the decade Expedition 33 didn't have that. No shade to that game though, as it had a lower budget and less experienced team and still managed to achieve greatness.
Does that little girl finally get revenge on Uma Thurman for killing her Mama in the kitchen?
I'm glad Tarantino decided to make his last movie Kill Bill 3? But I need to know if it's worth it because I see it's very, very long like Batista's you know what.
and if you disagree, you're wrong. On that other infamous wrestling sub, if you so much as imply a NJPW show was even slightly better than a PPV from WWE and AEW, they'll all gang up on you, insult you, and downvote you to oblivion, so I had to post on a sub that isn't just full of anti NJPW haters who gargle WWE and AEW's nut.
It's a bad movie but it had everything a kid ask for in the 90s.
A cross between old karate movies, TMNT, and it even turns into a full blown Home Alone film in the second half when those surfer dude muggers attempt a home invasion on the kids' house.
I still remember that song during the end credits too:
"POWER OF THE KIDS POWER! KID POWER!"
The sequels are more infamous for how awful they are (especially the Hulk Hogan one), but the first one is a fun classic bad movie that I remember watching over and over again without getting bored. I much preferred it over Surf Ninjas, which was more memorable for that one catchy song than anything else.
I remember that Fat Albert looking bully with that temu Vanilla Ice ally, and he said some corny joke to insult the protagonists at the basketball court, then demanded that the other kids on the playground laugh, and they did.
Little stuff like that lingers in the back of my mind only from the best kind of bad movies.
One day, we need to talk about how hilariously bad but good Double Dragon was as well, which came out only two years later. Those VHS types got hella mileage in my home. Who can relate?
Forbidden West
It looks so good that it makes me forget that I'm playing on a small 1080p screen. Feels like I'm playing on a 4K OLED device because the gorgeous visuals PENETRATE my dopamine receptors and hypnotize me into believing it's so much more than it is. Everything from the opening cinematic to the exploration to the combat is a visual feast unlike anything you'll ever see on the Switch 2. This is from remote play, not streaming.