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Guy Ritchie; Genre=Action; 1 hour, 53 min; ; Star=Matthew McConaughey; Resume=The Gentlemen is a movie starring Matthew McConaughey, Charlie Hunnam, and Michelle Dockery. A British drug lord tries to sell off his highly profitable empire to a dynasty of Oklahoma billionaires. Help find cinema the gentlemen 2017. What an amazing movie. Those who haven't seen this have missed one of the best movies of 2019 and also one of the best till date. Help find cinema the gentlemen shop. Blue rhymes wirh true but it's not spelled the same. Do these two know theyre reviewing a movie and not a documentary. If they want an accurate portrayal of gangsters, I can name a few postcodes, no cinema ticket fee required, just a TFL fare.

This was one of the best movies Ive seen in a very long time. Hugh Grant is most definitely in the big boys league beside Matthew McConaughey and Colin Farrell. It was filled with laughter and lots of unrelenting ganster comedy. Well worth viewing. Help find cinema the gentlemen center. Help find cinema the gentlemen book. Christian bale was the best in this movie. Matt damon close second. Help find cinema the gentlemen tv show. Killing Eve and the rise of the older screen queen Kate Muir There was a time, not so long ago, when actresses became invisible on their 40th birthdays. Work started to dry up: in film, 80 per cent of leading roles for “mature” actors went to men, as well as most of the dialogue. Even the Oscar-bedecked Meryl Streep feared obsolescence: “I remember, as I was hovering around 40, I thought each movie would be my last, really, ” she said in 2016. That was then. In recent weeks, however, it has felt as if all the smartest, best-written and most richly nuanced characters on television are older women. Streep is just one beneficiary of the changing mood: the 69-year-old has joined the cast of HBOs Big Little Lies, whose second season premiered on Monday. The series also features several other women of a certain age: as well as Nicole Kidman, 51, and Laura Dern, 52, theres Reese Witherspoon, 43; the director is 58-year-old British filmmaker Andrea Arnold. At almost the same moment, the second season of Killing Eve hit British screens, starring 47-year-old Sandra Oh, who has transfixed viewers with her smart and compellingly weird performance as the obsessive MI6 agent Eve Polastri, foil to Jodie Comers antiheroine assassin Villanelle. Ohs near decade-long run as a doctor on the US drama Greys Anatomy ended in 2014, and her career went rather quiet until Killing Eve exploded into the zeitgeist. When the eight new episodes dropped on the BBCs iPlayer, 2. 6m people downloaded the box set within 36 hours, watching between phone, laptop and television. Suddenly, it seems, the small screen is finding room for mature, complex leading ladies. Theres Emma Thompson, currently starring as a sinister British prime minister in the BBCs Years and Years. Sally Wainwright, writer of Happy Valley and a creator of strong female characters for decades, has her name in huge letters on the posters for Gentleman Jack, which stars Suranne Jones, 40, as a lesbian landowner in 19th-century Yorkshire. Gillian Anderson, 50, plays a liberated therapist in Netflixs comedy Sex Education. These multifaceted roles are a far cry from the clichéd archetypes of yore. It is a dramatic change that partly reflects the reckoning after the Harvey Weinstein revelations — but also a new-found confidence that a bankable audience exists for such programmes. TV commissioners have seen the shift in ratings in recent years and responded. There is a small-screen gold rush taking place, and female directors, writers and leads are in everyones sights. At the vanguard are the streaming services, whose cultural influence is rocketing: Ofcom reports that Netflix and Amazon Prime together made 1. 1bn in the UK last year, and Variety reports that American television chiefs are engaging in a streaming “arms race”. Netflixs worldwide budget is predicted to rise to an unprecedented 15bn this year; the company says it has spent “hundreds of millions on UK productions in the last two years”, and that there are currently “50 plus projects on the go” in Britain, serving some 9. 6m subscribers. Anne Mensah, who moved last year from Sky to become the drama commissioner at Netflix UK, is keen to stress that the shift in what gets made comes in response to audience appetites rather than any desire for virtue-signalling. “What I love about Netflix is that no one makes assumptions about audiences, ” she says. “We respond to what people love, rather than gender and demographics, and we want to see a broader version of what women can be behind and in front of the camera. ” The commissioners at streaming services arent designing shows by algorithm, but they have a better idea than ever before about their viewers interests and watching habits. “This is not a tipping point, but a beginning, ” Mensah adds. “We have to keep pushing forward and exploring the diversity of what it means to be a woman, to be a person. We want to explore what it is to be a woman in India, trans in America, and a teenager in London. ” Moira Buffini has had a ringside view of this change. Just three years ago, she was struggling to sell Harlots, her drama about life in an 18th-century English brothel, now in its third season. The show was rejected by the BBC and Channel 4. Eventually the US streaming channel Hulu stepped in to co-produce the drama, and it is now available on Amazon Prime in the UK. The series stars Lesley Manville, 63, and Samantha Morton, 42, as redoubtable matriarchs. “People couldnt imagine a show about sex workers without it being titi­llating or miserable, ” says Buffini. “They couldnt see it as a workplace drama. ” Now, however, she thinks the landscape is shifting, and that UK channel controllers are more willing to trust women. “Theres a hunger for this. ” “Television is changing, ” she adds — although she says that there is more work to do. “It has been a world populated by mature and interesting men, and young, beautiful women, and that just has to stop. It has an insidious effect on people. Female characters need to lead the action, as they do in their lives, where they are not mere helpmeets. ” To be clear, men still dominate the screen. A Writers Guild of Great Britain report last year revealed that between 2001 and 2016, 81 per cent of prime-time drama was written by men, and overall women wrote only 28 per cent of television episodes. For cinema, the outlook was even worse: only 11 per cent of British feature films released between 2005 and 2016 were written solely or mainly by women. Yet the report said that comparing production budgets and box office data proves that “films written by predominantly female writers tend to have higher revenues, both domestically and internationally, than those written by their male counterparts”. Late Night, starring Emma Thompson as a TV talk-show host in a film scripted by Mindy Kaling, was snapped up by Amazon for 13m at Sundance, and has already enjoyed the second-highest per-theatre debut in America of 2019. The audience for that was 65 per cent female. Women buy over half of cinema tickets, and their television viewing outstrips that of men. An Ofcom survey from 2018 shows that women over the age of 55 spend almost two hours more a day watching television than the average adult — but traditionally the chances of their seeing themselves reflected on screen have been slim. Perhaps most male writers have found it hard to imagine older women vividly — or found them less than compelling subjects. But Killing Eve — based on Luke Jennings books and given a surreal feminist reboot by Fleabag screenwriter Phoebe Waller-Bridge and Emerald Fennell — not only showcases Sandra Oh, but also Fiona Shaw, 60, as the downright peculiar and terrifyingly brusque MI6 chief Carolyn Martens. In the first new episode, Martens has burgers delivered to the morgue where she and Eve are studying a rotted corpse, “because the smell of bodies makes you crave meat”. You would never catch John le Carré being so bonkers. But perhaps the most celebrated anthem to middle age in the new television is the scene in the most recent series of Fleabag when Kristin Scott Thomas plays an executive talking about the power of being post-menopause. “Its the most wonderful f* ing thing in the world. And, yes, your entire pelvic floor crumbles and you get f* ing hot and no one cares, but then youre free. No longer a slave, no longer a machine with parts. Youre just a person in business. ” Another under-explored area is that of female (and male) characters of colour. This is something that Gurinder Chadha, perhaps best known as the director of Bend It Like Beckham, is trying to address. She has written and directed a new six-part series, Beecham House, which premieres on ITVs prime-time Sunday evening slot on June 23. The Asian-British drama is set in India in 1795, as the Mughal empire is in decline and the British East India Company is extending its reach. “Theyre calling it Delhi Downton, ” says Chadha, laughing, “but its not as posh. ” The series was bought by ITVs head of drama Polly Hill. “Its their first big commission from a company of colour and a woman, ” says Chadha. The 59-year-old also has a mainstream movie out in August, Blinded by the Light, which is the musically inspired real-life story of writer Sarfraz Manzoor growing up in a Pakistani family in 1980s Luton, while obsessed by Bruce Springsteen. After a struggle to secure initial funding in the UK, Chadha sold the film for 15m to Warner Bros at Sundance. “Its definitely a big moment for me now. I have been plodding away, kicking. I often feel I have to start from scratch again and again, ” says Chadha. If TV production companies are increasingly nimble, bringing change to Hollywood is like turning some vast, stately ocean liner. The instinctive wariness to greenlighting projects led by women is deep-rooted. All the same, it seems the mood is slowly changing; 18 per cent of movies slated for release in 2019 from Hollywoods six major studios have a female director, a jump from 3 per cent in 2018. When films are publicly funded, there is more inclusivity. Lizzie Francke is a senior production and development executive at the British Film Institute. In the era of Times Up, the BFI has introduced, as a condition of funding, a set of diversity standards to tackle under-representation. “This year, 53 per cent of our films are directed by women, and we have three female BAME [black and minority ethnic] projects poised to go through. Putting these formal structures in place helps us to say no to the rest and nurture smart, distinct, original voices. ” Actor and director Alice Lowe — who recently played the psychiatrist in Black Mirror: Bandersnatch — says that women “have a disproportionately high profile at the moment, perhaps because the quality of shows is better. Male writers are moaning that theyre not fashionable now, but they are still getting most of the work. ” Lowe directed and starred in Prevenge, a horror-comedy about a pregnant serial killer. Lowe shot the film while pregnant herself, and promoted it at the Venice Film Festival with her baby daughter on her knee. Prevenge was a ticket to more offers of work. “I keep getting asked to direct things because they feel they ought to have a woman, but they dont want to relinquish creative control. ” She is about to start a new film, Timestalker, but says it is tough making the leap to a second production, scaling up funding and having bigger names. “If you write a great female lead, male actors ask, ‘But whats in it for me? ” Carol Morley, director of films including The Falling and, most recently, the thriller Out of Blue, agrees that the right names can make or break a film. “There are financial algorithms connected to certain actors, and if you dont have those names you cant pre-sell a film” — a prerequisite for survival in independent cinema. Morley notes, however, that as more scripts feature middle-aged women, actors such as Julianne Moore, Thompson, Annette Bening, Patricia Arquette and Kidman are in heavy demand. Morley tapped Patricia Clarkson, 59, to play the lead detective in Out of Blue. And Britains “three Dames” — Maggie Smith, Judi Dench and Helen Mirren — are always busy. “Oddly Olivia Colman wasnt seen as a pre-sale name, ” says Morley. “And then she won the Oscar for The Favourite. ” Colmans extraordinary, exasperating Queen Anne and Frances McDormands performance in Three Billboards Outside Ebbing, Missouri provided complex and not necessarily likeable portraits of older women. They allowed audiences to reclaim female hysteria and anger, and relish it. “Recently I was watching Glenda Jackson in King Lear in New York, ” says Morley, “and she was doing a matinee and an evening performance, and I was thinking how much energy she has at 82, and how awful it is that mature women have long been deprived of those roles. ” But now, as streaming television and film enjoy an age of expansion, they will bring new lifeblood and storytelling. A creative renaissance is under way that is beginning to acknowledge that half the population has been myopically ignored for decades — and that maturity no longer means obscurity. Kate Muir is a screenwriter and critic.

Bond. Bourne. YOU. You know the names. You've read the books. You've seen the movies. Men want to be him. Women want to be with him. 7 Steps You Can Take TODAY To Start Living Like A Gentleman Spy! At some point, every man has said to himself "I want to be James Bond. " But few know what it takes to remake themselves into the man they want to be, and even fewer actually follow through with the work required to live the life they want. THAT'S ALL ABOUT TO CHANGE. IMAGINE BEING ABLE TO COMPLETELY REINVENT YOURSELF. Build a world class body. Hone the skills necessary to save your life and those around you. Master social engineering and win over any woman you want. All this and more is yours when you decide to upgrade your life and live like a gentleman spy. This is not just a fan site, or a site about collectibles and movie props. THIS IS ABOUT THE REAL-WORLD SKILLS AND TOOLS YOU NEED TO BECOME THE MAN YOU KNOW YOU CAN BE. Developed over the course of 15 years in the military and multiple intelligence agencies, duty stations in the United States, Europe, and the Middle East, and deployments to the Middle East and Asia, the information inside is as close as you can get to becoming the real deal as you can get without actually becoming a case officer with MI6 or the CIA. What Members Are Saying Travis, I have really enjoyed your course. I've noticed I'm more clear and aware. The other day at the bank, the guy at the next window stepped back, turned towards me and said "nice" while his girl said "he looks like Bond. At the end of August I went to the Mainland to go to a wedding. I went in style and enjoyed a calmness and being cool. I enjoyed the airport. I was addressed as Sir and was waived through security. Our twelve weeks may be up, but I will never be done studying your course. Thanks. Max B. Hi Travis, I purchased your fabulous program. I pride the amazing job you've done. I have a career in intelligence for over 20 years now and in my opinion, it would have been great to combine the "Gentleman Spy" program in to the syllabus of covert field officer of intelligence agencies. What you've done with Gentleman Spy is bring together the main tasks that need to be done, while getting rid of all the BS. You brilliantly concentrated everything, whereas for me it took ages to put it all together in a simple and clean, yet deep way. I wish I knew this method 20 years ago when I was in my 20's. Mike H. Good morning Travis, I've had your program for some time and it has been absolutely fantastic. You did a great job with everything and I've read through it multiple times. Thank you for taking the time to create such an invaluable resource. Im active in the [intelligence] field and I also use your stuff! Its that good. Wish I had it ten years ago but I'm glad I found it when I did. All the best. Jeff C. I am so blessed that you ad appeared in my IG and happy that I took that leap. I didn't know if it was gonna be legit. But it's legit and some. It's perfect. Man, your site is the answer to my prayers and dreams. Thank you. Malik W. Living like a gentleman spy starts with building your body. Neither an overly muscled body builder or a scrawny marathoner, you need a physique built for performance over a broad range of tasks. From swimming to skiing to scrambling up and down buildings in Africa or hand to hand combat, your body must be up for the task. Your style, attitude, and many skills will all be enhanced by having a body built for action. Spies around the world come from a military background, and their style reflects that; they wear their clothes like a uniform. To live a life of adventure, your wardrobe must be functional and fashionable. From hitting the beach to a night on the town to a black tie event, you should be dressed for the occasion. The gentleman spy is confident. Neither arrogant or showy, real confidence is built upon your skill of always knowing what is going on around you and being prepared for any situation. Whether its scoping out the location of the security cameras, sizing up an opponent, or seducing the most beautiful woman in the room, your situational awareness and social engineering skills contribute to the self-assuredness you'll get. What sets the spy apart from other men is his ability to take care of himself in any situation. You may never need to fight multiple assailants or disable a bomb to save the world, but enhancing your existing skill set by learning to fight, shoot, save a life, and speak more languages could be the difference between life and death in many scenarios. The ultimate Jack of all trades, you may not be the best in the world at any one discipline, but you can be better than most in many different arenas. Everybody thinks that living like 007 is all about the hot cars, hotter women, and living the life of adventure. And it can be. But there's more to it. Living the gentleman spy lifestyle means living the best life you can. UPGRADE YOUR LIFE. LIVE LIKE A GENTLEMAN SPY.

Coming off his biggest box office yet with Disneys live-action Aladdin, director Guy Ritchie is going back to his wheelhouse for his next film The Gentlemen. In the vein of classic Ritchie films like Snatch, The Gentlemen features British gangsters and a meeting of subcultures from across the pond — and EW has your exclusive first look at the project. The Gentlemen  stars Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, and Hugh Grant. Its premise follows American expat Mickey Pearson (Matthew McConaughey) who built a highly profitable marijuana empire in London. When word gets out that hes looking to cash out of the business forever it triggers plots, schemes, bribery and blackmail in an attempt to steal his domain out from under him. “What I wanted to do was to bring subcultures together from both sides of the Atlantic, ” Ritchie tells EW. “An American comes to England to be clever and get a job in the conventional fashion, but then takes his smarts through his connections at Oxford and realizes theres more money to be made in the marijuana game, and capitalizes on the entrepreneurial New World spirit with the comfortable and exciting juxtaposition of British aristocracy. So what I wanted was British aristocracy, New World American drive, and all of the fun to be had with bringing those two worlds together. Marijuanas kind of fun, but nevertheless serious and theres money involved. ” “It does feel like im on familiar territory here, ” Ritchie continues. “I loved making Aladdin, but this is obviously a very different world. We did them both in the same year. It was great to do both and sort of oscillate to the other polarity. That, I think we have done. ” The Gentlemen is set to hit theaters on Jan. 24, 2020. See more first-look images below. Christopher Raphael/STX Entertainment Related content: Henry Golding, Charlie Hunnam unveil ‘vintage Guy Ritchie caper  The Gentlemen Charlie Hunnam did a Guy Ritchie impression for his King Arthur Exclusive: Guy Ritchie on finding his blue Genie and crafting a new Aladdin.

Help find cinema The gentlemen extraordinaires

Written for The Situational Therapist (Derrick Hoard) by The Situational Author (Saab Lofton) Look him up he's a real person] Almost an anomaly amidst this still-quaint hamlet comprised primarily of Norman Rockwell-esque Caucasians, Clarence Odbody the Second reminded his blond, waxen neighbors of their future by simply existing, given his tan skin, facial features, and dark curly locks (though balding as of late. For decades, Odbody had been a kind of freelance therapist (unless you want a confrontation of Wagnerian proportions, never. under* any circumstances, refer to him as a "lifestyle coach. but this light-skinned, middle-aged black man in a predominately white town remained mysterious; always refusing to participate in any of the residents' events or activities and even silently neglecting to return any attempts at common pleasantries on the street. So eventually, the citizenry started ignoring the therapist (assuming either arrogance or shyness was responsible for this long-standing elusiveness. unless, of course, his services were desired. Most in the community assumed Clarence Odbody the Second commuted from afar or was actually homeless, since the only way to contact the Afrocentric psychiatrist had been the mailbox he maintained at the Bedford Falls Post Office. With the exception of Sundays, the strange therapist would regularly peruse said box for messages, and especially, requests for assistance. On this particular occasion, a correspondence from one Anna Mae Bullock had reached this recluse, so she subsequently invited him into her tiny apartment, which was standard for his practice. "One of the last doctors on Earth who still makes house calls. nervous to the point of being visibly jittery, this middle-aged lady of color could barely make eye contact with Clarence as she led him further into her apartment, and towards a davenport, where they both sat. So. A portly Clarence made himself comfortable at the davenport's most distant edge, What's the situation. Izear called. Ann explained shrinkingly, He me to give him another chance" A frown of sincere concern was then seen on Clarence Odbody the Second as he reclined and remembered an abusive husband who was once the bane of Anna's existence. "And what exactly did you say. No, of course, but. In terms of how she came across at that moment, this middle-aged lady seemingly resumed the immature manner of lamenting one would find in a hormonally-challenged adolescent. there are times when a woman misses the touch of a man. Then she interrogated her guest, but only rhetorically, and with a passive-aggressive tact. I mean, not everyone can live alone off in the woods like you do, Mister Odbody. First, I don't live in the woods. Clarence only partially answered. Second, if you're lonely, I suggest a pet. because the* last time Izear Luster 'touched' you, you were in the hospital for a week. I understand. Anna responded with a lowered head and daintily averted eyes. "Then act like you understand. Clarence Odbody the Second countered and strained to accentuate how earnest he was with his tone. live the rest of your life as if you understand. Clarence could tell his client would require far more than ordinary conversation could ever provide, so he inhaled briefly. with a hint of disgruntlement. before offering something that could only come from himself. "Remember our confidentiality agreement, Anna? The one you signed in triplicate. Anna nodded that she did, but rapidly and timidly, so Odbody's brow furrowed. "Please say, out loud, that you do. Clarence stipulated. "I do. Then come with me. Without another word, Clarence Odbody the Second led the middle-aged lady of color outdoors, and immediately afterwards; subsequent to an unaccountable torrent of wind, she had already noticed a difference. "Where's my car. Anna exclaimed with alarm. "I parked it here just this morning! Has crime gotten that bad in a small town like Bedford. Almost smiling, Clarence laid a consoling hand on his client's shoulder. relax, Anna, your car is all right; it's back in our home timeline. What. Anna screamed and her temporary loss of composure momentarily turned the heads of random passerby. Calm. down. The therapist was placid, but insistent. the reason I had you sign my confidentiality agreement is because. Though he's inculcated past clients about his (ahem) technique, he still struggled with how best to put Anna's mind at rest. well, let's just say I have a superpower; like the characters in the comic books. In my case, it's the ability to travel sideways in time. I also age a lot slower than most. Initially, Anna understandably assumed the odd adviser had gone quite mad, so she bolted for her apartment, only to be frightened once the realization dawned that a certain latchkey no longer fit in its slot. "What. What's going on. Despite how tested his patience was, Clarence continued to elucidate to an incredulous client. "Your key doesn't work because, in this timeline, you made the mistake of staying with Izear, and since you either don't understand or won't believe me, let's see for yourself exactly what I mean. Come. Eventually, Anna reluctantly accompanied Clarence Odbody the Second to the squalid residence of Izear Luster; high school football player, pest controller and violent alcoholic. plus, to her everlasting astonishment, she witnessed herself exiting said residence. "This is not a dream. nor is it a hallucination, so no. I* didn't drug you. this is real. Clarence assured his flabbergasted customer, now, as soon as your* other self rounds the corner; soon as I'm sure she's far enough away to be out of Izear's line of sight, we'll all talk. A far more haggard version of Anna Mae Bullock awkwardly limped until she cleared the boulevard where her husband's residence had been and was unreservedly stunned to find an identical (not to mention alimentary) counterpart to herself standing next to a strange, tawny, corpulent gentleman. Upon closer inspection, one could discern numerous bruises, which were barely covered by cosmetics, on an otherwise pleasant countenance. What in the name of all that is holy and sacred. The version of Anna who's been recurrently wounded by an abusive husband stammered with complete bewilderment. Restraining a grin, Clarence Odbody the Second introduced the ladies to themselves. "Holy and sacred, eh? Anna Mae Bullock? Meet Anna Mae Bullock. History literally splits like the tributaries of a river whenever a mortal. I mean, a person makes a split decision. In your case, you're seeing, firsthand, the results of the decision you made to either leave Izear Luster or stay with the monster. Monster. The wounded Anna sounded defensive. "Why you callin' my man a. Why? Lady, you look like the ending of a Rocky movie. Odbody couldn't help but point out and actually startled himself with this exceptional lack of civility on his part. sorry, but. Well, just saying. For her * part, the version of Anna who was rational enough to abandon that monstrous husband stammered with amazement. this is what I look like after Izear. As if stung by an insect, Anna the wounded interrupted; anxious to return to her errand. Izear! Lord have mercy, you two crazies gonna get me in trouble. after scurrying off, towards the nearest grocery, she murmured, but more to herself than anyone else, Izear said get him some crackers to go with his chili, so. Clarence internally aggrandized the learned expression he'd seen on Anna's unwounded countenance just then as they witnessed the sycophantic absconding of her beaten (in more ways than one) counterpart. "For years, Harriet Tubman was misquoted as saying, I freed a thousand slaves, but I could've freed a thousand more if only they knew they were slaves. There's no evidence Tubman said this, and modern historians say the number of people she personally guided to freedom is closer to a hundred. but my* point is. she doesn't know her ass is a slave, but I do. the unwounded Anna grinned with a newfound enlightenment. crackers with his chili. indeed. Thank you, you're worth your fee, Doctor Odbody. Kittenish to the point of being equivocating, Clarence Odbody the Second only mentioned how he wasn't a trained physician and then returned Anna to their home timeline without mentioning anything else. Since he only answered to himself, professionally speaking, Clarence decided against seeing additional clients this December morning and instead took a recess. for something moved him to spend time at the cemetery where his parents were buried. Annabelle "Annie" Lillian Randolph (December 14th, 1898 to September 12th, 1960) was the victim of a hate crime; murdered in her bed (ironically in a place called Bedford Falls) by a Negrophobia-maddened multitude for merely having birthed a "mongrel. Fortunately, his father, Clarence Odbody the First. rescued a swarthy pre-teenager from these utterly irrational vigilantes, before he too could be killed, and literally spirited him from one plane of existence. to* another. for safe keeping. "Hi, mom. the portly, middle-aged therapist flirted with irrationality himself by conversing in an otherwise empty cemetery with a tombstone; an inanimate object, trying like mad to hold onto what fleeing memories I still have of you. Slaving away for the much vaunted Bailey family. Cooking and cleaning for them, but then, somehow still having enough strength to cook and clean for us too. Dad. of course, is* far easier to remember; in the beginning, all that talk of 'angels' and 'Heaven' sounded like just another evangelical. With that pleasant recollection, Clarence briefly smiled widely. of course, whenever you were at work, dad would teach me what he suspected I was capable of; since there was every reason to believe I'd inherited the very power that was taken away from him after he, ahem. fell in love with a mortal. Eventually, I learned to travel to an* appalling place called 'Pottersville. and back. Then, the night they. Took you from us. I was able to teleport dad and myself to other Earths; worlds where mankind is, well, kinder. Clarence Odbody the Second then glanced around him at the surrounding region; past the cemetery and at the pastoral hillsides, the picturesque architecture of rural-suburban America before relenting. but maybe I'm just as masochistic as Anna Mae Bullock, because for some reason, I keep coming back to this timeline. Is Bedford Falls really 'home' for me. While Clarence struggled to tear himself away from this memorial of a murdered domestic; while he bid a lengthy farewell, an sloven, disheveled individual slowly- but-surely sauntered towards the graveyard and overheard at least a portion of his conversation with a deceased parent, assuming you two have reunited in the afterlife, I'm sure you know dad died, happily of old age, on a world where Telsa was taken seriously and subsidized, so assuming there even is an afterlife; assuming dad wasn't just an. I don't know, an interdimensional extraterrestrial or what have you. Then you two really would've been an 'interracial' couple, like the parents of Mister Spock from Star Trek. It was at this point when Clarence Odbody the Second noticed a stranger, albeit one in the distance, might have been listening in on him, so he immediately became uncomfortable in the extreme. then honed in on this stranger's mourning and perceived tearful, tormented utterances, even from afar. Rather than ignore the stranger, Clarence approached and queried, what's the situation. Lifting himself from the gravesite where he'd knelt, that stranger extended a hand to be shaken. "Andros Susskind, of Susskind Clinical Disposal, and you are. Having recognized a local business that specializes in the riddance of used dressings/needles, blood bags, amputated limbs and assorted organs, Odbody opted against returning said handshake and focused on the sequestered-by-dirt casket that Andros commiserated over. "Clarence Odbody the Second. So, what is your situation? Was this a relative? A parent. Andros Susskind examined this tawny, corpulent person, but since Clarence was, for all appearances, a man. he misogynistically presumed a(n unmerited) familiarity with his fellow male. "My* wife. actually, and you're a* relatively good lookin' dude, so you know how it is. Already irritated, Odbody enquired, how what is. Mildly struggling to articulate still-lingering, carnal inclinations, a juvenile sounding Susskind demonstrated a sinister grin which contrasted greatly with his tears, well, getting some trim, of course. I mean, I miss her, and all, but she was starting to look less and less fabulous, so. In addition an angelic longevity and the ability to travel sideways in time, Clarence Odbody the Second also inherited his father's perceptions; if he concentrated sufficiently, this therapist could literally see the totality of a mortal's lifetime as though it were mere cinema. just as the angels in Heaven observed one George Bailey during the 1940s. in so doing, Clarence envisioned a woman in an infirmary, enduring an ungodly amount of pain as a result of contracting Hepatitis, which because of ignorance, was left untreated for the longest and entered its chronic stage. liver failure trailed by cancer. My God! You cheated on your wife, and even after she caught your mistress' disease, you got yourself treatment, but told her nothing. Odbody's outburst startled this capitalist who's responsible for clinical disposal. "All to keep from admitting you're an adulterer. Simultaneously astonished and offended that such an intimate and disturbing secret was inexplicably known to a judgmental stranger, Andros Susskind instinctively swung at Clarence Odbody the Second, but just as instinctively, the son of an angel had taken his would-be assailant to a reality alongside theirs. Still in that cemetery, albeit on a slightly different plane of existence, Andros had wondered where a certain, sudden torrent of wind came from when he demanded to know, what was that shit? The Hell you do just now. Oh, dear. Clarence realized what must've happened in this impulsive moment, but opted to make the most of it, out of righteous spite, if nothing else. well, you shouldn't have tried to hurt me. Seems I've accidentally taken us to a parallel Earth where you came home instead of spending the night with that prostitute mistress of yours. Understandably incredulous, Andros Susskind almost laughed as he angrily strolled away from the memorial with his diseased/deceased spouse. "Parallel Earths? What's next? Gonna 'beam me up. Scotty? You know, my business only handle medical waste, but I can refer to you a couple of shrinks I know. I am a shrink. Clarence sounded incensed at the lack of professional consideration. Really. Susskind responded with a sinister grin. "So, what are you? Some kind of, situational therapist? Well, whatever my situation is, it's none of your concern. Nervous as he was that such a malevolent individual was now privy to his divinity-derived abilities, Clarence Odbody the Second still cared just enough to warn the departing capitalist. wait! This is not your world. Go back to comic con, you freak. Andros Susskind called out before completing his departure from this cemetery and returning to his apartment in Bailey Park. only to later discover another version of himself, who answered the door. What the actual Hell. Then this alternate Andros summoned a familiar figure. "Honey, did you hire an impersonator? There's some dude at the door who looks exactly like me. And at the exact moment that still-living/uninhibited-by-Hepatitis counterpart of Andros Susskind's stepped into view, the version who committed adultery went stark raving mad. "No, no, no. You died! You're dead. Clarence. Take me back, Clarence. Take me back. There might be a passing resemblance. an alive and healthy Kelsey Susskind turned her nose up at the stranger at her door, but this motherfucker's outta his goddamn mind. Sheeeet. Eventually, Clarence Odbody the Second caught up with the capitalist who had departed and brought him back to their home timeline, where he spent the rest of his days in the Oakpark Asylum for the Insane. THE END (FOR NOW.

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Page Transparency See More Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created - July 21, 2013. As a personal project for myself, I decided to compile a list of all the silent films released on blu-ray that I still need to purchase. Since I figured this list would be useful to everyone, I decided to make a complete list of all silent films on blu-ray. So here is every silent film (that I could find) on blu-ray sorted by distributor, then year. I've listed every release, but (in the case of box sets) only listed feature films (anything over 45 minutes) otherwise it would have taken to long to list every short film (with the exception of Un Chien Andalou because it is so famous and sought after. This list does focus on US and UK releases, but I'm sure France, Germany, Italy, etc have many more releases. Italicized titles have releases from other distributors. That way, if youre looking to buy the film you can do some research on which distributor has the best release. I listed films as OOP that I know of, but I'm sure there are some I missed. MOD means a disc is made (printed) on demand, usually a BD-R. I ordered the distributors in order of popularity/how much they have released, with the Public Domain distributors at the end. Please if you see anything I missed (titles, OOP status, etc) let me know! I hope this list is helpful! Kino Lorber Pioneers: First Women Filmmakers (1911-1929) Where Are My Children (1916) The Call of Cumberlands (1916) ‘49-‘17 (1917) The Dream Lady (1918) Broadway Love (1918) Back to Gods Country (1919) Something New (1920) Too Wise Wives (1921) Salome (1923) The Song of Love (1923) The Red Kimona (1925) Motherhood: Lifes Greatest Miracle (1925) Linda (1929) Fantomas (1913) The Devils Needle and Other Tales of Vice and Redemption (1913-1916) The Devils Needle (1916) Children of Eve (1915) Inside the White Slave Traffic (1913) The Half-Breed (1915) The Birth of a Nation (1915) Pioneers of African American Cinema (1915-1946) Within Our Gates (1920) The Symbol of the Unconquered: The Story of the Ku Klux Klan (1920) Body and Soul (1925) The Flying Ace (1926) Ten Nights in a Bar Room (1926) Eleven P. M. (1928) The Scar of Shame (1929) Hell-Bound Train (1930) The Exile (1931) Hot Biskits (1931) The Girl from Chicago (1932) Ten Minutes to Live (1932) Veiled Aristocrats (1932) Birthright (1938) The Bronze Buckaroo (1939) The Blood of Jesus (1941) Intolerance (1916) Buster Keaton: The Complete Short Films (1917-1923) Fritz Lang: The Silent Years (1919-1929) The Spiders (1919-20) Harakiri (1919) The Plague of Florence (1919) The Wandering Shadow (1920) Four Around the Women (1921) Destiny (1921) Dr. Mabuse, The Gambler (1922) Die Nibelungen (1926) Metropolis (1927) Spies (1928) Woman in the Moon (1929) The Spiders (1919-20) Dr. Jekyll and Mr. Hyde (1920) The Penalty (1920) Way Down East (1920) The Cabinet of Dr. Caligari (1920) The Saphead (1920) OOP The Sheik (1921) Destiny (1921) Dr. Mabuse, The Gambler (1922) Foolish Wives (1922) Sherlock Holmes (1922) OOP Nosferatu (1922) The Covered Wagon (1923) Zaza (1923) Our Hospitality (1923) Sherlock Jr. Three Ages (1923-1924) OOP Three Ages (1923) Sherlock Jr. (1924) Go West & Battling Butler (1923-1925) OOP Go West (1923) Battling Butler (1925) The Epic of Everest (1924) Manhandled (1924) Peter Pan (1924) The Navigator (1924) The Phantom of the Opera (1925) The Eagle (1925) Stagestruck (1925) Variete (1925) Strike! 1925) Battleship Potemkin (1925) Seven Chances (1925) OOP Its the Old Army Game (1926) 3 Bad Men (1926) Old Ironsides (1926) The General (1926) OOP You Never Know Women (1926) The Black Pirate (1926) OOP The Holy Mountain (1926) Faust (1926) Moana (1926) The Son of the Sheik (1926) Die Nibelungen (1926) Metropolis (1927) Uncle Toms Cabin (1927) Running Wild (1927) College (1927) OOP Hitchcock: British International Pictures Collection (1927-1931) The Ring (1927) The Farmers Wife (1928) Champaign (1928) The Manxman (1929) The Skin Game (1931) Underground (1928) Shooting Stars (1928) Beggars for Life (1928) Spies (1928) Steamboat Bill, Jr. (1928) OOP Woman in the Moon (1929) The Informer (1929) Blackmail (1929) Diary of a Lost Girl (1929) Tabu (1931) Flicker Alley Melies Fairy Tales in Color (1899-1909) A Trip to the Moon (1902) Early Women Filmmakers Anthology (1902-1942) The Star Prince (1918) La Cigarette (1919) The Blot (1921) The Peasant Women of Ryazan (1927) Le Roi des Aulnes (1929) The Woman Condemned (1934) The Mack Sennett Collection, Vol. 1 (1909-1933) Fanchon the Cricket (1915) Charlie Chaplin: The Essanay Comedies (1915-1916) Sherlock Holmes (1916) Charlie Chaplin: The Mutual Comedies (1916-1917) The Extraordinary World of Charley Bowers (1917-1940) Rudolph Valentino Collection, Vol. 2 (1918-1922) MOD A Society Sensation Virtuous Sinners Stolen Moments The Young Rajah Rudolph Valentino Collection, Vol. 1 (1919-1922) MOD Eyes of Youth Moran of the Lady Letty Behind the Door (1919) Jaccuse (1919) MOD Masterworks of the American Avant-Garde Experimental Film (1920-1970) 3-D Rarities (1922-1962) Nanook of the North / The Wedding of Palo and Other Films of Arctic Life (1922-1934) Timothys Quest (1922) MOD The Ancient Law (1923) The Hunchback of Notre Dame (1923) LInhumaine (1924) Man with a Movie Camera and Other Works by Dziga Vertov (1924-1934) Kino-Eye (1924) Kino-Pravda #21 (1925) Man with a Movie Camera (1929) Enthusiasm: Symphony of the Donbass (1931) Three Songs About Lenin (1934) A Page of Madness & Portrait of a Young Man (1925-1931) MOD Portrait of a Young Man (1925-31) A Page of Madness (1926) Little Annie Rooney (1925) The Lost World (1925) The Late Mathias Pascal (1926) The Living Dead Man Feu Mathias Pascal Children of Divorce (1927) Berlin: A Symphony of a Great City (1927) MOD The Garden of Eden (1928) MOD The Man Who Laughs (1928) LArgent (1928) Der Hund von Baskerville (1929) The Last Warning (1929) Fragment of an Empire (1929) The Criterion Collection To Be or Not to Be (1916-1942) Shoe Palace Pinkus (1916) To Be or Not to Be (1942) Stagecoach (1917-1939) Bucking Broadway (1917) Stagecoach (1939) The Kid (1921) The Phantom Carriage (1921) Haxan (1922) Safety Last! The Gold Rush (1925) Master of the House (1925) The Freshman (1925) The Kid Brother (1927) The Lodger (1927) The Lodger (1927) Downhill (1927) 3 Silent Classics by Josef von Sternberg Underworld (1927) The Last Command (1928) The Docks of New York (1928) The Passion of Joan of Arc (1928) Speedy (1928) The Circus (1928) Lonesome (1928-1929) Lonesome (1928) The Last Performance (1929) Broadway (1929) City Lights (1931) Modern Times (1936) EUREKA: Masters of Cinema The Birth of a Nation (1915) Intolerance (1916) Buster Keaton: The Complete Short Films (1917-1923) Lubitsch in Berlin (1918-1921) I Dont Want to Be a Man (1918) The Doll (1919) The Oyster Princess (1919) Sumurun (1920) Anna Boleyn (1920) The Mountain Cat (1921) Madame Dubarry (1919) The Golem (1920) The Cabinet of Dr. Caligari (1920) Destiny (1921) Early Murnau (1921-1925) The Haunted Castle (1921) Phantom (1922) The Grand Dukes Finances (1924) The Last Laugh (1924) Taruffe (1925) Dr. Mabuse, The Gambler (1922) Nosferatu (1922) Coeur Fidele (1923) OOP The Thief of Bagdad (1924) Michael (1924) Buster Keaton: Three Films (1924-1928) Sherlock, Jr. (1924) The General (1926) Steamboat Bill, Jr. (1928) Man with a Movie Camera and Other Works by Dziga Vertov (1924-1934) Kino-Eye (1924) Kino-Pravda #21 (1925) Man with a Movie Camera (1929) Enthusiasm: Symphony of the Donbass (1931) Three Songs About Lenin (1934) Variete (1925) The Holy Mountain (1926) Faust (1926) Die Nibelungen (1926) Wings (1927) Sunrise (1927) Metropolis (1927) The Last Command (1928) The Passion of Joan of Arc Spies (1928) Diary of a Lost Girl (1929) Woman in the Moon (1929) City Girl (1930) Tabu (1931) BFI: British Film Institute Minute Bodies: The Intimate World of F. Percy Smith (1910-1942) Pioneers: First Women Filmmakers (1911-1929) Where Are My Children (1916) The Call of Cumberlands (1916) ‘49-‘17 (1917) The Dream Lady (1918) Broadway Love (1918) Back to Gods Country (1919) Something New (1920) Too Wise Wives (1921) Salome (1923) The Song of Love (1923) The Red Kimona (1925) Motherhood: Lifes Greatest Miracle (1925) Linda (1929) Pioneers of African American Cinema (1915-1946) Within Our Gates (1920) The Symbol of the Unconquered: The Story of the Ku Klux Klan (1920) Body and Soul (1925) The Flying Ace (1926) Ten Nights in a Bar Room (1926) Eleven P. (1928) The Scar of Shame (1929) Hell-Bound Train (1930) The Exile (1931) Hot Biskits (1931) The Girl from Chicago (1932) Ten Minutes to Live (1932) Veiled Aristocrats (1932) Birthright (1938) The Bronze Buckaroo (1939) The Blood of Jesus (1941) The Birth of a Nation (1915) Charlie Chaplin: The Essanay Comedies (1915-1916) Charlie Chaplin: The Mutual Comedies (1916-1917) JAccuse (1919) Nosferatu (1922) The Epic of Everest (1924. The Great White Silence (1924) The Soviet Influence: Battleship Potemkin + Drifters (1925-1929) Battleship Potemkin (1925) The Drifters (1929) The Phantom of the Opera (1925) The Carl Theodor Dreyer Collection (1925-1964) Master of the House (1925) Day of Wrath (1943) Order (1955) Gertrud (1964) The Adventures of Prince Achmed (1926) The Battles of Coronel and Falkland Islands (1927) Napoleon (1927) Underground (1928) Shiraz: A Romance of India (1928) Shooting Stars (1928) The Informer (1929) People on Sunday (1930) LAge dOr (1929-1930) Un Chien Andalou (1929) L-Age dOr (1930) Cohen Media Group The Birth of a Nation (1915) The Thief of Bagdad (1924) The Buster Keaton Collection, Vol. 2 (1924) Sherlock, Jr. (1924) The Navigator (1924) The Buster Keaton Collection, Vol. 3 (1925-1926) Seven Chances (1925) Battling Butler (1926) The Buster Keaton Collection, Vol. 1 (1926-1928) The General (1926) Steamboat Bill, Jr. (1928) Curzon: Artificial Eye The Chaplin Revue (1918-1923) The Kid (1921) A Woman of Paris (1923) The Gold Rush (1925) The Circus. 1928) City Lights (1931) Modern Times (1936) Milestone Films Rags & Riches: The Mary Pickford Collection (1910-1924) OOP The Poor Little Rich Girl The Hoodlum Ramona Sparrows In the Land of Headhunters (1914) Shoes (1916) The Dumb Girl of Portici (1916) The Daughter of Dawn (1920) The Adventures of Prince Achmed (1926) Cartoons on Film Cartoon Roots (1907-1932) Cartoon Roots: Halloween Haunts (1907-1936) Cartoon Roots: The Bray Studios (1913-1921) Warner Brothers The Big Parade (1925) Ben-Hur (1925-1959) Ben-Hur (1925) Ben-Hur (1959) The Jazz Singer (1927) Paramount Pictures The Ten Commandments (1923-1956) The Ten Commandments (1923) The Ten Commandments (1956) Wings (1927) 20th Century Fox Sunrise (1927) HMV Exclusives The Ten Commandments (1923-1956) The Ten Commandments (1923) The Ten Commandments (1956) Twilight Time The Birth of a Nation (1915) FranceTV Distribution Lumiere! Le Cinematographe (1895-1905) Network The Lodger (1927) Moulin Rouge (1928) Undercrank Productions When Knighthood Was in Flower (1922) Grapevine Video Uncle Toms Cabin (1903-1926) Uncle Toms Cabin (1903) Uncle Toms Cabin (1914) Uncle Toms Uncle (1926) East is East (1916) Fabiola (1918) Dangerous Hours (1919) The Phantom Honeymoon (1919) The Restless Sex (1920) The Mollycoddle (1920) Miss Lulu Bett (1921) Enchantment (1921) Ducks and Drakes (1921) Dream Street (1921) The Virginian (1923) The Cowboy and the Flapper (1924) The New School Teacher (1924) Headlines (1925) Wild Horse Mesa (1925) Mantrap (1926) The Great K&A Train Robbery (1926) Risky Business (1926) The Canadian (1926) Dangerous Traffic (1926) Made for Love (1926) Ella Cinders (1926) Chip of the Flying U (1926) Billy Dooley Comedies (1927-1929) Dumb Belles (1927) Wild Wallops (1927) Water Bugs (1928) Campus Cuties (1928) Sea Food (1928) Gobs of Love (1928) Happy Heels (1929) Off the Deck (1929) The Thrill Seekers (1927) White Gold (1927) Casey at the Bat (1927) A Perfect Gentleman (1928) Brothers (1929.

Help find cinema the gentlemen song. Help find cinema the gentlemen room. Goúd? 👁wanna c it🌿🔥👍🏾. Thx u🙌🏿💀😤♎... Help find cinema the gentlemen 2. Help find cinema the gentlemen series. God I love Charlie Hunnam so much. Literally the loml. Yeah IGN is talking nonsense on this one. This not about the end goal, its about the journey there. Help find cinema the gentlemen group. Help find cinema the gentlemen cast. I clicked because I thought the thumbnail was a Xenomorph. Muito obrigado... Senhores! Acabo de chegar de viagem e vejo que todos já se manisfestaram positivamente sobre o programa recém terminado. Um Programa que reúne Chilenos, Argentinos, Espanhóis, Portugueses, Peruanos e, Brasileiros, consolida-se por si só como genuinamente Internacional. Ainda mais, se todas estas pessoas conseguem interagir enter si, e com o programa idealizado por alguém! Jorge, muito obrigado pelo convite de participação no 1o programa Gentleman Drivers, pois não só tive o prazer de conhecer o deserto e suas belezas inesquecíveis, como pude disfrutar do conhecimento e convivência de pessoas agradabilissímas que em um curto espaço de tempo souberam conviver em harmonia e tornaram-se ” amigos do deserto ”, como corresponde a um programa de aventura como este. Além dos nomes já citados nos mails anteriores, gostaria de lembrar os nomes das pessoas do Staff que efetivamente sem elas, nada disso poderia ter acontecido; aos amigos Marcelo, Alejandro, Alessandro, Sacha, e Cláudio ( meu co-driver) um abraço e certeza de que breve estaremos outra vez. Antonio, transmita a todos os teus convidados e agora nossos ” amigos do deserto ”, um grande abraço e registrando que quero sim, ver correr este SCL-Truck2012! O Hans falou! Aos brasileiros do programa lhes felicitarei por aqui em um pronto jantar! Avise também ao Max K. que o programa Rally dos Sertões segue! Envie também saudações ao Amon e parabenize-o pelos seus Buggyes – são notáveis! Sucesso a todos e felicidades, amigos do deserto.

Absolute class. Would see it again and again
Guy Ritchie back to his best. 'The Gentlemen' is a return to Guy Ritchie's return to form. While no 'Snatch' or 'Lock, Stock & Two Smoking Barrels' it's a mostly fun British gangster romp, with a token American, this time Mickey (McConaughey) as the pot-dealing kingpin. It's ironic in that they are mostly gentlemen in how they dress and how they speak, except or the number of c-bombs dropped! Great cast, but lots of players, so no one gets much of a chance to shine.
Mickey's tale of selling his drug empire to Mathew (Strong) is told via a long discussion between Fletcher (Grant) a journalist, and Raymond (Hunnam) Mickey's right-hand-man. Grant is pretty funny trying to do a possibly Welsh accent. The device of using the discussion to show the narrative, means the film can go back and correct the story when it needs to. There's a few twists and turns and while it's fun watching Grant and Hunnam, the film really picks up in the final act when we're in "real time. Good to see Farrell have fun, as well as Golding and Dockery.
The main problem with the narrative device is that Mickey doesn't seem real and McConaughey's character isn't really fleshed out. Solid ending, but not really enough action or drama to engage throughout. Some funny moments, but not really laugh-out-loud for the most part.

These two fellas have made my life living abroad so much more enjoyable and homesick at the same time - but I love it.

Help find cinema the gentlemen free. Frankness as never before, disillusions as never told in the old days, hysterias, trench confessions, laughter out of dead bellies. There died a myriad, And of the best, among them, For an old bitch gone in the teeth, For a botched civilization. Ezra Pound (Hugh Selwyn Mauberley, Part I) Part I. When the Moon Shines Bright on Charlie Chaplin The guns fell silent against the slow dimming of the light, leaving only the mist. Eerie stillness punctuated by the odd cough, an errant moan, the flick of a lighter lighting a cigarette, an orange spark breaking through the white, and then, nothing. We had been at the Front for fourteen days, fourteen long, ageless days. Those who came in as young boys full of youth, Angustam amice pauperiem pati, now were aged and stern. Hid away in burrows with names like King's Cross, Rats' Alley, Piccadilly Gardens. The irony was palpable. We had halted our advance near Pozières, the Germans were dug in well. On quieter nights, you could hear them sometimes. Snatches of song or a chuckle at a joke, laughter, screams. I didn't hate them then, as I came to later. Sergeant Sherriff, a portly man with a thin moustache and cheeks like butcher's meat, interrupted my thoughts. "Sir. he said. "Do you think the attack will come soon? We've been waiting too long and I'd like to get it over with, give the huns a kick. I can't take all this waiting. Nothing happens. Nobody comes, nobody goes. It's awful. I gave him a strange look, hearing these last words, tinged with familiarity, but the thought was soon lost and I told him it'd be any day now, and his fat cheeks puffed with the vague satisfaction of someone in a hospital waiting room who knows he's to be called up soon enough. I was lighting a cigarette when Private Evelyn, my runner, a young Lancastrian lad, came full-pelt into me, knocking it out of my hand and into the thick mud. "God damn it man, watch your bloody step. I roared. "A message from Captain Brideshead, s-sir. he said, panting. "They want us to make a push to capture the German's forward trenches at first light, in preparation for the Aussies' attack in the next few days. I see. I said, pulling another cigarette out from a dog-eared packet and putting it into my mouth. "Right then. Sergeant Sherriff, make the men aware of the situation. Issue them a glass of wine each. We'll attack at first light. Private Evelyn, inform the artillery. Aye sir. the fat sergeant responded. Private Evelyn too, nodded, before snaking off through the labyrinthine pathways of the trench. The trenches like arteries; red with clay, winding through the ancient lands. The rain fell in sheets, carrying with it the ominous smell of pestilence and death, bully beef and phosgene gas. I sucked the smoke from the cigarette deep into my lungs, letting the foul tobacco stench wash away the smell of decay and death and lifting my head to the rain, I let out a sigh, watching the darkening clouds. The silence of the night carried with it the anxiety of a thousand undead men. Those, in limbo, waiting for the moment they passed. Nobody spoke about it, but we all expected to die. Carried too, on the silence, were the sounds of a radio far off, somewhere in the distance; distorted and vague. "It's a long way to Tipperary. It's a long way to go. Goodbye Piccadilly, to the sweetest girl I know. Lance Corporal Bogarde shifted in his bunk. "Oh, what a lovely war. he uttered, before passing back to sleep. I stayed a while, listening to the words of the song, listening and unlistening. Sleep did not come easily to me. The morning was marked by darkness and mist. The first few shafts of light were beginning to be seen above the horizon, penetrating the black-blue gloom with hazy orange light. The men were already at attention, awaiting the whistles' knell, to charge towards the enemy; to that Hellmouth. Many fumbled at letters, or with their rifles, but most just stared at nothing, eyes glazed over with the false bravado of the damned. "Right lads. I started. "The huns, they have a shortage. Of what sir, ammunition. Private Phillips joined in, to this old joke. "Negative Private, of corpses. So we're going to charge over there, and see if we can help them out. This elicited a few false chuckles from the men. "If we can capture, and hold, their trenches, then we'll be in a fine position to support the Australians as they assault Mouquet Farm. Our artillery boys will support us before the attack, and then we'll take 'em. Ten minutes tops. Not too bad, right lads. The men shuffled and murmured, and stared at their feet. "Corporal Toplis will provide you each with a cigarette and a glass of whiskey. Compliments of Captain Ryder, and we know how much those front-dodging bastards back at headquarters love their whiskey, so you can feel ruddy special, lads. Cheers and jeers resounded down the line as the whiskey was poured out to tremulous hands. I too, took a cupful and drank it in one firm, foul gulp. Then the laughter and talk dissipated and once again there was silence in the mist. I shouted to the men to ready arms, the clacks of reloading rifled echoed down the line. I put the whistle to my mouth, took a shaking breath, breath unsteady in the frosty air; hands trembling, and blew. II. Strange Meetings It was privates Howard and Philips who got it first, I saw. Stumbling, falling back into the trench like sack-cloth dolls. I pressed on, blowing the whistle and holding my revolver firmly in the air, the cold metal felt leaden in my hand. Machine-gun fire erupted and tore up the ground in blankets of chaotic dirt, it tore through men like rain through newspaper and then came too, the shelling. For a moment, a glimpse of Corporal Manning, red-faced and screaming against the tide. Then, a screeching across the sky. Whirlwind of dust and blood, kaleidoscope of gore and then, the silence, the ringing in my ears. Corporal Manning, nothing but one scorched patch of dirt on a bloodied battlefield. Corporal Manning, gone. We were many, and then we were few, and the few separated from the many found themselves stumbling blind through the chaos. I fired a few shots ahead of me and groaned, the earth shifting under foot as the barrage rained down upon us. Further into the fog, I saw a Brodie helmet. Running towards them and diving to the ground, I realised it was Private Evelyn and somebody else I did not recognise. "Who wouldn't be a soldier, eh. Evelyn said, bitterly through broken teeth. The other soldier raised his rifle and fired aimlessly into the blinding fog. Then came once more, the screeching. Time appeared to hasten, I heard the crash, felt the shrapnel and dirt land upon my body, raining down hot and painful. I saw the unknown soldier crawling on the dirt. Crawling away from his lower half, separated from the upper. Long, red intestines trailing like fat ripe worms. I felt too, the bullet pierce my shoulder, saw the screaming mouth of Private Evelyn, shouting wordlessly to me. With nothing better to do, I tried to laugh. I blacked out. I awoke coughing, amid unnerving silence. Sand filled my mouth and rained down upon my body. The sky overhead was a dim purple. I reached into my pocket and pulled out a cigarette, placing it in my mouth and lighting it with the flick of a match. I wanted to smoke a Vogue, I thought. I wanted a pretty young mademoiselle I thought. I wanted to be back in Oxford with Professor Pound, and Mr. Shadrack. I smoked the cigarette and looked at the purple-red sky, undulating like waves above my head. It didn't occur to me then, that this was not where I had been ten minutes ago. I smoked the cigarette and thought of little winding avenues to ride one's bicycle down, of the bookstore and tea-room, the public house with the wooden walls where the undergraduates drank pints of bitter and discussed poetry and "the European influence. I thought of my old roommate, good old Larkin. He'd been had he? What regiment was he in? What was it that I'd studied? Had I studied? I sat up. I was sat on one patch of sand of many. A vast, golden desert. A soft wind blew grains of sand through my fingers. In the distance there were dunes. Figures, too, I saw. It was Private Evelyn with Sergeant Sherriff, unpacking their kit, using their greatcoat in what looked like some perverse picnic. I wandered towards them. "I do believe we're fucked sir. Sherriff said matter-of-factly. "Fucked. I asked. "Buggered, sir. Evelyn added. "The lad's right, sir. Sherriff said. "I might never have finished school, or went to university like you sir, but I am decent enough at geography to understand that this ain't France. Quite right. I said. I reached for a cigarette but I was out. Through gritted teeth, I cursed under breath and wiped a hand across my forehead. up, let's try to find some others. See if they know anything we do not. I said. For what felt like aeons under that blazing purple sun, we wandered. I, at the head of the column, followed by the young private, and the portly sergeant in the rear. Find others, we did. First just the odd soldier, stumbling lost through the sand, clawing, half-mad. Then clumps of them. I recognised a few: Corporal Toplis, Lieutenant Crouchback, Private Morrissey. We were camped under red-purple skies, a fire blazing from the few scraps of wood the men could scrounge. Private Evelyn lay on his side, staring off behind the dunes. His soft melancholy voice sang quietly. "There's a long-long trail a-winding, to the land of my dreams. Other men joined in, looking dejected. Faces half-lit midst the tremulous light. "Where the nightingales are singing, and a white moon beams. I was smoking from a wooden pipe I'd found in an abandoned kit. I exhaled and joined in the song. "There's a long-long night of waiting, until my dreams all come true. All the men sung, forceful and melancholy, interspersed with the crackling of firewood. "Till the day when I'll be going down that long-long trail with you. The singing gave way to whistling, and I could have cried. I curled up into myself, away from the men and that madding crowd, my eyes fixed on that nightmare sky and my thoughts of half-remembered home. Why could I not remember it? I wanted to see my mother again. The men were so very young, and I was young too, I thought. To them I was ancient. I fell asleep and the sand blew faintly over us as we slept. The day started well. Sherriff and Toplis had found a uniform in the desert, laid out in the shape of a man. Brodie helmet, khaki, boots. In lieu of a face were stones. Two for eyes, and a number of them arranged in a grim smile. It was not this disturbing discovery that made the day well, but rather the four bottles of wine also there. Two for hands, and two for feet. I let the men drink the wine, morale was low enough in this hellscape and I too, partook. The day started well, but that did not last very long. We were half-cut when we found it. The men sung bawdy songs and threw the empty bottles across the emptier horizon, to be swallowed up by the sand. This ceased when we found the monolith. There, in the empty plains, a sunken monolith which stretched improbably up into the sky, adorned with crude carvings of faces; laughing and screaming, surrounded by chunks of stone, and the desert, barren and bare. "Signs of life, sir. asked Sergeant Sherriff. "If this can be called life. added a dour-faced private. "Aye, at least they're happy to see us. laughed Corporal Toplis, pointing at the smiling visages on the stone monolith. "Kinda looks like your sister, Sergeant. said Evelyn, drunkenly laughing. He pressed his lips to cold stone and in an instant, became one with it. His hand stuck to the stone and it pulled him in, skin expanding. He screamed. His body was dragged further into the monolith, absorbing his flesh; it stretched out like puddles, the bones cracked and rippled as if they were water. He screamed and his his eyes were wide with unending horror. "God, no! Please, sir! Oh god, help me. The screaming went on, until only Private Evelyn's face was left, slowly turning to stone, the terrified eyes becoming hollow and grey as he was fully absorbed into the monolith, his face twisting, turning, widening in the gyre. Some men took out their revolvers and fired upon the monolith but achieved only dust, and those two bullet-holes that were his eyes. Private Evelyn's visage a portrait of eternal agony. A faint gurgling from the monolith, and then, silence. Naught but the faintly blowing wind across the endless golden dunes. I lit my pipe, and we moved on. That night at camp, we did not speak. Each man was left to their own, private thoughts. Beside our campfire, I sat alone, caressing the barrel of my Webley revolver, aiming out at the nothingness, mimicking a shot. I drank the dregs of the wine and succumbed to an uneasy sleep. I was awoken suddenly by the scrambling of men and the cocking of rifles. I jumped up and held my revolver out. "What in the hell. I heard one man say. Figures, faces, figures in their thousands were shambling across the sands, tumbling down dunes, towards our camp. A hundred feet from us they stopped, and they stood still, looking at us. The gun trembled in my hand. Out of the horde came a man in a strange green uniform. The inscription read 'U. S. Army, Cacciato. He spoke with an American accent. "Relax friends. the man said. "Address yourself at once, soldier. I insisted with shaking breath. The man laughed. "Name's Cacciato, first name Timothy. Master Sergeant. United States Army. I too fell in fire and smoke, I saw the napalm as it lit up my friend, my Captain. Oh, Captain Pierce, how he screamed. I too felt the bayonet as it pierced my guts and the screaming face of the slant-eyed bastard that killed me. I befriended him later though, now we're inseparable. What the bloody hell is this place. I said, half-mad, my revolver pointed at the man's face. "This is the place beyond the Valley of Dead Roads, beyond the Western Lands, after the fall of The Cities of Red Night, this is the Desert of Shadows and we are its Shadowplay. We are not meant to be here, but we cannot pass through. You'll understand, my friend, in time. And then as if out of nowhere, thousands of figures stepped forward, some ancient, wielding swords, some in uniforms of bright red and hats of white, some I could recognise in Pickelhaube or Stalhelme, some in uniforms of metal I could not describe, carrying weapons beyond my comprehension. Another man stepped forward. He wore a blue shirt and a slouch hat. He spoke with an Australian accent. "Aye, the man's right, mate. Name's Beckett. We're not meant to be here, and neither are you. What did you do to end up here, ay? Me? I got it at Gallipoli. Well, me and me mates were in trouble, so I shot dead a stupid sergeant, but I got hit in the crossfire. Woke up here. The Australian soldier lit a rolled up cigarette and exhaled casually, as if bored by all this. The American placed a hand upon my shoulder, as my men readied their rifles at this ungodly mob. The American spoke again. "This is your world now, my friend. Come join us in this procession of the damned. No, no! You're all wrong! This is madness! There is another world, there is a better world! There must be! Damn you and this foul place! This nightmare! This madness! There is a better world! Oh, there must be! Stop. I could not take it, and in short, I was afraid. I ran. I heard the clambering of men behind me, I knew not if they were my lads, or that nightmare army, that damned procession of hell's soldiers. I heard the American's voice shouting after me. "What is your name, officer and gentleman. I stumbled in the thick sand, twirling back, firing two shots of my Webley with mad carelessness. The American did not stumble. "What is your name mon frere, mein bruder! Hypocrite lecteur, — mon semblable, — mon frère! Did you have a pretty mademoiselle, a little tight Fräulein? Did you meet by the cinema and smoke a cigarette and talk about nothing. He laughed further. "Does that take you back to Oxford? What was it you studied under Professor it? Or Professor Shadrack? Why can't you recall, o' brave Captain? Or is it Captain? What is your rank? What, pray tell, even is your name. I screamed something incomprehensible, and I ran, for aeons I ran, across that endless sand, that nightmare realm. Sometimes I'd sight spires of spiraling stones, far in the distance; reaching up beyond the purple-red sky, sometimes at night, I'd hear the beating of lungs, so loud in my head as if they were larger than the desert itself. I ran until I lost all sight of the unreal soldiers, and of my own men. I left them to rot, back there in the dust. My uniform half ragged, clutching a rusted revolver, I fell face first into the sands. The sand from the dunes swirled around me, covering my body, I was too tired to fight against the tides. I closed my eyes. III. Living too Late no, you see, I had to leave them, nonononono it was necessary me or them private evelyn is one with the stones private screams blank agony no one hears no one hears i am in the valley of dying stars the hollow valley of dead man's dreams fat man with cheek's like butchers meat devoured by the lungs such is life in the dead land the land of no cactus and no rocks - Unknown (found scribbled on a parchment in a bombed out farmhouse, 1916) The guns fell silent against the slow dimming of the light, leaving only the mist. The sky above no-man's land was a purple-red. We had been at the Front for a hundred days, a hundred long, ageless days. Those who came in as young meat full of youth, memento mori, were now aged and stern. Hid away in burrows with names like King's Cross, Rats' Alley, Monolith Mile, Piccadilly Gardens. I hated them, the bastards, I wanted to gut them and hear their anguished cries. Sergeant Evelyn, a young Lancastrian lad with a thin features and wild, staring eyes, interrupted my thoughts. I gave him a strange look, hearing these last words, tinged with familiarity, but the thought was soon lost and I told him it'd be any ay now, and his gaunt face quivered with the vague satisfaction of someone in a hospital waiting room who knows he's going to die soon enough. I caressed the barrel of my Webley, and stared out across the blood-red sky, tinged with spiraling hues of purple, far across that waste land. I pulled the pipe from my pocket, matches trembling in my hands as I halted for a reason I could not explain, before lighting up and exhaling, against the endless dimming of the light.

Guy Ritchie has always been hit or miss with me especially in recent years but it is safe to say that this film is arguably his best and definitely up there with Lock Stock and Snatch.
It does take maybe 20 minutes to get going and get great but once it does, it's fantastic. It's hilarious and a great intelligent crime film.
Everyone is terrific here. All delivering great performances. For me the stand out was Hugh Grant and Colin Farrell who provide some of the best moments of the film.
It's a very creative and stylish film and I wouldn't say there are many flaws in the film. It's a story which gets a fresh and unique take on it and Guy Ritchie really out did himself here.
Also "old McDonald had a farm" is used hilariously here.

Sjws going nuts again 🤣. Help find cinema the gentlemen movie. Help find cinema The gentlemen drivers. Before writing here, Ive read many debates over the factions in New Vegas. Although Ive seen many good points, I also feel that Mr. Robert Edwin House is often grossly misunderstood – both by his supporters AND by his detractors. To assist, Ive endeavoured to read up on all dialogue, letters and terminal entries concerning House, and from that write out a summarized biography with occasional insights into the mans character. What youll read is by no means exhaustive (and I always enjoy new perspectives from others) but it IS going to be a fair bit of reading. I mean, seriously, this is the abridged biography of a 200+ year old man, not some low-effort meme post. Grab yourself some biscuits and make some nice hot tea. Sit back, relax and enjoy at your own pace. DISCLAIMER: A flaw of my writing style, especially when using this many words, is that I can appear all over the place at times. I'm trying to improve that. Feedback is appreciated, and I love answering questions should you have any. Don't panic if I don't respond quickly though, IRL is kinda hectic right now. Anyways, where shall we begin? Oh, right. To understand House, we must examine the context he inhabited Pre-War. 1) Family Matters “Born June 25th, 2020, House was orphaned at an early age when his parents died in a freak accident (auto gyro, lightning. Though cheated of his inheritance, House attended the prestigious Institute in Massachusetts and founded RobCo Industries on his 22nd birthday. Within five years, it was one of the most profitable corporations on Earth. ” Mr. Houses obituary (“A Tragedy Has Befallen All Mankind”) I have tried to find other texts to support the story Robert House gives of his early life (since we all know his obituary has more than a little embellishment in it) but havent found much, other than the eerie terminal logs in the H&H Tools Factory. The logs in general paint an objective picture of his half-brother Anthony House as a deranged man, ending with this noteworthy passage: “It's worse than I feared. Henderson sent a 10-point memo outlining the benefits of mechanization and automation. As if I wouldn't know he's been plotting with my half-brother the entire time! I knew he was a weasel-dick traitor from the moment I laid eyes on him. Only one thing to do. One thing, and the company - my father's LEGACY - is safe forever. Cindy-Lou will bring him to me, and then I'll make an example. The Bastard will learn why you don't cross the House. ” Anthony House, regarding Robert House. and “Jenny, What the hell is up with these guys? They've been coming after our market share like they've got something to prove. No, strike that, this feels personal. Did Mr. H. run over RobCo's dog or something? Alan” With the above in mind, it is believable that Anthony House had cheated Robert House out of his inheritance, with the former viewing the latter as “The Bastard” (due to Robert being the younger half-brother) and thus undeserving of any part of the House family legacy. We can thus take the QUOTED part of Houses obituary above more or less at face value. 2) The end is nigh! Now, years after raising a famous company from almost nothing, Mr. House deduced the occurrence of the Great War. By his own account, he first deduced this in 2065 – at this point in time, according to the Fallout Bible and Van Buren, Vault-Techs “Project Safehouse” had been in motion for over 11 years with the apparent goal being to shelter humanity in the event of a large-scale nuclear or bio-weapon holocaust. Europe and the Middle East were mutually ruined due to extended conflict and lack of resources. Heritage sites like the Grand Canyon were open to be mined. And the UN may-or-may-not-have been disbanded. Going by the GNN report in Fallout 2 the UN still had at least another (fairly ineffectual) 9 years left counting down from 2065. According to the Fallout Bible, it was already long dead. Either way, the world was in bad shape. Itd be easy for us, at this point, to turn to Mr. Houses prediction and say something along the lines of “No kidding”. It seems obvious, from where we stand now in the Pre-War Fallout world, that there would be a nuclear Holocaust. And indeed, it was obvious. Even the Mormons were buying spots in Project Safehouse, if we are to believe Van Buren in that particular instance. What made House unique in his deduction, however, was knowing not only that the Atomic Holocaust WOULD happen no matter what (Vault-Techs plans were based more around general contingencies for any large-scale apocalypse) but he also knew precisely WHEN it would happen – the War only starting a day or so sooner than he expected. As an aside, in light of the shambles the Pre-War world was in, one must wonder just how much it actually meant to be “one of the most profitable corporations on Earth”. Earth, at that point, was almost a wasteland already and House still built and sustained a thriving business. But I digress; were not yet worrying about how House could rebuild a wasteland. What we need to look at now is this – what did House do with his uniquely precise knowledge of the impending Apocalypse? “I knew I couldn't ‘save the world, nor did I care to. But I could save Vegas, and in the process, perhaps, save mankind. ” Robert Edwin House And really, it is no wonder House did not care to save the world – there was barely anything left to save. The UN – an international force for peace – had either died or was rapidly weakening. The U. S. began setting its sights on annexing Canada. Entire forests were felled, Once-ler style, just as countries were felled to acquire them. Sure, people could build power armour, but only because the US military could no longer afford to fuel their tanks for sufficient mobility, and their “Mechanized Cavalry” needed something to take into battle. Even electricity is rationed after the fusion reactor of New York City almost went supercritical under the strain of providing for a 17 million+ strong population (Fallout Bible. And, despite all their troubles, America was still one of the best off countries in the world at this point (which makes you wonder how much worse it was in the others. But whilst America carried on, Lonesome Road and Old World Blues show us that its values had changed, almost as if in a twisted homage to Heath Ledgers Joker - “You see, their morals, their code, it's a bad joke. Dropped at the first sign of trouble. They're only as good as the world allows them to be. I'll show you. When the chips are down, these. these civilized people, they'll eat each other. See, I'm not a monster. I'm just ahead of the curve. We see this theme echoed in the NCR and even the Followers of the Apocalypse, but well get to that later. The Pre-War world wasnt some ideal Utopia that was only ruined by the tragedy of the bomb. It was already a desperate place, already a wasteland in many ways. There simply wasnt enough left on Earth to provide for everyone (RIP Charlie Chaplin. And thats why House could never hope to save everyone, let alone the planet they lived on. Anything he tried on that scale would be “too little, too late”. 3) Who Wants to Live Forever Anyways? So…why did House choose to save Vegas? Some say he did so in order to save himself. But if he truly wished to save himself, he could have been like Senator Todd Peterson, and built himself a private bunker within which to live out his days with whatever loved ones he may have had. Even if he wouldnt be immortal, itd still be a MUCH more comfortable way to spend his days. When it comes to the life he eventually chose, the Official Game Guide has this to say about House: “He is emaciated to the point of being skeletal, bones visible under pale, translucent skin crisscrossed by faint blue blood vessels. House's command helmet is not detachable - we don't want to imply that the player could put it on and take his place. The helmet might be bolted right into his skull, like a "halo" used to stabilize severe neck injuries. Or it might not be a helmet at all, the top of Mr. House's skull having been removed and fitted with transistors and vacuum tubes. ” No, House did not endeavour to save himself. If anything, he condemned himself to a special kind of Hell. He was a man with the means to luxury, and yet sealed himself off from it, and almost all human experience the average man might take for granted (the smell of a flower, the touch of a woman, the feeling of a cool breeze on a Summer day)…forever. He mentions his longevity came with a cost. He was not kidding. If anything, he was understating. Others instead compare House to Andrew Ryan, and say that he saved Vegas only so he could be the head amongst the wealthy and the elite. I must disagree here too – the tribals he later babysits were never elite in their own right by Pre-War standards before Houses intervention. Aside from being a superficial reference to Howard Hughes, House has very little in common with Ryan. Billions of US Dollars were at Houses disposal. If he really wished to be a leading figure amongst the elite, he wouldve built the Fallout equivalent of Rapture in the middle of the ocean ages ago. Or he wouldve built his own “Sierra Madre” to rival Sinclair. Or he wouldve ingratiated himself with the Enclave (who he did contract work for) or the Institute (where he studied) who couldve used a man like him to lead their projects. He did none of those things. He chose to save Vegas. Young, old, rich, poor, honest and crooked alike. And he chose to become immortal, despite the steep personal costs. But why? 4) Long Term Investments “Vegas is more than a city. It is the remedy to Mankinds…derailment. House “I grew up not far from here, and though I traveled the old world extensively, I never found another place like it. House Aside from being Houses birthplace, Vegas -in the Fallout Universe - was home to not only the (in)famous casinos, but also to many factories dedicated to manufacturing drinks, robots, tools and rockets. Nearby there is an air-force base and –perhaps most importantly- Hoover Dam and Helios One. In a world fated to end over a lack of resources, ensuring access to two of the most basic and important renewable resources in the aftermath would go a long way to help ensure humanity at least doesnt end entirely. And all of these resources would fall within range of his Securitron Network – at least once the Mk II upgrade arrives. If we are to believe that Mr. House wished to establish colonies on new worlds as a solution to Earths resource problem regardless of whether the War happens first or not (and the Official Game Guide confirms House is interested in technological progress, at the very least) then it makes sense that House would choose Vegas – not because it is particularly important in itself (compared to other possible cities) but because it is the central location from which he could gain control of resources vital to the space program –renewable energy, REPCONN HQ, rocket test sites and seemingly limitless clean water for his employees. Still, as we find out later, House doesnt let Vegas itself go to waste by any means… The site chosen, House toiled over his defenses. He built a nuclear reactor under his casino with enough energy to power the Mojave. He built a life-support system to ensure his survival into the post-apocalypse, no matter the cost. He built Securitrons to protect his interests in the aftermath, and then built a factory/ storage facility for them under Fortification Hill – a mere stones throw from Hoover Dam - so that his army might never run out. Meanwhile, the brilliant Big MT scientist who would become Dr. 0 silently fumed in envy over Houses superior abilities in robotics. Some may doubt that the Forts bunker was a factory. After all, House just calls it a “barracks”, which implies storage, right? Well, consider some barracks have recruitment offices – and in RTS style games, theyre often functionally the same building. Now what would the Securitron equivalent of a “recruitment office” be? Powering up the Fort Bunker causes distinct, repetitive hydraulic sounds, as if there were an assembly line moving. Does that sound like mere storage to you? No. You think hed build an army with no way to replenish it? “I'm surprised you can still underestimate me after everything you've seen. House 5) For Want of a Nail But now, ironically after the above quote, we encounter Houses greatest failure. You see, House had everything set up, but it was still in BETA (insert Fallout76 Joke here. He commissioned the “Platinum Chip” to contain all the patches, software upgrades and override commands he could need for the foreseeable future. It was specially shaped so it could only be used on hardware he specified – no other company could hope to steal it or otherwise use it for their own purposes. The Chip was finished and scheduled to arrive a day before the predicted date of the war. And then the War arrived a day early. 77 Warheads targeted Vegas. Mr. House, irrevocably entombed within his Life Chambers, readied Vegas defenses… “I was in Mexico City when the bombs dropped. Even from there, we could see House's defensive rockets shooting down the incoming missiles. ” -Raul Tejeda And what House couldnt shoot down, he hacked, deactivating warheads mid-air so they could never reach Vegas. But, because the Platinum Chip hadnt arrived in time, the software remained a BETA - and would for another 204 years. Nine warheads managed to impact the Mojave. *“When blaring civil defense sirens heralded mankind's doom on October 23rd, 2077, the citizens of Las Vegas bore witness to an astonishing spectacle. Huge laser cannons unfurled from secret housings in the roof of the Lucky 38 casino and Hoover Dam's intake towers and began spitting blasts of green fire into the sky, destroying warhead after warhead and sparing Las Vegas's urban center and the dam from direct hits. Citizens filled the streets and cheered. And then they died horribly from the lethal fallout that blew in from the dozens of warheads that detonated around Las Vegas. Though Mr. House's missile defense grid performed admirably, the Great War was in actuality the day of his greatest setback. ”* Fallout: New Vegas Official Game Guide House saved no-one that day. You were either in a Vault, or you were House, or you were dead. Software bugs, compounded by the EMP from nuclear fallout, caused the defense action House put forward to result in multiple system crashes, forcing him to shut down his fully automated reactor before it melted down from faulty programming. Now without Hoover Dam (EMP) or his reactor, Houses life support relied on a very limited supply of emergency power. It was all he could do to restore his OS to an even less advanced -but more stable- build before passing out from shock. 6) Too Stubborn to Die Now, the Courier is famous for rising from the grave to finish their quest - but House did it first. 61 years after the bombs dropped, House woke up. At this time, the Master (of Super Mutant army fame) was active and alive. Vault 15 – from which Shady Sands was built – hadnt even opened yet. The majority of Houses Securitrons are offline, with only a handful of downgraded ones stationed in his casino. Raiders plagued the Wastes. And Houses own limited power supplies dwindled ever lower. Now, he lived a full life. Raul notes how House was something of a superstar who dated all the beautiful women and made billions before the War, reaching the ripe age of 57 before the bombs fell. After losing almost everything in his gamble to try save Vegas, itd be tempting for anyone in Houses position to give up, to shut down again and just…die. Instead… “Immediately he began using his Securitron robots to search out human settlements…” Official Game Guide From this point onwards (until his determinant acquisition of the Dam) House is forced to make choices most of us dont even have to consider. Everyone has to worry about their budget for the month. Some of us have to worry about their budget for the year…or a companys or even countrys budget for a similar period - maybe 5 or 10 years, in some cases. House has chosen to worry about the Worlds “budget” (fiscal or otherwise) over the course of…forever, because no one else alive is as acutely aware of the global resource shortage as House, who lived through multiple wars caused by it, culminating in that big famous one that almost ended the world. “For years, I played a miser with my emergency power supply. I began to run out of reserves around the time I woke the first batch of Securitrons”. House Of course, House had his own budgets to worry about. It was not long after sending out his forces to find other humans that his power supply began to dip dangerously low. Realizing the costs of waking up his robots after the first batch forced House to play very carefully – after all, he couldnt enact his plans to revitalize the global economy if he died now, could he? He sent his mechanical agents out, quietly hiring prospectors to find his beloved Chip – with no personnel or infrastructure to reproduce it, he had to find it…before he shut off forever. Beyond that, he ran silently, keeping his “electrical bill” as low as possible, hoping the Chip would find him in time. As it turns out, the NCR got to him first. If you ever wondered why House did not try to personally civilize Vegas, introduce sustainable agriculture and grant free schooling before NCR showed up, its because doing those things would require him to take a very active role in life outside the Lucky 38, and doing that, with his power reserves as they were, would have been fatal for him (to say nothing of the mutants, raiders, etc. This is the weakest he has ever been since his half-brother swindled him. But I digress. The NCR is on the horizon…as was the Legion. 7) I Called Dibs 2 Centuries Ago Suddenly, things moved very quickly. For years after the Wastes were repopulated, what passed for) peace and order in Nevada was maintained by the vigilante Desert Rangers, who allowed themselves to be absorbed into the NCR in 2271, in exchange for help against Caesar. A year later, the Mojave Outpost as we see it –under NCR- came to be, the Mojave south of the Vegas area having been pacified earlier under the leadership of then-General Kimball. Then, Kimball achieving Presidency, Hoover Dam fell under their grip. In the span of 2274 House engaged his final power reserves in a last-ditch effort to secure his future (and, by proxy and from his perspective, the future of Mankind. Beatrix Russel and the King describe Pre-House Vegas as a place where everyone got by, but the truth is less-than-spotless; according to the FNVOGG, tribes fought amongst the ruins – Slither Kin, Boot Riders, Great Khans, and many other smaller or more mysterious groups. Using Securitrons as his intermediaries, Mr. House enlisted the help of all who were both willing and capable of aiding him, playing on their self-interest and need to survive by promising (and delivering) them resources and power. But whilst you can teach tribals to fight your enemies and socialize with your allies, you cant turn them into a competent team of technical specialists – not in the time available. And hed need educated men and women to truly restore the glamour of his New Vegas. And thats where Vault 21 came in. After uncooperative tribes like the Great Khans were pushed off the areas around the Strip, House made an offer to this community, who had previously lived in peace as chaos raged above them. The offer was simple: help rebuild Vegas…or not. Most chose the second option, but a small group of Vault residents decided to gain support on Houses behalf, eventually achieving a consensus: they would work for House, and opened their doors to him. They soon found themselves aiding Houses tribals in building a massive wall sheltering both the Strip and Freeside from the rest of Vegas. Vault 21s lower levels were salvaged of useful technology to aid in construction…and then (infamously) filled with concrete to ensure future, less innocent visitors to the Vault couldnt use it to breach the Lucky 38s sub-levels or Vegas defenses. At the request of its more agoraphobic residents, House spared Vault 21s top levels, transforming it into a hotel for them to run. With the Vegas Strip being far larger – more casinos, more housing, more everything – in lore, art and cutscenes compared to in-game, it is plausible to believe the displaced Vault Dwellers were rehoused on the Strip itself; as relatively well educated individuals, theyd be invaluable in Houses endeavours – of the three we met, we know one became Houses top sign artist, one became a hotel manager and one voluntarily left Vegas to be a travelling doctor before retiring in Goodsprings (we know because he eventually returned to marry his sweetheart, who still lived not far from the Vault she came from. Whilst not yet open for business by any means, House had managed to turn a ruin plagued with tribal conflicts into a citadel presided over by Three Families. The NCR arrived in force, expecting just another wasted city picked over by warring raiders…and instead found a fortress in the wastes…and surprisingly, one that not only wasnt hostile to them, but outright welcomed them…providing certain concessions were made… With the threat of the Legion just on the horizon, NCR were faced with an offer they could not refuse – they would be allowed to set up an embassy and police force on the Strip, as well as a military base in Outer Vegas so long as they provided 5% of the Dams power output to Vegas (which they would need to do to make use of their embassy and base anyways) and allow their citizens and soldiers on leave to enjoy Houses amenities at their own discretion. Sounds pretty reasonable, doesnt it? NCR agreed to the terms, implicitly legitimizing the sovereignty of New Vegas under House. Power flowed to the Strip and House, who had to suffer multiple power outages, whose salves and meds almost curdled because of this, whose life was literally tied to that of his battery…could finally breathe easy, now having more (electrical) power than he knew what to do with. 8) But why didnt House…? You may be asking “Why didnt House instead provide his resources to the NCR, allowing them to push the tribals out of Vegas and restore it that way, possibly becoming a prominent citizen in the process? ” Houses detractors often refer to his compulsive need for control, and control is precisely why House would rather recruit tribals to work for him than try to merge with something larger. But why does House want that control? Id argue it isnt due to a compulsive need for it – his leadership is extremely hands-off. To understand why House wants to remain in control, rather than admit subservience to a larger civilization, we need to look back to Pre-War America and that Joker quote we put down earlier. NCR is, in many ways, similar to Pre-War US. It was founded on lofty ideals. And when resources became scarce? They abandoned their ideals and annexed whatever and whoever they wanted to get more resources until the globe was almost depleted and -BOOM! So far, NCR is just at the “annexing” stage (not that they have nukes anyways) but the globe is about as depleted as it was 200 years ago. Chief Hanlon speaks of the overconsumption and mismanagement of water in their territories, Doctor Hildern predicts a famine after a decade of population growth. Supporting this, the intro-cutscene for the game outright states NCRs expansion is influenced by a lack of resources for their growing populace. NCRs current population as a nation…around 700 000. Compare that to Johannesburgs (which is just one city) population of 900 000. Compare that to the 39 million+ strong population of real life California today. And NCR is the largest unified population on the continent. And theyre running out of resources already. By modern IRL standards, the population that Earth (or at least, America) can sustain in the Post-War Fallout universe is absolutely tiny. Even the possible savior we find within Big MTs matter replicators is in question, with the substantially wealthy Sinclair being driven almost into debt just to fund the creation a few according to the terminal in the Y-0 Lab, and very few having been found outside the Sierra Madre despite Deans claims. Of course, perhaps that could change with time and resources directed towards further development, but until then… (As it stands, Pre-War US couldnt/ didnt make them economically viable to produce before the Great War started. If even the Followers of the Apocalypse are willing to commit murder over water at this juncture (White Wash) imagine how things would be later down the line. There arent infinite resources in the Fallout world – just too few people to deplete what is left…yet. No one is as painfully aware of the resource shortage as House. Maybe others of his intellect will rise up in the NCR, but like him in Pre-War US, they wont detect the issue until its too late to properly solve it. Not wanting to gamble on the multi-headed NCR following his advice forever, he instead puts on an appearance of having power, ensuring full control over his enterprises. This is why House doesnt bid for NCR citizenship. Hes seen what happens to Democracies when the going gets truly desperate – how they corrupt into oligarchies blinded by greed or desperation. Rather than watch that happen again, he chooses to become an autocrat in a long-term venture for the good of Mankind – after all (as weve stated before) he has little reason to continue living for himself. 9) The Nature of the Strip “A fool and his money are soon parted. ” – Proverbs, 21:20, King James Bible Strip away the gambling amenities, and what is left? A luxury resort, a fine-dining restaurant, an art gallery, a theatre, bars, hotels, a brothel and a gentlemans club. For want of a nail, House cannot access the powerful amenities around Vegas, but hes made the best of the city itself. Early on, access between the Strip and Freeside was unrestricted (according to the FNVOGG) – Securitrons thoroughly patrolled both areas and just about everybody there was living relatively well. For those of you familiar with casinos, you know they pull every trick in the book – the smiling staff, the bright lights, the music, and the colours – in order to subtly entice you to make a wager. For those whove only visited casinos to partake in their collection of arcades, restaurants, cinemas or theatres, you know all those psychological prompts to “pay to watch people flip paper squares”, as Follows-Chalk likes to say, are entirely ignorable. For a man like House, the Strip exists to collect money (a. k. a. the power to requisition resources) from those who do not know how to spend it and redistribute it into the hands of those working towards his ends (maintenance aside, recovering his Chip – which is still invaluable despite the power from Hoover Dam - is becoming a tad expensive, after all. It also exists as a place of culture and relaxation for more responsible visitors. For many others, however, the Strip has become a beacon of hope. Enthusiastic entertainers finally had a place to permanently employ their gifts. Those who were unfortunate in life but otherwise hard-working made livings as Street Vendors on the Strip, earning far more than they could anywhere else even after taking Houses Franchisee taxes into account. And formerly inter-warring tribals were finally living in peace, operating lavish casinos semi-independently in return for making and enforcing certain agreements with House (notably, cannibalism carries the death penalty. 10) The Separation from Freeside Around two years BEFORE the game started, or 2 years AFTER the First Battle of Hoover Dam, House began to wall Freeside off from the Strip. Whether it was due to being overwhelmed by too many people trying to spend money they didnt actually have, or due to a security issue, House decided to pull his Securitron forces and loyal employees off of Freeside to concentrate on the Strip, with admittance becoming more exclusive. You either: a) possessed a passport indicating you were trusted to visit the Strip b) had enough money on you to prove you were a tourist who could afford to enjoy the Strips services (there is no entry tax or fee – just a credit check to ensure you arent going to just indebt yourself within 5 seconds of visiting) c) have to stay in Freeside or go home d) were an NCR soldier or VIP on leave OR e) tried to break past a cordon of armed robots whilst ignoring their instructions to stop and turn around, earning yourself a Darwin Award (of course, NCR troops will also kill you if you try to use “their” Monorail under similar circumstances, only they wont wait for you to break past them. But despite the new checkpoint, a woman from North Vegas – who previously could barely afford to eat – found good, steady work on the Strip as a salesperson. Street performers like the Lonesome Drifter or Billy Knight were admitted in without a peep. Although its true that the Strips services cater to the rich, the people it truly looks after are the hard working and enthusiastic (Billy Knight isnt an exceptional comedian, but he clearly loves his work and that was clearly enough. Remember that no one local to Vegas was rich before House came back –since his resurrection he has been an employer of the willing and the able, and that hasnt changed. Vegas puts on a big show for wealthy consumers, but its people like Billy Knight or the woman from North Vegas who come out ahead. But, of course, not everyone liked the idea of working for House. Perhaps, more tragically, they decided too late to find employment as all staff slots were filled. Regardless, Freeside, with most of its more capable now residing on the Strip, and the Securitons no longer protecting it, degenerated back into lawlessness and became a hive of scum and villainy. It is from these conditions that a man calling himself the King rallied various dispossessed former tribals of all colours into a new tribe of his own. But well return to him later… We never find out for certain why House shut out Freeside. The Locals will blame the droves of NCR squatters around Vegas (for just about everything) but well likely never know for certain beyond plausible speculations.

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