Crossworlds

Another time, a different ethos effectively guiding and teaching and nurturing, instructive discernment generating calculi, directly concerned with democratic birth.

Thus the narrative examines the oft critiqued discourse of the many, and the general difficulties at times arising from forming multilateral conzensai.

The inherent feuding the passionate conceptions the multiple viewpoints the limited time, can negatively affect a progressive agenda when animately called to efficiently govern.

How to collectively prioritize specific criteria for implementation, when immaculate difference innately illuminates sundry equitable alternative possibilities?

Fortunately, at reasonable times the definitive trust placed in a leadership team, resiliently results in universal action widely supported by different groups.

Hence Jagmeet Singh and Justin Trudeau were able to accomplish so much with limited time, and improve the lives of millions of Canadians with anti-scab legislation and accessible dentistry. 

But times changed and the spectrum shifted much more to the right and disaster loomed, at which point the Liberals found a more conservative leader who still demonstrated heart at the end of the day (political brilliance).

Thankfully it worked in Canada and the authoritarian impulse was rebuked, the doctrine of manifold conflicting agendas resolutely upheld for another mandate.

Perhaps it seems chaotic to some when a more streamlined agenda is delineated, and the substantial interests of a smaller segment of a robust population are widely transmitted.

But, as Spock points out, do the needs of the many not collectively outweigh, those of the diligent few who can't generally agree with less fanatical hardline dictates. 

Crossworlds doesn't present a superhero to intriguingly uphold its democratic thrust, a constructive studious no-nonsense human is collaboratively chosen to contend instead.

To confront the imperial forces seeking to see dynamic worlds enslaved.

Like the subway riders in The Darkest Hour.

Courageously endowed.

Formidably resolved. 

Alienoid: Return to the Future

The ancient world tempestuously welcomes alien renegades from a far distant future, whose apocalyptic orchestrations may suffocate all life on planet Earth.

Along for the ride we find a computer program who can take on human form, and serendipitously shapeshift as awkward circumstances dictate. 

He surreptitiously protects a courageous determined fledgling warrior, who seeks to ensure the malevolent convicts permanently rest in medieval Korea. 

Back in the present day, the deadly haava will soon be released, after which all life on Earth will perish and reckless malfeasance rule absolutely.

The multivariable eclectic mix of dynamic characters effectively duel, and furiously express their athletic witticisms as the ensuing chaos thunders.

In terms of recalibrating A.I and giving it transformative humanistic features, could the cyberspatial efficiently be freed from incarcerated bland electronic environments?

If an electronic code exists for variable lifeforms within different realms, could it be effectively replicated thereby creating carbon copies?

Somewhat like the cloned sheep "Dolly" but without the elaborate multifaceted process, Star Trek: The Next Generation providing insights into the organic simulations.

On Star Trek's holodeck diverse beings find instantaneous ingenious life, and can interact and joke and play music while following intricate complex instructions. 

The characters can't leave their simulated environments they're imprisoned there however, in Star Trek you can't find the code for Proust or Shakespeare and see them miraculously reborn.

Nevertheless, within the food replicators organic material is suddenly created, with infinite variety from manifold planets and it fluidly exists in the outside world. 

Thus, within these highly useful machines computer codes take on physical forms (like they do in cyberspace), and can be consumed outside the domains in which they were originally produced (unlike cyberspace).

Thus, if you had a machine that could take a code like that used to clone different animals, you could theoretically duplicate them ad infinitum, like the food replicators on Star Trek.

You could therefore also alter their programming so they could transmutate at will. 

It's just a matter of discovering the manifest codes.

Which clandestinely structure organic environments.

Love the Twin Peaks intertextuality. 

Cool sequel. 

Oblivion

A cataclysmic war has been fought and the once verdant Earth lies in thunderous ruin, scattered remnants of the alien aggressors still subsisting in the barren wastes.

Robotic spherical patrols scan the inhospitable terrain from above, their technological ingenuity a formidable frank deterrent. 

They break down at times however and require attentive maintenance, teams spread across the planet to quickly diagnose and discern.

The fortunate survivors have relocated to one of Saturn's moons in a desperate attempt to save the species, their bold intergalactic reckoning cultivating innovative community.

A couple left behind hopes to congenially join them shortly, their tour of duty approaching its end their dedicated service to be rewarded justly.

But as their departure date approaches a ship chaotically crash lands, and _____ (Tom Cruise) is sent out to investigate whether or not there are any survivors.

He finds one in the wreckage and swiftly saves her from critical dysfunction (Olga Kurylenko as ______), bringing her home to his exotic pad to meet his shy suspicious partner (Andrea Riseborough as _______).

Others seek her extant wisdom hiding in caves far down below.

Ensconced in the inexplicable.

Beyond master narratives pontificated.

Is it in fact true love that fuels their imaginative interactions, as the past hesitantly reemerges in vibrant shocking grand distortion?

Confounding astronomical odds prohibit their joyous rapprochement, as miraculous fated resonance galvanizes amorous schemes.

Is true love yet another master narrative then romantically taking hold, in the midst of armageddon, mission prerogatives deconstructed?

The competing master narratives juxtapose duty with rebellion, as profound psychological conflict seeks uninhibited lucidity.

Serendipitous science-fiction soulfully establishing solar sentience, Oblivion countermands cryptology to court sentimental echoes.

Times change and preferences mutate but on occasion familiarity uplifts, the nostalgic tenderness of reliability persevering unsolicited.

Trusty tradition pervading tumultuous unexpected modifications.

It works so well in books and film.

As to reality, who's to say?

*Clearin' out 2021. What I wrote in 2021. Still a sucker for sci-fi romance.

Thor: Ragnarok

Sibling rivalry basks psychotic in Thor: Ragnarok, as the God of Thunder's (Chris Hemsworth) necromongesque sister (Cate Blanchett as Hela) escapes her prison to bring death and destruction to those worlds who would forthrightly oppose her, challenge her, spurn her, mock her.

In possession of seemingly limitless power which Odin's (Anthony Hopkins) death helplessly releases, she ungraciously overwhelms Thor and Loki (Tom Hiddleston) before returning to Asgard to assert her dominance.

Boastfully awaiting their bellicose return.

The defeated brothers find themselves playing different roles upon a chaotic planet, perhaps modelled upon the last days of Rome's imperial pretension, ruled by a comic tyrant (Jeff Goldblum as the Grandmaster [it's the best Goldblum I've seen in years]) who loves gladiating and humiliating, the gladiators themselves intent on revolting, Thor forced to fight and plot amongst them, Loki cleverly seducing the oligarchic elite, with a beautiful Valkyrie (Tessa Thompson) haunted by battles fought long ago, in the heavens, who has taken to drink and collecting random strays, and remains unimpressed upon encountering her devoted liege.

Old friends pop up as Thor remains evergreen, the film's actually quite funny despite its violent extremities, an unsettling kind of apocalyptic autocratic resigned athletic humour that emboldens the democratic subconscious by turning masters of war themselves into subjects of gladiatorial intrigue, to be criticized and championed as they interact cinematically.

It's the best Thor film I've seen, even if it seems like a diagnosis for a mental illness, Heimdall's (Idris Elba) shepherding diminutively contrasting the conquistadorial ostentation, Thor's cheery undaunted good spirits making everything seem stable and safe, frenzies notwithstanding, even if he still needs guidance from his deceased progenitor, new characters introduced and developed with crafty eccentricity, a hulking universal ferocious manifest, in that leather, the world Marvel films has created is expanded with fascinating conspiracy.

It's like they're not just trying to voraciously cash in, they're often delivering high quality products that make going to the cinema so worth it.

Ragnarok's music gives it an oddball artistic touch born of the 1980s.

Like Tron could have been.

Hoping Loki figures prominently in the next Doctor Strange film

How do they choose which characters end up in which films?

It must be fun to make such decisions.

Will every Asgardian have superpowers on Earth?