Unite the Fight, America now owns Tik Tok…shaking the yellow spray can, military stencil font…yellow spray paint…Tik Tok is now, FAFO and Friends.
The left and right must unite in this fight.
With Tik Tok now in American hands, there has to be a way to link FAFO and Friends to drone cameras in other nations. The drone would be controlled from the ground, while the live link is fed to FAFO and Friends.
Rebel Loons
Now, just imagine a bunch of Rebel Loons running around with their loon in the air
Might be cold outside, but, those, loons, don’t, care.
They out they testing and besting, they stand firm, put out on the berm and the headlight to, low sp*rm in their head, laying at night wetting their beds.
Feds, bred, water and wine, this time Merica got that debt. We aint twine. Wrapping up little kids who just don’t know, making them hate for future orange bed spread, D…O…C is the call of C…O…D
123.
In the story of anything-but-literal translations of original titles to Spanish, this one was rewarded with a little gem: “No me grites que no te veo” (Don’t shout at me 'coz I can’t see you), which made sense because back in the 1980s Spanish cinemagoers weren’t exactly familiar to the three monkeys of wisdom.
And I’ll stop here because the story of mistranslated film titles has some really cringeworthy examples…
I was about to reply nothing… thees nothing new worth watching… but project hail mary was good 
I got this desire to watch Lethal Weapon again.
I have Bullet to Beijing and Eine Stadt sucht einen Mörder opened on my tab, I just need to press the play button.
Certainly waiting for Odyssey, Hail Mary and the new stuff. Secretly going to watch Masters of Universe, because nostalgia.
Also Jack Ryan movie foh sure.
David Samuel “Sam” Peckinpah (1925–1984) was an influential American film director and screenwriter, best known for his revisionist approach to the Western genre and his visually innovative, explicit depictions of violence. He revolutionized action cinema by utilizing slow-motion sequences and rapid montage editing to create a “balletic” style of carnage.
Cecil B. DeMille (1881–1959) was known as a demanding, authoritarian director, famous for massive spectacles and epic storytelling, often directing from a megaphone and conducting his sets with military precision. He pioneered techniques like theatrical lighting and elevated camera movements, often seen on set in jodhpurs and riding boots, directly guiding actors like Charlton Heston and Claudette Colbert.
