I served my mission in a Catholic country. It was common to hear stories about various visions that people had of St. Mary. (If you want some highlights of famous ones, you can read this Wikipedia page).
I actually remember having the thought, on my mission, "Why do only Catholics have visions of Mary?"
I'm amazed that I didn't tug on that strand more at that time, but that's what being 20 years old on a mission will do to you.
Catholics have visions of saints. Muslims have visions of Mohammed. Christians have visions of Jesus. Mormons see Joseph Smith (and Jesus, of course).
It's extremely rare for someone to have visions relating to something outside of their culture.
Now, I think this is strong evidence of an anthropogenic source for these visions. Our brains show us pictures of what we already know.
A more faith-positive way of looking at it would be that God uses the tools available to us. This seems like weak-sauce, frankly, when you consider the glorious visions depicted in scriptures. If there's no room for God to show you something new, I'm not sure there's much "there" there.

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Company Name	Title	City
AR Mazzotta	Staff Accountant	Branford
ClarkDietrich	Maintenance Technician 2nd Shift	Bristol
Accutrol LLC	Support Role to Materials Group	Danbury
The Hershey Company	Hershey's Part-Time Territory Sales Associate (Danbury, CT)	Danbury
Henkel	Senior Scientist	Darien
AR Mazzotta	Receiving Clerk	Deep River
AR Mazzotta	Accounts Payable	Essex
UConn Health	Clinical Perfusionist Coordinator	Farmington
The S/L/A/M Collaborative	Construction Superintendent	Glastonbury
The S/L/A/M Collaborative	Project Architect	Glastonbury
The S/L/A/M Collaborative	Architectural Designer	Glastonbury
UnitedHealth Group	Medical Receptionist	Guilford
Capital One	Distinguished Engineer (Director) - AI Developer Experience	Hartford
INSPYR Solutions	CCTV/Alarm Service Technician	Hartford
Capital One	Senior Manager, Technical Program Management - MLX	Hartford
Capital One	Distinguished Engineer, Solutions Architect	Hartford
Ametek, Inc.	Mechanical Engineer 1	Naugatuck
Capital One	Manager, Ontology and Data Modeling	New Britain
City Of New Haven	Plumbing & Mechanical Plans Examiner	New Haven
City Of New Haven	Zoning Officer	New Haven
Capital One	Director, Technical Program Management	New Haven
Capital One	Lead Software Engineer, Full Stack	New Haven
Capital One	Lead SailPoint Application Engineer	New Haven
City Of New Haven	Manager of Operations Process Improvement	New Haven
Best Buy	Geek Squad Advanced Repair Agent	Newington

Hey guys, here are some recent job openings in ct. Feel free to comment here or send me a private message if you have any questions, I'm at the community's disposal! If you encounter any problems with any of these job openings please let me know that I will modify the table accordingly. Thanks!

Company Name	Title	City
HelioHire	Computer Systems Engineer	New York
HelioHire	Data Scientist	New York
Siena College	Director of Field Experience and Certification Officer	Albany
Sofie	Courier	Albany
Albany Gastroenterology	Medical Biller	Albany
Capital One	ARIS Modeler	Albany
In Our Own. Voices	LGBT DV/SA Advocate	Albany
Albany College of Pharmacy	Grants and Contracts Manager	Albany
Legal Aid Society of Northeastern NY	Economic Justice Staff Attorney	Albany
Sofie	Cyclotron-Support Engineer I	Albany
Capital One	Data Engineer	Albany
V-Soft Consulting Group, Inc.	Red Team Tester	Armonk- Nyc
Charalambos Selearis Cpa Pllc	Tax Accountant	Astoria
Innova Solutions	Mri Tech	Auburn
Trustco Bank	Teller - Ballston Spa Branch, NY	Ballston Spa
Resiliency LLC	Physical Therapist	Bath
St. Marys Hospital for Children and their Affiliates	ABA Technician	Bayside
St. Marys Hospital for Children and their Affiliates	RESPIRATORY THERAPIST - Full-Time, Night Shift	Bayside
St. Marys Hospital for Children and their Affiliates	Assistant Director Of Nursing	Bayside
Haley Stuart Group	Senior Accountant - 1	Bellport
Haley Stuart Group	Service Coordinator	Bellport
Human Hire LLC	Client Service Representative	Bellport
Pseg	Sr Cyber Security Analyst OT	Bethpage
Pseg	Sr Cyber Security Analyst -PAM	Bethpage
Hudson River Healthcare	MAT Licensed Practical Nurse	Brentwood

Hey guys, here are some recent job openings , feel free to comment here if you have any questions, I'm at the community's disposal! If you encounter any problems with any of these job openings please let me know that I will modify the table accordingly. Thanks!

Hi folks- my partner and I are going on our first ever National park vacay in GNP and we’re prepared for the reservations, closures, lodging, etc. I like to take easy hike but my partner is new to it and has a medical condition.
It looks like it will rain most days of our trip.
We’re staying at Many Glacier and St Mary’s Village.
What easy trails would you recommend for new hikers?

Tl;dr at bottom!
Let's get some of the obvious stuff out of the way. There ARE clear timeline placements. I think it is obvious that Skyward Sword predates all of the Zelda games and is canon. The reason I bring this up is that many think totk predates all Zelda games, but I would argue that it is NOT canon. I think we can agree SS clearly happens. SS is meant to serve as a prequel for the whole series and be an explanation for the beginnings of the MS, the curse, etc. After OoT, MM is a clear sequel. It is heavily implied TP is a sequel to MM also. WW is clearly a sequel to OoT, then PH and ST are both clearly in succession. ALBW is a sequel to ALTTP.
Now that that is out of the way, let's address everything else. Even if it is "canon" that the downfall timeline happens, I think we can agree this was just an excuse to keep everything in a timeline. This doesn't render them potentially non-canon to the timeline, but it does feel less "organic," so to speak. My understanding is that a natural timeline split occurs in OoT. It's not that when Zelda sends Link back in time in OoT it creates a new future because Link is gone, and a new past, into a different future, creating a split timeline. The downfall timeline however is a what-if scenario.
Now for botw/totk. We will discuss timeline merging later, let's assume for right now that timeline merging DOES NOT happen. Alright if this is the case, botw/totk are 100% without a doubt non-canon. Rock salt description describes how the world was once covered with an ocean (AT), memory 1 (botw) zelda references SS, OoT, and TP clearly (CT), and the timeline that makes most sense for totk is probably DT. Keep in mind that if the past events to current events of TOTK (the entire 10 000 years) take place with any games overlapping that 10 000 year period then it is not canon? Why? Because how could Ganondorf be reincarnated in those games, he is still alive by Rauru's seal!!
Another point: It seems unlikely that the Zonai actually exist. Rauru says he founds Hyrule, although Link and Zelda from SS clearly start Hyrule. This doesn't completely contradict it however, because Zelda and Link might not have "officially" created Hyrule, rather built it into what it was by Rauru's time. It takes time to build a kingdom after all. So botw/totk reference 3 separate timelines, but they couldn't reference those timelines if the events hadn't happened, right? but the future events also can't overlap any games because Ganon is alive the whole time. Simple fix right? Every event in totk + memories takes place after any given timeline game. Wrong!! The issue here is that Rauru founded the kingdom of hyrule, but the kingdom of hyrule in lore is said to have been officially founded between Skyward Sword and Minish Cap, meaning totk MUST take place here.
This last point I just made also disproves merged timeline theory barring one idea. What if it is like The Elder Scrolls (I haven't played them but I sort of understand how it works) to where when the timelines "combined" the events overlapped and everyone's memories got muddled. That would be the shittiest way to shoehorn in a timeline placement, huh? Well that doesn't work either, unless NO ganon's existed in any game because of "timeline muddling." It just doesn't work.
Plus even if you could make some batshit insane explanation that actually works, if you have no proof towards your point, and many many contradictions, it doesn't make your "plausible theory" very plausible at all, now does it?
Listen, I'm not using this as a point again botw/totk AS GAMES. These are good games, and I really appreciated the fanservice to OG fans. IT DOESN'T NEED TO BE IN THE TIMELINE (and it would probably be worse if it was).
Also not all timeline places are super concrete. Everything in the downfall timeline is shaky. At the very least ALTTP heavily implies it, but this was before OoT, and OoT didn't even imply a DT. It's fine if the whole DT is made up, but I don't really think it's for sure. FSA, FS, and MC also aren't super concrete. Their positions make more natural sense than the DT as a whole, and it's acceptable, but it's not as definite as some others.
Even Aonuma said in an interview that they don't really consider the timeline so this is entirely possible. No....... realistic
Source: https://www.reddit.com/zelda/comments/7mbj9q/aonuma_puts_an_end_to_the_timeline_debacle/
Why do people feel the need to stuff it into the timeline? BOTW was clearly a reboot, TOTK literally confirms it. People be coping man
Tl;dr:
Games that CLEARLY "happened:" SS, OoT, MM, TP (heavily implied), WW, PH, ST
CLEARLY (assuming DT is real): ALttP, ALBW
totk/botw reference all 3 timelines as happened (botw memory 1, rock salt description, etc), yet totk memory events can't take place before these events happened because ganon is still alive (therefore he couldn't exist in OoT, ALttP, etc). Merged timeline also doesn't work for the same reason, plus 0 reason to believe this is the case (0 proof, many contradictions).
It's FINE for them to be reboots (and everything to suggest so and 0 proof to say otherwise).
Did I miss anything?
EDIT: I used this timeline as a reference for this post https://static.wikia.nocookie.net/zelda\_gamepedia\_en/images/b/b8/E\_Timeline.png/revision/latest?cb=20180907002345

Airtimes EST
THU JUN 01
(1:30AM) The Girl Who Had Everything (1953/1h 9m/Drama/Richard Thorpe)
(2:45AM) It's a Big Country: An American Anthology (1952/1h 29m/Drama/Clarence Brown)
(4:30AM) Alias a Gentleman (1948/1h 16m/Comedy/Harry Beaumont)
(6:00AM) Showgirl in Hollywood (1930/1h 20m/Musical/Mervyn Le Roy)
(7:30AM) Bright Lights (1931/1h 9m/Musical/Michael Curtiz)
(8:45AM) Cain and Mabel (1936/1h 30m/Romance/Lloyd Bacon)
(10:30AM) Marked Woman (1937/1h 36m/Drama/Lloyd Bacon)
(12:15PM) Ziegfeld Girl (1941/2h 11m/Musical/Robert Z. Leonard)
(2:45PM) The Prince and the Showgirl (1957/1h 57m/Comedy/Laurence Olivier)
(4:45PM) Party Girl (1958/1h 39m/Crime/Nicholas Ray)
(6:30PM) Viva Las Vegas (1964/1h 26m/Musical/George Sidney)
(8:00PM) Bringing Up Baby (1938/1h 42m/Comedy/Howard Hawk)
(10:00PM) Break of Hearts (1935/1h 20m/Romance/Philip Moeller)
(11:30PM) Sylvia Scarlett (1935/1h 37m/Romance/George Cukor)
FRI JUN 02
(1:15AM) Mary of Scotland (1936/2h 3m/Romance/John Ford)
(3:30AM) Quality Street (1937/1h 24m/Comedy/George Stevens)
(5:00AM) Christopher Strong (1933/1h 17m/Romance/Dorothy Arzner)
(6:30AM) The Little Minister (1934/1h 50m/Romance/Richard Wallace)
(8:30AM) Spitfire (1934/1h 28m/Drama/John Cromwell)
(10:00AM) Blood on the Moon (1948/1h 28m/Western/Robert Wise)
(11:30AM) The Good Guys and the Bad Guys (1969/1h 31m/Comedy/Burt Kennedy)
(1:15PM) Desire Me (1947/1h 31m/Romance/George Cukor)
(3:00PM) Holiday Affair (1949/1h 27m/Romance/Don Hartman)
(4:30PM) Angel Face (1953/1h 31m/Crime/Otto Preminger)
(6:15PM) Out of the Past (1947/1h 37m/Film-NoiJacques Tourneur)
(8:00PM) She Done Him Wrong (1933/1h 6m/Comedy/Lowell Sherman)
(9:30PM) The Gang's All Here (1943/1h 43m/Musical/Busby Berkeley)
(11:30PM) The Importance Of Being Earnest (1952/1h 35m/Comedy/Anthony Asquith)
SAT JUN 03
(1:15AM) Pillow Talk (1959/1h 45m/Comedy/Michael Gordon)
(3:15AM) Auntie Mame (1958/2h 23m/Comedy//Morton DaCosta)
(5:45AM) The Women (1939/2h 12m/Comedy/George Cukor)
(8:00AM) MGM CARTOONS: The Homeless Flea (1940/0h 7m/Animation/Rudolf Ising)
(8:09AM) One Against the World (1939/0h 10m/Short/Fred Zinnemann)
(8:21AM) Zeeland "The Hidden Paradise" (1935/0h 6m/Short/Ruth Fitzpatrick)
(8:29AM) The Big Noise (1936/57m/Drama/Frank Mcdonald)
(9:30AM) The BATMAN: The Executioner Strikes (1943/0h 15m/Serial/Lambert Hillyer)
(10:00AM) POPEYE: Hill-Billing and Cooing (1956/0h 6m/Animation/Seymour Kneitel)
(10:08AM) Calling Philo Vance (1939/1h 2m/Suspense/William Clemens)
(11:30AM) Main Street Today (1944/0h 19m/Short/Edward L. Cahn)
(12:00PM) ABBA: The Movie (1977/1h 34m/Documentary/?)
(1:45PM) Hoosiers (1986/1h 55m/Drama/David Anspaugh)
(4:00PM) Angels in the Outfield (1951/1h 42m/Drama/Clarence Brown)
(6:00PM) Strangers on a Train (1951/1h 36m/Suspense/Alfred Hitchcock)
(8:00PM) The Black Shield of Falworth (1954/1h 39m/Adventure/)
(10:00PM) The Great Impostor (1960/1h 52m/Adaptation/Robert Mulligan)
SUN JUN 04
(12:00AM) Between Midnight and Dawn (1950/1h 29m/Film-NoiGordon Douglas)
(2:00AM) Swing Shift (1984/1h 40m/Romance/Jonathan Demme)
(4:00AM) Protocol (1984/1h 36m/Comedy/Herbert Ross)
(6:00AM) Saturday Night and Sunday Morning (1960/1h 30m/Drama/Karel Reisz)
(7:45AM) The Loved One (1965/1h 56m/Comedy/Tony Richardson)
(10:00AM) Between Midnight and Dawn (1950/1h 29m/Film-NoiGordon Douglas)
(12:00PM) Born Yesterday (1950/1h 43m/Comedy/George Cukor)
(2:00PM) The Mating Game (1959/1h 37m/Comedy/George Marshall)
(3:45PM) Sex and the Single Girl (1964/1h 54m/Comedy/Richard Quine)
(5:45PM) A Chorus Line (1985/1h 53m/Musical/Richard Attenborough)
(8:00PM) Blazing Saddles (1974/1h 33m/Western/Mel Brooks)
(10:00PM) Along Came Jones (1945/1h 30m/Western/Stuart Heisler)
MON JUN 05
(12:00AM) The Blackbird (1926/1h 26m/Tod Browning)
(2:00AM) Before the Rain (1994/1h 55m/WaMilcho Manchevski)
(4:00AM) Three Colors: White (1994/1h 30m/Drama/Krzysztof Kieslowski)
(6:00AM) June Bride (1948/1h 37m/Romance/Bretaigne Windust)
(8:00AM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(10:00AM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
(12:00PM) Double Wedding (1937/1h 27m/Comedy/Richard Thorpe)
(2:00PM) The Bride Came C.O.D. (1941/1h 32m/Comedy/William Keighley)
(4:00PM) Father of the Bride (1991/1h 45m/Comedy/Charles Shyer)
(6:00PM) High Society (1956/1h 47m/Musical/Charles Walters)
(8:00PM) High Sierra (1941/1h 40m/Crime/Raoul Walsh)
(10:00PM) Colorado Territory (1949/1h 34m/Western/Raoul Walsh)
TUE JUN 06
(12:00AM) The Women (1939/2h 12m/Comedy/George Cukor)
(2:15AM) The Opposite Sex (1956/1h 57m/Musical/David Miller)
(4:15AM) The Bride Goes Wild (1948/1h 38m/Comedy/Norman Taurog)
(6:00AM) The Private Life of Don Juan (1934/1h 26m/Alexander Korda)
(7:30AM) The Life Of Jimmy Dolan (1933/1h 10m/Archie Mayo)
(9:00AM) The Mad Miss Manton (1938)1h 5m/Mystery/Leigh Jason)
(10:30AM) In the Cool of the Day (1963/1h 29m/Robert Stevens)
(12:00PM) The Bad and the Beautiful (1952/1h 58m/Drama/Vincente Minnelli)
(2:00PM) Coma (1978/1h 53m/HorroMichael Crichton)
(4:00PM) The Clock (1945/1h 30m/Romance/Vincente Minnelli)
(5:45PM) Cabaret (1972/2h 4m/Musical/Bob Fosse)
(8:00PM) Singin' in the Rain (1952/1h 43m/Musical/Gene Kelly)
(10:00PM) A Star Is Born (1954/2h 56m/Musical/George Cukor)
WED JUN 07
(1:15AM) A Star Is Born (1937/1h 51m/Romance/William A. Wellman)
(3:15AM) What Price Hollywood? (1932/1h 28m/Drama/George Cukor)
(5:00AM) Show People (1928/1h 23m/Silent/King Vidor)
(6:30AM) Souls for Sale (1923/1h 30m/Rupert Hughes)
(8:15AM) Hell Below (1933/1h 45m/WaJack Conway)
(10:00AM) The Navy Comes Through (1942/1h 22m/WaA. Edward Sutherland)
(11:30AM) Sealed Cargo (1951/1h 29m/Adventure/Alfred Werker)
(1:00PM) Torpedo Run (1958/1h 38m/Joseph Pevney)
(2:45PM) Submarine D-1 (1937/1h 40m/Drama/Lloyd Bacon)
(4:30PM) Battle of the Coral Sea (1959/1h 20m/WaPaul Wendkos)
(6:00PM) Around the World Under the Sea (1965/1h 57m/HorroAndrew Marton)
(8:00PM) Film: The Living Record of Our Memory (2021/2h 0m/Documentary/Inés Toharia Terán)
(10:15PM) The Invention of Cinema: The First Colors of… (2022/Documentary)
(11:30PM) The Invention of Cinema: Cinema Finds its Voice (2022/Documentary)
THU JUN 08
(12:45AM) Going Attractions: The Definitive Story of the Movie Palace (2019/1h 24m/Documentary/April Wright)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Episode 01) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Episode 02) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Episode 03) (2019/Documentary/Mark Cousins)
(6:15AM) Women Make Film: A New Road Movie Through Cinema (Episode 04) (2019/Documentary/Mark Cousins)
(7:30AM) Image Makers: The Adventures of America's Pioneer Cinematographers (2019/1h 31m/Documentary/Daniel Raim)
(9:30AM) This is Francis X. Bushman (2021/1h 0m/Documentary/Lon Davis)
(10:45AM) The Doughgirls (1944/1h 42m/Comedy/James V. Kern)
(12:30PM) Split Second (1953/1h 25m/Suspense/Dick Powell)
(2:00PM) The Young Philadelphians (1959/2h 16m/Drama/Vincent Sherman)
(4:30PM) The Horn Blows at Midnight (1945/1h 20m/Comedy/Raoul Walsh)
(6:00PM) The Constant Nymph (1943/1h 52m/Romance/Edmund Goulding)
(10:30PM) Suddenly, Last Summer (1960/1h 54m/Drama/Joseph L. Mankiewicz)
FRI JUN 09
(12:45AM) The Philadelphia Story (1940/1h 51m/Comedy/George Cukor)
(3:00AM) Woman of the Year (1942/1h 52m/Comedy//George Stevens)
(5:00AM) Alice Adams (1935/1h 40m/Comedy/George Stevens)
(7:00AM) Enchanted Island (1958/1h 33m/Drama/Allan Dwan)
(8:45AM) The Great Heart (1938/0h 10m/Short/David Miller)
(9:00AM) Palm Springs Weekend (1963/1h 40m/Comedy/Norman Taurog)
(10:45AM) Having a Wild Weekend (1965/1h 31m/Musical/John Boorman)
(12:30PM) Don't Make Waves (1967/1h 37m/Comedy/Alexander Mackendrick)
(2:15PM) Lord of the Flies (1963/1h 30m/Drama/Peter Brook)
(4:00PM) Kona Coast (1968/1h 32m/Suspense/Lamont Johnson)
(5:45PM) The Last Of Sheila (1973/2h 0h/Suspense/Herbert Ross)
(8:00PM) Written on the Wind (1957/1h 32m/Drama/Douglas Sirk)
(9:45PM) Valley of the Dolls (1967/2h 2m/Drama/Mark Robson)
SAT JUN 10
(12:00AM) Love Has Many Faces (1965/1h 45m/Romance/Alexander Singer)
(2:00AM) Queen Bee (1955/1h 35m/Drama/Ranald Macdougall)
(3:45AM) The Bad Seed (1956/2h 9m/Suspense/Mervyn Leroy)
(6:00AM) Two Weeks in Another Town (1962/1h 47m/Drama/Vincente Minnelli)
(8:00AM) MGM CARTOONS: Innertube Antics (1944/0h 7m/Animation/George Gordon)
(8:09AM) New Roadways (1939/0h 9m/Short/Basil Wrangell)
(8:20AM) St. Helena and its "Man of Destiny" (1936/0h 7m/Short/?)
(8:29AM) The Adventures of Jane Arden (1939/0h 58m/Crime/Terry Morse)
(9:30AM) THE BATMAN: The Doom of the Rising Sun) 1943/0h 20m/Serial/Lambert Hillyer)
(10:00AM) POPEYE: Popeye for President (1956/0h 6m/Animation/Seymour Kneitel)
(10:08AM) The Dragon Murder Case (1934/1h 8m/Mystery/H. Bruce Humberstone)
(11:30AM) Know Your Money (1940/0h 21m/Short/Joe Newman)
(12:00PM) The Merry Widow (1934/1h 39m/Musical/Ernst Lubitsch)
(1:45PM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(3:45PM) Kings Row (1942/2h 7m/Drama/Sam Wood)
(6:00PM) The Cincinnati Kid (1965/1h 53m/Drama/Norman Jewison)
(8:00PM) Gilda Live (1980/1h 30m/Comedy/Mike Nichols)
(9:45PM) Valerie (2019/0h 36m/Documentary/Stacey Souther)
(10:30PM) Lenny (1974/1h 51m/Adaptation/Bob Fosse)
SUN JUN 11
(12:30AM) The Verdict (1946/1h 26m/Film-NoiDon Siegel)
(2:30AM) A Hard Day's Night (1964/1h 32m/Musical//Richard Lester)
(4:15AM) Viva Las Vegas (1964/1h 26m/Musical/George Sidney)
(6:00AM) The Cool Ones (1967/1h 38m/Musical/Gene Nelson)
(8:00AM) I Love You, Alice B. Toklas! (1968/1h 34m/Comedy/Hy Averback)
(10:00AM) The Verdict (1946/1h 26m/Film-NoiDon Siegel)
(11:45AM) Wait Until Dark (1967/1h 48m/Suspense/Terence Young)
(1:45PM) The Catered Affair (1956/1h 33m/Drama/Richard Brooks)
(3:30PM) The Damned Don't Cry (1950/1h 43m/Crime/Vincent Sherman)
(5:30PM) Flower Drum Song (1961/2h 13m/Musical/Henry Koster)
(8:00PM) The Three Musketeers (1973/1h 45m/Adventure/Richard Lester)
(10:00PM) One Million Years B. C. (1966/1h 31m/Fantasy/Don Chaffey)
MON JUN 12
(12:15AM) The Cameraman (1928/1h 18m/Silent/Edward Sedgwick)
(12:15AM The Navigator (1924/1h 20m/Silent/Donald Crisp)
(2:45AM) The Bad Sleep Well (1960/2h 15m/Suspense/Akira Kurosawa)
(5:15AM) Ikiru (1952/2h 23m/Drama/Akira Kurosawa)
(7:45AM) The Marshal of Mesa City (1939/1h 2m/Western/David Howard)
(9:00AM) Party Girl (1958/1h 39m/Crime/Nicholas Ray)
(10:45AM) The Big Shot (1942/1h 22m/Crime/Lewis Seiler)
(12:15PM) The Racket (1951/1h 28m/Crime/John Cromwell
(1:45PM) Jack Pot (1940/0h 19m/Short/Roy Rowland)
(2:15PM) Wichita (1955/1h 21m/Western/Jacques Tourneur)
(3:45PM) Buyer Beware (1940/0h 21m/Crime/Joseph Newman)
(4:15PM) A Lion Is in the Streets (1953/1h 28m/Drama/Raoul Walsh)
(6:00PM) McQ (1974/1h 56m/Crime/John Sturges)
(8:00PM) Born Yesterday (1950/1h 43m/Comedy/George Cukor)
(10:00PM) The Solid Gold Cadillac (1956/1h 39m/Comedy/Richard Quine)
TUE JUN 13
(12:00AM) Phffft (1954/1h 31m/Comedy/Mark Robson)
(1:45AM) Full of Life (1957/1h 31m/Comedy/Richard Quine)
(3:30AM) Bells Are Ringing (1960/2h 7m/Musical/Vincente Minnelli)
(6:00AM) The Bishop Murder Case (1930/1h 28m/Mystery/David Burton)
(7:30AM) The Lady of Scandal (1930/1h 16m/Romance/Sidney Franklin)
(9:00AM) Sin Takes a Holiday (1930/1h 21m/Comedy/Paul Stein)
(10:30AM) The Last Days of Pompeii (1935/1h 36m/Drama/Ernest B. Schoedsack)
(12:15PM) A Tale of Two Cities (1935/2h 0h/Drama/Jack Conway)
(2:30PM) Romeo and Juliet (1937/2h 7m/Romance/George Cukor)
(4:45PM) The Dawn Patrol (1938/1h 43m/WaEdmund Goulding)
(6:45PM) The Woman in Green (1945/1h 8m/Mystery/Roy William Neill)
(8:00PM) Sunset Blvd. (1950/1h 51m/Drama/Billy Wilder)
10:00PM) In a Lonely Place (1950/1h 31m/Drama/Nicholas Ray)
WED JUN 14
(12:00AM) The Player (1992/2h 3m/Comedy/Robert Altman)
(2:15AM) Crashing Hollywood (1938/1h 1m/Comedy/Lew Landers)
(3:30AM) Boy Meets Girl (1938/1h 20m/Comedy/Lloyd Bacon)
(5:15AM) Best Friends (1982/1h 56m/Comedy/Norman Jewison)
(7:15AM) Pat and Mike (1952/1h 35m/Comedy/George Cukor)
(9:00AM) How I Play Golf, by Bobby Jones No. 8: 'The Brassie' (1931/0h 10m/Short/George Marshall)
(9:15AM) The Great American Pastime (1956/1h 29m/Comedy/Herman Hoffman)
(11:00AM) Somebody Up There Likes Me (1956/1h 53m/Drama/Robert Wise)
(1:00PM) The Fish That Saved Pittsburgh (1979/1h 44m/Comedy/Gilbert Moses)
(3:00PM) Greased Lightning (1977/1h 36m/Biography/Michael Schultz)
(4:45PM) Grand Prix (1966/2h 59m/Adventure/John Frankenheimer)
(8:00PM) Carl Laemmle (2019/1h 31m/Documentary/James L. Freedman)
(9:45PM) Oscar Micheaux: The Superhero of Black Filmmaking (2021/h 20m/Documentary/Francesco Zippel)
(11:15PM) Burden of Dreams (1982/1h 34m/Documentary/Les Blank)
THU JUN 15
(1:00AM) A Fuller Life (2013/1h 20m/Documentary/Samantha Fuller)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Episode 05) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Episode 06) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Episode 07) (2019/Documentary/Mark Cousins)
(6:15AM) Women Make Film: A New Road Movie Through Cinema (Episode 08) (2019/Documentary/Mark Cousins)
(7:30AM) The True Adventures of Raoul Walsh (2014/1h 35m/Documentary/Marilyn Ann Moss)
(9:15AM) Escape From East Berlin (1962/1h 34m/Drama/Robert Siodmak)
(11:00AM) The League of Gentlemen (1960/1h 56m/Crime/Basil Dearden)
(1:00PM) Double Trouble (1967/1h 30m/Musical/Norman Taurog)
(2:45PM) Light in the Piazza (1962/1h 41m/Romance/Guy Green)
(4:30PM) Murder She Said (1961/1h 26m/Mystery/George Pollock)
(6:00PM) Made in Paris (1966/1h 43m/Comedy/Boris Sagal)
(8:00PM) Guess Who's Coming to Dinner (1967/1h 48m/Comedy/Stanley Kramer)
(10:00PM) The Lion in Winter (1968/2h 14m/Drama/Anthony Harvey)
FRI JUN 16
(12:30AM) On Golden Pond (1981/1h 49m/Drama/Mark Rydell)
(2:30AM) Morning Glory (1933/1h 14m/Drama/Lowell Sherman)
(4:00AM) Lovely To Look At (1952/1h 45m/Musical/Mervyn Le Roy)
(6:00AM) Possessed (1931/1h 12m/Romance//Clarence Brown)
(7:30AM) Anna Karenina (1935/1h 35m/Romance/Clarence Brown)
(9:30AM) Wife Vs. Secretary (1936/1h 28m/Romance/Clarence Brown)
(11:0AM) Of Human Hearts (1938/1h 40m/Drama/Clarence Brown)
(1:00PM) Song of Love (1947/1h 59m/Western/Clarence Brown)
(3:15PM) Intruder in the Dust (1949/1h 29m/Drama/Clarence Brown)
(4:45PM) To Please a Lady (1950/1h 31m/Romance/Clarence Brown)
(6:30PM) When in Rome (1952/1h 18m/Drama/DirectoClarence Brown)
(8:00PM) Beach Blanket Bingo (1965/1h 38m/Musical/William Asher)
(9:45PM) Barbarella (1968/1h 38m/Sci-Fi/Roger Vadim)
(11:30PM) Earth Girls Are Easy (1988/1h 40m/Comedy/Julien Temple)
SAT JUN 17
(1:15AM) The Apple (1980/1h 32m/Musical/Menahem Golan)
(2:45AM) Queen of Outer Space (1958/1h 20m/Sci-Fi/Edward Bernds)
(4:15AM) Hercules, Samson & Ulysses (1963/1h 25m/Adventure/Pietro Francisci)
(5:45AM) Plan 9 from Outer Space (1959/1h 19m/HorroEdward D. Wood, Jr.)
(7:15AM) MGM Parade Show #5 (1955/0h 25m/Documentary/?)
(8:00AM) MGM CARTOONS: Early Bird and the Worm (1936/0h 9m/Short/Rudolf Ising)
(8:11AM) Microscopic Mysteries (1932/0h 9m/Documentary/Hugo Lund)
(8:21AM) Zion Canyon of Colour (1934/0h 7m/Short/?)
(8:30AM) Central Park (1932/0h 58m/Comedy/John G. Adolfi)
(9:30AM) BATMAN AND ROBIN: Batman Takes Over (1949/0h 27m/Serial/Spencer Gordon Bennet)
(10:00AM) POPEYE: Out to Punch (1956/0h 6m/Animation/?)
(10:08AM) The Garden Murder Case (1936/1h 2m/Mystery/Edwin L. Marin)
(11:30AM) Trial by Trigger (1944/0h 21m/Short/William McGann)
(12:00PM) Reveille with Beverly (1943/1h 18m/Musical/Charles Barton)
(1:30PM) How the West Was Won (1962/2h 35m/Western/John Ford)
(4:30PM) Kansas City Confidential (1952/1h 38m/Crime/Phil Karlson)
(6:15PM) Badlands (1973/1h 35m/Crime/Terrence Malick)
(8:00PM) Time After Time (1979/1h 52m/HorroNicholas Meyer)
(10:00PM) Repeat Performance (1947/1h 33m/Drama/Alfred Werker)
SUN JUN 18
(12:00AM) Flaxy Martin (1949/1h 26m/Film-NoiRichard Bare)
(2:00AM) The Great Santini (1979/1h 55m/Drama/Lewis John Carlino)
(4:00AM) I Never Sang for My Father (1970/1h 30m/Drama/Gilbert Cates)
(6:00AM) The Impossible Years (1968/1h 38m/Comedy/Michael Gordon)
(8:00AM) Our Vines Have Tender Grapes (1945/1h 45m/Drama/Roy Rowland)
(10:00AM) Flaxy Martin (1949/1h 26m/Film-NoiRichard Bare)
(11:45AM) Fiddler on the Roof (1971/3h 0m/Musical/Norman Jewison)
(3:00PM) To Kill a Mockingbird (1962/2h 11m/Drama/Robert Mulligan)
(5:30PM) The Courtship of Eddie's Father (1963/1h 57m/Comedy/Vincente Minnelli)
(7:45PM) So You're Going to Be a Father (1947/0h 10m/Short/Richard Bare)
(8:00PM) Life with Father (1947/1h 58m/Comedy/Michael Curtiz)
(10:15PM) Father of the Bride (1950/1h 33m/Comedy/Vincente Minnelli)
MON JUN 19
(12:00AM) The Divine Lady (1929/1h 50m/Romance/Frank Lloyd)
(2:00AM) Bay of the Angels (1964/1h 25m/Drama/Jacques Demy)
(3:45AM) Donkey Skin (1970/1h 30m/Drama/Jacques Demy)
(5:30AM) MGM Parade Show #5 (1955/25m/Documentary/?)
(6:00AM) Man Wanted (1932/William Dieterle)
(7:15AM) Millie (1931/1h 25m/Drama/John Francis Dillon)
(8:45AM) The Big Hangover (1950/1h 22m/Comedy/Norman Krasna)
(10:15AM) The Angel Wore Red (1960/1h 39m/Romance/Nunnally Johnson)
(12:00PM) Rancho Notorious (1952/1h 29m/Western/Fritz Lang)
(1:45PM) They Live by Night (1948/1h 35m/Crime/Nicholas Ray)
(3:30PM) Pitfall (1948/1h 24m/Film-NoiAndre De Toth)
(5:00PM) Indiscretion of an American Wife (1954/1h 3m/Romance/Vittorio De Sica)
(6:15PM) Tab Hunter Confidential (2015/1h 30m/Biography/Jeffrey Schwarz)
(8:00PM) Do the Right Thing (1989/2h 0m/Drama/Spike Lee)
(10:15PM) Alma's Rainbow (1994/1h 25m/Drama /Ayoka Chenzira)
TUE JUN 20
(12:00AM) Just Another Girl On The I.R.T. (1993/1h 36m/Drama/Leslie Harris)
(2:00AM) Blackboard Jungle (1955/1h 41m/Drama/Richard Brooks)
(4:00AM) Edge of the City (1957/1h 25m/Drama/Martin Ritt)
(6:00AM) The Lady Refuses (1931/1h 12m/Drama/George Archainbaud)
(7:15AM) A Notorious Affair (1930/1h 9m/Drama/Lloyd Bacon)
(8:30AM) Bullets for O'Hara (1941/0h 50m/Crime/William K. Howard)
(9:30AM) No Marriage Ties (1933/1h 5m/Drama/J. Walter Ruben)
(10:45AM) Play Girl (1932/1h 0m/Romance/Ray Enright)
(12:00PM) War Nurse (1930/1h 20m/WaEdgar Selwyn)
(1:30PM) Wings for the Eagle (1942/1h 23m/WaLloyd Bacon)
(3:00PM) The White Sister (1933/1h 41m/Drama/Victor Fleming)
(5:00PM) Their Own Desire (1929/1h 5m/Drama/E. Mason Hopper)
(6:15PM) Smilin' Through (1932/1h 37m/Romance/Sidney Franklin)
(8:00PM) Sullivan's Travels (1942/1h 31m/Comedy/Preston Sturges)
(9:45PM) Bombshell (1933/1h 31m/Comedy/Victor Fleming)
(11:30PM) Hearts of the West (1975/1h 43m/Western/Howard Zieff)
WED JUN 21
(1:30AM) Never Give a Sucker an Even Break (1941/1h 11m/Comedy/Edward Cline)
(3:00AM) It's a Great Feeling (1949/1h 25m/Comedy/David Butler)
(4:30AM) Hollywood Party (1934/1h 3m/Musical/Allan Dwan)
(6:00AM) The Runaway Bus (1954/1h 18m/Comedy/Val Guest)
(7:15AM) Journey for Margaret (1942/1h 21m/Drama/Major W. S. Van Dyke II)
(8:45AM) The Time Machine (1960/1h 43m/Sci-Fi/George Pal)
(10:30AM) Looking at London (1946/0h 10m/Short/?)
(10:45AM) Berkeley Square (1933/1h 24m/Romance/Frank Lloyd)
(12:15PM) High Hopes (1988/1h 52m/Comedy/Mike Leigh)
(2:15PM) A Hard Day's Night (1964/1h 32m/Musical/Richard Lester)
(4:00PM) Royal Wedding (1951/1h 33m/Musical/Stanley Donen)
(5:45PM) The V.I.P.s (1963/1h 59m/Drama/Anthony Asquith)
(8:00PM) Z Channel: A Magnificent Obsession (2004/2h 2m/Documentary/Xan Cassavetes)
(10:15PM) What She Said: The Art of Pauline Kael (2018/Documentary/Rob Garver)
THU JUN 22
(12:00AM) The Celluloid Closet (1995/1h 42m/Documentary/Robert Epstein)
(2:00AM) Paul Robeson: Tribute to an Artist (1979/Biography/Documentary/Saul J. Turell)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Episode 09) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Episode 10) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Episode 11) (2019/Documentary/Mark Cousins)
(6:15AM) Yellowface: Asian Whitewashing and Racism in Hollywood (2019/Documentary/Clara Kuperberg and Julia Kuperberg)
(7:15AM) Soundies: A Musical History (2007/1h 16m/Documentary/0h 54m/Chris Lamson)
(8:45AM) Soldiers Three (1951/1h 27m/Adventure/Tay Garnett)
(10:30AM) The Wild North (1952/1h 37m/Western/Andrew Marton)
(12:15PM) Bhowani Junction (1956/1h 50m/Drama/George Cukor)
(2:15PM) Green Fire (1955/1h 40m/Adventure/Andrew Marton)
(4:00PM) The Prisoner of Zenda (1952/1h 41m/Adventure/Richard Thorpe)
(6:00PM) King Solomon's Mines (1950/1h 42m/Adventure/Compton Bennett)
(8:00PM) Holiday (1938/1h 33m/Comedy/George Cukor)
(10:00PM) Little Women (1933/1h 55m/Drama/George Cukor)
FRI JUN 23
(12:15AM) A Woman Rebels (1936/1h 28m/Drama/Mark Sandrich)
(2:00AM) Undercurrent (1946/1h 56m/Suspense/Vincente Minnelli)
(4:15AM) Stage Door (1937/1h 23m/Drama/Gregory LaCava)
(6:00AM) A King in New York (1957/1h 45m/Comedy/Charles Chaplin)
(8:00AM) Girlfriends (1978/1h 26m/Comedy/Claudia Weill)
(9:30AM) The Naked City (1948/1h 36m/Crime/Jules Dassin)
(11:15AM) Up the Sandbox (1972/1h 37/Drama/Irvin Kershner)
(1:00PM) The House on 56th Street (1933/1h 8m/Drama/Robert Florey)
(2:15PM) This Is the Bowery (1941/0h 10m/Short/Gunther Von Fritsch)
(2:3PM) The Prisoner Of Second Avenue (1974/1h 45m/Comedy/Melvin Frank)
(4:15PM) Soylent Green (1973/1h 27m/Sci-Fi/Richard O. Fleischer)
(6:00PM) Daybreak Express (1953/0h 5m/Short/D.A. Pennebaker)
(6:15PM) Crossing Delancey (1988/1h 37m/Romance/Joan Micklin Silver)
(8:00PM) Grey Gardens (1976/1h 34m/Documentary/Ellen Hovde)
(9:45PM) What Ever Happened to Baby Jane? (1962/2h 12m/HorroRobert Aldrich)
SAT JUN 24
12:15AM) X Y & Zee (1972/1h 50m/Drama/Brian G. Hutton)
(2:15AM) The Big Cube (1969/1h 38m/Drama/Tito Davison)
(4:00AM) The Legend of Lylah Clare (1968/2h 10m/Drama/Robert Aldrich)
(6:15AM) Vacation from Marriage (1945/1h 32m/Drama/Alexander Korda)
(8:00AM) MGM CARTOONS: Dumb-Hounded (1943/0h 8m/Animation/Fred “Tex” Avery)
(8:10AM) Pacific Paradise (1937/0h 10m/Short/George Sidney)
(8:21AM) Calling on Colombia (1940/0h 8m/Documentary/James A. Fitzpatrick)
(8:30AM) Once a Doctor (1937/0h 57m/Drama/William Clemens)
(9:30AM) BATMAN AND ROBIN: Tunnel of Terror (1949/0h 17m/Serial/Spencer Bennett)
(10:00AM) POPEYE: Insect to Injury (1956/0h 6m/Animation/Dave Tendlar)
(10:08AM) Murder in the Private Car (1934/1h 3m/Mystery/Harry Beaumont)
(11:30AM) The Flame Song (1934/0h 21m/Short/Joseph Henabery)
(12:00PM) A Star Is Born (1954/2h 56m/Musical/George Cukor)
(3:15PM) East of Eden (1955/1h 55m/Drama/Elia Kazan)
(5:30PM) Mister Roberts (1955/2h 3m/Comedy/John Ford)
(8:00PM) On the Waterfront (1954/1h 48m/Drama/Elia Kazan)
(10:00PM) Vertigo (1958/2h 8m/Suspense/Alfred Hitchcock)
SUN JUN 25
(12:15AM) Storm Warning (1951/1h 33m/Film-NoiStuart Heisler)
(2:15AM) A Cry in the Dark (1988/2h 1m/Drama/Fred Schepisi)
(4:30AM) My Brilliant Career (1979/1h 38m/Drama/Gillian Armstrong)
(6:15AM) Athena (1954/1h 36m/Musical/Richard Thorpe)
(8:00AM) Calamity Jane (1953/1h 41m/Musical/David Butler)
(10:00AM) Storm Warning (1951/1h 33m/Film-NoiStuart Heisler)
(12:00PM) Imitation of Life (1959/2h 5m/Romance/Douglas Sirk)
(2:15PM) Pride and Prejudice (1940/1h 57m/Romance/Robert Z. Leonard)
(4:30PM) The Reluctant Debutante (1958/1h 36m/Musical/Vincente Minnelli)
(6:15PM) The Palm Beach Story (1942/1h 30m/Comedy/Preston Sturges)
TBD
MON JUN 26
(12:00AM) Don Juan (1926/1h 51m/Silent/Alan Crosland)
(2:00AM) Un Partie de Campagne (1936/0h 45m/Drama/Jean Renoir)
(3:00AM) Il bidone (1955/1h 32m/Comedy/Federico Fellini)
(5:00AM) Report from the Aleutians (1943/0h 45m/Documentary/Capt. John Huston)
(6:00AM) Many Rivers to Cross (1955/1h 32m/Western/Roy Rowland)
(7:45AM) Escape from Fort Bravo (1953/1h 38m/Western/John Sturges)
(9:30AM) The Very Thought of You (1944/1h 39m/Romance/Delmer Daves)
(11:15AM) One for the Book (1948/1h 43m/Comedy/Irving Rapper)
(1:00PM) Of Human Bondage (1946/1h 45m/Drama/Edmund Goulding)
(3:00PM) Lizzie (1957/1h 21m/Drama/Hugo Haas)
(4:30PM) Valley of the Kings (1954/1h 26m/Adventure/Robert Pirosh)
(6:00PM) Scaramouche (1952/1h 55m/Adventure/George Sidney)
(8:00PM) The Celluloid Closet (1995/1h 42m/DocumentaryRobert Epstein)
(10:00PM) Rope (1948/1h 20m/Suspense/Alfred Hitchcock)
(11:30PM) The Children's Hour (1961/1h 47m/Drama/William Wyler)
TUE JUN 27
(1:30AM) Queen Christina (1933/1h 37m/Romance/Rouben Mamoulian)
(3:30AM) Victim (1961/1h 40m/Drama/Basil Dearden)
(5:30AM) Tea and Sympathy (1956/2h 2m/Drama/Vincente Minnelli)
(7:45AM) The Case of the Howling Dog (1934/1h 14m/Suspense/Mystery/Alan Crosland)
(9:15AM) Murder on a Bridle Path (1936/1h 6m/Mystery/Edward Killy)
(10:30AM) The Saint Meets the Tiger (1943/1h 10m/Suspense/Paul Stein)
(12:00PM) The Kennel Murder Case (1933/1h 13m/Mystery/Michael Curtiz)
(1:30PM) Haunted Honeymoon (1940/1h 23m/Comedy/Arthur B. Woods)
(3:00PM) Eyes in the Night (1942/1h 20m/Mystery/Fred Zinnemann)
(4:30PM) Murder at the Gallop (1963/1h 21m/Mystery/George Pollock)
(6:00PM) Shadow of the Thin Man (1941/1h 37m/Mystery/Major W. S. Van Dyke II)
(8:00PM) The Bad and the Beautiful (1952/1h 58m/Drama/Vincente Minnelli)
(10:15PM) Two Weeks in Another Town (1962/1h 47m/Drama/Vincente Minnelli)
WED JUN 28j
(12:15AM) The Barefoot Contessa (1954/2h 8m/Drama/Joseph L. Mankiewicz)
(2:45AM) Inside Daisy Clover (1965/2h 8m/Drama/Robert Mulligan)
(5:00AM) The Oscar (1966/1h 59m/Drama/Russell Rouse)
(7:15AM) Mandalay (1934/1h 5m/Suspense/Michael Curtiz)
(8:30AM) The Unsuspected (1947/1h 43m/Suspense/Michael Curtiz)
(10:15AM) The Unholy Wife (1957/1h 34m/Crime/John Farrow)
(12:00PM) Back in Circulation (1937/1h 22m/Drama/Ray Enright)
(1:30PM) The Man with a Cloak (1951/1h 21m/Suspense/Fletcher Markle)
(3:00PM) D.O.A. (1950/1h 23m/Film-NoiRudolph Maté)
(4:30PM) Shadow on the Wall (1950/1h 24m/Suspense/Patrick Jackson)
(6:15PM) The Nanny (1965/1h 33m/HorroSeth Holt)
(8:00PM) Harold and Lillian: A Hollywood Love Story (2015/1h 34m/Documentary/Daniel Raim)
(9:45PM) By Design: The Joe Caroff Story (2022/0h 52m/Documentary/Mark Cerulli)
(10:45PM) Floyd Norman: An Animated Life (2016/1h 34m/Documentary/Michael Fiore)
TBD
THU JUNE 29
(2:00AM) High Noon on the Waterfront (2022/0h 14m/Documentary/David Roberts)
(2:30AM) Women Make Film: A New Road Movie Through Cinema (Ep. 12) (2019/Documentary/Mark Cousins)
(3:45AM) Women Make Film: A New Road Movie Through Cinema (Ep.13) (2019/Documentary/Mark Cousins)
(5:00AM) Women Make Film: A New Road Movie Through Cinema (Ep. 14) (2019/Documentary/Mark Cousins
(6:15AM) Max Steiner: Maestro of Movie Music (2021/2h 0m/Documentary/Diana Friedberg)
(8:30AM) Dean Martin: King of Cool (2020/1h 47m/Documentary/Tom Donahue)
(10:30AM) Tarzan, the Ape Man (1932/1h 39m/Adventure/W. S. Van Dyke)
(12:15PM) Tarzan the Fearless (1933/1h 25m/Adventure/Robert F. Hill)
(1:45PM) The Valley of Decision (1945/1h 51m/Romance/Tay Garnett)
(3:45PM) Mrs. Parkington (1944/2h 4m/Romance/Tay Garnett)
(6:00PM) The Postman Always Rings Twice (1946/1h 51m/Crime/Tay Garnett)
(8:00PM) Desk Set (1957/1h 43m/Comedy/Walter Lang)
(10:00PM) Without Love (1945/1h 51m/Comedy/Harold S. Bucquet)
FRI JUN 30
(12:00AM) Pat and Mike (1952/1h 35m/Comedy/George Cukor)
(1:45AM) Adam's Rib (1949/1h 41m/Comedy/George Cukor)
(3:45AM) Keeper of the Flame (1943/1h 40m/Drama/George Cukor)
(5:30AM) Week-End for Three (1941/1h 5m/Comedy/Irving Reis)
(6:45AM) MGM Parade Show #5 (1955/0h 25m/Documentary/?)
(7:30AM) Pagan Love Song (1950/1h 16m/Musical/Robert Alton)
(9:00AM) On an Island with You (1948/1h 47m/Musical/Richard Thorpe)
(11:00AM) Girl Happy (1965/1h 36m/Musical/Boris Sagal)
(12:45PM) You're Only Young Once (1938/1h 18m/Comedy/George B. Seitz)
(2:15PM) Catalina Caper (1967/1h 7m/Comedy/Lee Sholem)
(3:30PM) Where the Boys Are (1960/1h 39m/Comedy/Henry Levin)
(5:30PM) Sunkist Stars at Palm Springs (1936/0h 19m/Short/Roy Rowland)
(6:00PM) Palm Springs Weekend (1963/1h 40m/Comedy/Norman Taurog)
(8:00PM) VictoVictoria (1982/2h 14m/Musical/Blake Edwards)
(10:30PM) La Cage Aux Folles (1979/1h 37m/Comedy//Edouard Molinaro)

Hi, I wrote this article to help out newer graders and to help discuss methods people use for Pre-grading cards. This is a long one and is very comprehensive, so thanks in advance for reading!
Full Article on my Blog: https://collectorsphere.blogspot.com/2023/05/tools-i-use-for-grading.html
Do I use any tools that can help cards have a better shot at grading a PSA 10? Where do I buy my supplies?
If you need help grading with some best tips and tricks, I suggest this article. It may change the way you grade, so always be informed. You don't need to necessarily follow what I do word for word. This article is a guide that tells you what tools I use for grading.
Refer to this YouTube Video as well (I am a bit new to videos but this should be helpful): Video
Tools: I use a variety of tools for grading. Approximate cost for these can range depending on quality and brand.
Here is a comprehensive checklist:

1. Lint Roller

• Why?
  • To grade cards, you need to make sure you have a clean surface so that no dirty/lint/dust goes onto your card before and after you sleeve
• How?
  • ALWAYS wash your hands with soap and water, then clean off your playmat or whatever surface you use to grade cards. Oil from your hands can be picked up by grading companies. You can simply use the lint roller to pick up any other dust or particles from your mat but rolling them on with a fresh layer of tape from the lint roller.
• Where?
  • Amazon 3pk $13

1. Playmat/Clean Surface

• Why?
  • You should have a clean surface that soft to the touch in case your hands put any pressure onto your card. This will make it so your card doesn't scratch
• How?
  • Simply lay down the playmat on a surface that's flat and away from any liquids/food or other things that can get in your way. I will only use the playmat for grading and then put it away after use.
• Where?
  • You can buy your favorite playmat from any LGS or from online.
  • Pokemon Center $25

1. Blacklight (Pen preferred)

• Why?
  • A Blacklight will illuminate any white scratches/foil scratches from the surface of the card
• How?
  • Turn on the blacklight and look at the card from variety of angers. Best to hold the card by the edges and not touch the surface. Examine the back and the front as well and take your time.
• Where?
  • eBay $9

1. Magnifying Glass

• Why?
  • Magnifying glass lets you see if there are any imperfections on your card, and whether or not dirt should be removed from the cards itself.
• How?
  • Turn on your light and use the magnifying glass on the corners, edges, and surfaces of the back and front of the card. Edges is something to look at since edge wear and edge dings sometimes does not show up when you are looking purely at the front/back of the card; the sides/edges should be looked at as well.
  • Bad edges can bring a card to a 9 automatically, same with surface and corners.
• Where?
  • Amazon $32

1. Ring Light

• Why?
  • Ring lights give you differential views when looking at the surface of the card, especially on foiling/holographic areas of the card. They are especially bright as well and can latch onto a desk and not get in your way if you put it near the edge.
• How?
  • Turn on the ring light and put your card under it, holding onto the edges of the card raw. You can examine the card for any surface scratching, holo scratching or any bends/tears. This will maximize the chance of getting a good grade the more you spot.
• Where?
  • Amazon $32

1. Soft Microfiber Cloth

• Why?
  • Microfiber gets rid of most surface issues from the card and should be the first wave of defense when trying to get a notable surface issue off the card
  • As a reminder, this WILL NOT get rid of holo scratches, print lines, or other print defects on the card. I will usually just binder a card with any of these imperfections and NOT submit them for grading.
• How?
  • Use one finger and rub the surface of the card with the cloth. Sometimes you can clasp it with two fingers on both front and back of the card for more friction to remove the surface dirt.
• Where?
  • Amazon 6pk $10

1. Q-tip

• Why?
  • Qtips, unlike a microfiber cloth, can target specific parts of the card where you see notable surface residue. Sometimes you will ask yourself, what is this? Why is this black smudge on the card. The worst think it can be is a print line or an actual print error, which WILL lower your chance of getting a PSA 10.
  • Vintage cards will sometimes have "black spots" that can be gotten rid of with a semi-wet Qtip. This is caused by hand oils and lint/dust that can accrue onto a raw card during shuffling/play or simply being left out to the elements.
  • As a reminder, this WILL NOT get rid of holo scratches, print lines, or other print defects on the card. I will usually just binder a card with any of these imperfections and NOT submit them for grading.
• How?
  • I will usually wet the Qtip first, and then dry it slightly, so its not too wet. A semi-wet qtip always has a better chance of removing surface residue. LIGHTLY rub the part of the card that has a spot, and it should come right off if it is dirt. If it does not come off, I recommend not grading the card as PSA or any other grading company can ding the card's "Surface" score.
• Where?
  • Any major retail store will have it
  • Amazon 2pk $16

1. Penny Sleeves

• Why?
  • These are soft sleeves that won't damage your card when you put the card in and when you pull the card out, this is very important
  • Don't use hard sleeves (Dragon Shield, Katanas, Ultra Pro Hard Sleeves) for any grading. If you have a spec of dirt on the card or inside the sleeve, simply sliding in the card WILL damage the card's surface
• How?
  • ALWAYS USE NEW SLEEVES: I cannot stress that enough. Don't use recycled sleeves for grading and don't use sleeves that have any bends in them
  • Simply slip your raw card into the sleeve, then put the sleeve in your semi-rigid cardholder
• Where?
  • eBay 500 Ct $7
  • Brands: Ultra Pro, Cardboard Gold, pretty much any major card supply manufacturer will have their own penny sleeve, but generally get the better brands for more efficiency and also in bulk if you want to save money.
    • Good to buy this in bulk for your next submission. Getting 1 pack individually will add up. Find a friend in the hobby and split them if you'd like as well

1. Card Saver 1 Semi-rigid card holder

• Why?
  • These are semi rigids trusted by PSA and even partnered with PSA
  • This are different from top-loaders since semi-rigids keep the card in place. Usually for top-loaders, the card can move around a LOT. It will be bad if your card suddenly comes out during shipment to PSA or even inside your collection in general.
  • You most likely won't grade your cards right away, having your cards in semi-rigids help it stay still when you aren't touching them. I normally have a stack, put them in a box, and then when I do decide to grade, pull them out and start the grading process.
• How?
  • Open up the Semi-Rigid with your index finger, clench with your other hand, then slip your card (within the penny sleeve) within it, pushing until its all the way down. Do this lightly or else you may bend your card.
• Where?
  • eBay 200 Ct $25
    • Good to buy this in bulk for your next submission. Getting a 50 pack individually will add up. Find a friend in the hobby and split them if you'd like as well

1. Post-it Stickies

• Why?
  • This is optional
  • This primarily helps with getting your card OUT of the semi-rigid. If you are indecisive like me, sometimes you will go like "I'm not going to submit this card anymore, going to submit other cards first" then you can take the card out easily without risk of damaging it
• How?
  • Remove a single Post-it sticky from the case and place it on the back of your sleeved card
  • Then put the entire thing into a semi-rigid
• Where?
  • Any major retailer
  • Amazon $16 (Bulk)

1. Centering Tool

• Why?
  • This tool helps you look a the centering of your card and decide whether or not it is a good one to grade
  • This is better than using your edges to look at the front, bottom, left and right sides of the card.
• How?
  • Place your card into a penny sleeve first (to be safer)
  • Put the centering tool on the card and make sure the top, bottom, left and right are in good positions. Bad Centering even on a minty card will bring the card to an 7-8-9 if the centering is bad so this definitely helps tremendously to get better chances of a 10
  • PSA allows for centering to be 60-40 at worst for a 10, but I would still recommend this process, especially if you are grading with Beckett or CGC, where you'd strive for the 10 or Perfect grades.
• Where?
  • eBay $7

Grading can be an expensive hobby, but when done right, can increase the size and value of your collection. Grabbing these tools will definitely help you out in the long run after a one time cost of accruing these tools.
Disclaimer Note: I am not sponsored nor did any websites above pay me for any content. I'm just giving you some ideas into what I personally use and how to budget.
Happy Grading!

For those who haven't read the first phase, here's a link. I want to thank the people who upvoted and the ones who commented, I thought this sub would be tired of cinematic universe re-writes by now but I'm glad to see that my take on it is fresh and appreciated! Now, let's move into phase two of this universe.
Schedule

• Captain America: Out of Time
• The Wolverine: Brothers in Arms
• Excalibur
• Iron Man
• The Brotherhood of Mutants
• The Uncanny X-Men (Cyclops' team)
• Daredevil
• X-Corporation
• The New Mutants (Xavier's team)
• The Groundbreaking Giant-Man
• Fantastic Four: Rising Storm
• The Avengers: Age of Ultron

This phase keeps the mutants separated in their factions so that the phase three final event can feel larger in scale and more earned, and rather focuses on building up the Avengers.

Captain America: Out of Time

This movie is about the Winter Soldier story arc. We've already seen the mystery aspect of the whole Bucky Barnes/Winter Soldier thing and Bucky wasn't introduced in the first film properly so I would avoid the mystery, rather skip straight to expositing to Steve that Bucky is back and deal with the emotional ramifications. Crossbones and Aleksander Lukin play the same roles they do in the comic arc, a side and the main antagonist respectively, Crossbones is a bit of a one-and-done. We will replace Union Jack's role in the original story with Ian Zola to continue their surrogate fatheson relationship, but Union Jack will be present at the end of the story in a post-credit scene joke.
This is a bit asshole-y of me but I want it to be out in the dirt-sheets that Captain Britain has been cast and may appear in the new Captain America film. We set that up and have someone like Taron Egerton on set for the film in 'leaked' pictures, and we finally have him show up after the credits, only for him to reveal himself to be Union Jack... and that's it. He probably won't show up in any other project again.

The Wolverine: Brothers in Arms

The movie starts with cameos from Cyclops and Iceman alongside Wolverine, showing Wolverine deciding not to stand by Scott's side and leave Scott's X-Men.
This is the start of the formation of X-Force, we have a couple of extra characters alongside Wolverine: namely Colossus and Deadpool. To be clear, this Deadpool is the same one from the Untitled Deadpool sequel, so he can continue to make meta jokes about the universe and try to bounce off of the new Colossus everytime he forgets its not the one he first interacted with in the first two Deadpool films. The main antagonist is a mysterious group moving behind the scenes to take down political enemies of mutantkind, who are using Nightcrawler and the newly introduced Spider-Woman to get things done, as well as Kitty Pryde, who audiences as of now still think left with Scott. This catches the attention of Moira, who is involved with the British intelligence at this point in time and passes word to a 'friend', later found out to be Psylocke.
The group is revealed to be Worthington Industries, as Warren Worthington III is behind it all (can't call him Angel because he isn't really powered anymore with his wings gone). He is eventually shut down but isn't killed.
Post-credits: Psylocke introduces the now unaffiliated Nightcrawler, Spider-Woman and Kitty Pryde to the idea of joining her team of mutant defenders and introduces them to their leader: Captain Britain. Excalibur, here we go!

Excalibur

Roster: Captain Britain, Psylocke, Nightcrawler, Kitty Pryde/Shadowcat, Spider-Woman
This film is basically Kingsman but less spy and even more British. Our main villain is Modred the Mystic, and I would have him and a couple of minor antagonists working for him all played by BBC legends. Hugh Laurie, Stephen Fry, Rowan Atkinson, the works. This film is basically a love letter to old BBC comedies and thespian culture, maybe some more cameos from actors who were in the IT Crowd, Yes Minister, BlackAdder and the like. Get Matthew Vaughn he knows how to balance British humour with an action plot he's done it quite a bit and we've had him in the universe already. There's room for social commentary about the villains all having south English accents and being played by actors all associated with that posh background too.
We have a smaller role from Black Knight too, he plays a part in fighting Modred but he isn't an official member of the team, more of a wildcard.

Iron Man

This will be an adaptation of the Demon in a Bottle storyline. Unlike Iron Man 2 it will not be a side plot but rather the focus of the film, as we've already seen Tony fight physical threats similar in skillset to himself a lot.
Ideally I want to bring Sam Rockwell back as an older Justin Hammer putting together a set of smaller villains - Blizzard, The Melter and Whiplash. We have Henry Gyrich and Nick Fury in small roles, as well as the Wasp and Namor making cameos similar to their roles in the original Demon in a Bottle comic arc.
I want Tony's emotional turmoil to bleed over into his personal life too, so we have Bethany Cabe and Pepper Potts both in the film, Potts just as his personal assistant while Cabe is the one he is in an actual relationship with. But it's clear that Tony has some reservations about Bethany and may be falling for Pepper. Rhodey is in this film too to give him some platonic support to lean on but no mentions of War Machine. A couple extra footnotes, Jarvis is a physical butler like in the comics, not an AI, and Tony does not go public with his identity.
The film ends with, yes, Hammer in jail, and two out of the three side villains dead (Whiplash survives and is in custody), but the real victory comes when Tony gets over his alcoholism. I don't want to insist upon any specific story beats, but getting someone like Dexter Fletcher to direct would be perfect as his work on Bohemian Rhapsody and Rocketman shows a deep understanding of egoist, narcissistic but undoubtedly talented people falling into substance abuse. That is the real core of this film and it's okay if the physical antagonists fall to the way-side for it.

The Brotherhood of Mutants

Magneto starts a cult in Latveria based around mutants being the next step in humanity's evolution. Members of the cult are Rogue, Mystique, Toad, Pyro and his twin children Scarlet Witch and Quicksilver. I would get someone like Greta Gerwig in on this who can create scripts that study characters inside and out as this movie should focus a lot more on the complexity of all the morally grey characters than any actual fights between the characters.
This obviously raises the eyebrow of Victor von Doom (who was already introduced in F4 if you recall), and the two ideologies clash. While Doom is not the outright villain in this film as both sides have problems, it's more a mix of grey. Magneto does 'lose' as Doom kills Pyro and warns Magneto to leave Latveria which Erik complies with. The film ends with Colossus hearing about the 'brotherhood', misinterpreting it as a school like Xavier's, and introducing Erik to his sister: Magik.

Uncanny X-Men

Established Roster: Cyclops, Jean Grey, Iceman, Kitty Pryde
New Members: Armor, Gambit, Blink, Sunspot, Havok
This film basically begins with Kitty leaving the team which explains her involvement in the The Wolverine: Brothers in Arms. Cyclops very clearly has issues with Xavier and its explored how Scott feels Xavier failed the team by being too soft. The team have their internal conflicts about if this is the right thing to do, with Bobby and Jean pulling one way while Scott pulls the other. The villains are Sebastian Shaw and his latest recruit to the Hellfire Club: Abyss (Alexander Koch).
Abyss is killed by Shaw so he can absorb his power in the final battle, and Shaw fights Jean and Armor, seemingly having the upper hand after absorbing Abyss' energy but he is killed by a stray laser beam from Cyclops. The team is distraught that Scott would just kill a mutant in cold blood like that, causing a major rift. The team essentially is over, with only Jean remaining at his side. Havok decides this is not his fight to fight, while Sunspot, Armor and Iceman begin to agree more with Xavier and decide to leave for the Xavier School, and Gambit goes back to being essentially a free agent.

Daredevil

Get Drew Goddard and the Netflix series cast on this ideally, match that tone of elevated street-level work. This is essentially the Guardian Devil storyline from the comics, including the Mephisto, Wong and Black Widow stuff.
I don't really have a lot to say, keep Spider-Man as a major player even if the actor's cost is a bit steep as he will really bring eyes to this, as well as the debuts of Black Widow and Mephisto. Let 'em at it, but keep Gwyneth and Karen Page as separate characters, I know it could be tempting to roll them into one to keep the number of players in the storyline low and maybe avoid the PR trouble that comes with a teenage pregnancy in your cinematic universe.
Mysterio is revealed to be the guy behind everything in the final act, setting Bullseye and the Twin Killers on Matt and Peter and having made a deal with the devil. He is defeated, but not killed.

X-Corporation

Our next conceptual experimentation comes with the X-Corporation. My ideal team for this would be the same team that made Deadpool to allow for some dark and meta humour.
This is unlike the X-Corporation from the comics, rather it's the polar opposite. It's not an official company under the wing of Genosha or Krakoa or anything like that, but rather a rag-tag group of, essentially, nobodies. Worthington Industries continues its illicit activities, and two people notice it: Davis and Heather Cameron (Slipstream and Lifeguard, respectively). They decide to put together a team of their own, inspired by the X-Men. The team consists of themselves as well as Risque, Penance (Monet St Croix), Darkstar, Multiple Man, Domino, Cannonball, Sunfire and Thornn. The meta commentary and rag-tag style of team makes this movie sorta feel like a hybrid of James Gunn's Suicide Squad and Guardians of the Galaxy, but with mutants.
It's quite the large team, and that's the fun part because unbeknownst to them or the audience, a lot of them will be dead by the end of the movie. While not present in the marketing in any way, the movie makes it clear that not all of the team will survive this mission, almost in the way movies like the first Avengers did, a way that makes it seem like just a way to raise the stakes without doing anything about it, but this movie delivers.
Warren is back, but reveals that with the help of a new ally he has regained his ability to fly. Magneto, playing a much more villainous role now, has given Warren new metal wings, completing his transition to Archangel. These two along with a new player form our trio of villains: Mister Sinister. He is also working with Angel, but it is made clear in this movie that both Sinister and Archangel have a larger power they are working for.
The final battle is Mister Sinister against the X-Corporation, but Sinister decides to play his ace in the hole: a set of five clones to form "Sinister's Six" (including himself). The clones are of Wolverine, Mystique, Storm, Beast and Nightcrawler. The team's goal, previously taking down the Worthingtons, changes as they realise they are massively out of their depth. Their goal is now simply to get out of there alive. In the end, the clones are all killed and Sinister decides to live to fight another day but the team takes heavy losses. Risque, Penance, Darkstar, Sunfire, Thornn and most importantly: our protagonist, Slipstream, all perish. That leaves us with Lifeguard, Multiple Man, Domino and Cannonball alive.

The New Mutants

It's been long enough, get me the Russos on this one. They are oh so good at taking ensemble films, deconstructing them into their most raw character conflicts and raising those conflicts. I want that to happen here.
Established Roster: Professor X, Emma Frost, Storm, Beast
New Members: Thunderbird, Bishop, Jubilee
Magneto and Archangel decide to go after a common enemy: Xavier and his team. Xavier's school has produced some new talent who are being slowly integrated into the team, namely the three new recruits. Magneto and Archangel bring along Sabretooth too, who Xavier eventually realises is Logan's half-brother and convinces to join his side by the end of the film. Xavier is still our protagonist, as Magneto's ideals directly conflict with Xavier's ideals much like Scott, and Xavier feels massive guilt for his part in Archangel's crippling. We can have Xavier try his best to reconcile with Warren, drawing parallels to his own crippling (no details given, I want to hold that back but we do get some vague things like that it was a bullet that Xavier could very easily have avoided and that wasn't intended for him).
It seems like Xavier is getting through to Warren but just as that seems likely, Magneto realises why Xavier has never tried using his powers on Erik, or rather that he has but has failed due to Erik's helmet. He very quickly fashions a way for Warren to shut Xavier out, completing the Archangel look with a new exosuit and helmet. The final battle doesn't result in any deaths but the X-Men take a few hits before being put down, Storm eventually being the X-Factor when she electrocutes Warren's wings, shorting them and causing Magneto to flee with him.

The Groundbreaking Giant-Man

This is the Ant-Man sequel, as you may have realised by now I'm doing a weird thing with the titles where I change the alias and the descriptor for each film in the series. This is another Edgar Wright film, and while there will be comedy it will be slightly dialed back for more serious emotional weight. Not saying that funny films can't be films that make the audience feel, but some tonal consistency would be nice and a comedy having the kind of themes I want this film to explore would be a bit dissonant.
This film is about Hank realising he won't be around forever, and looking to pass the mantle on. This creates two options: Scott Lang, or an AI.
Scott and Jessica Jones are in a rocky relationship, we explore this as one of the central dynamics of the film, this is as much as Scott Lang film as it is a Henry Pym film. The main villain is Kilgrave who is manipulating Jessica but eventually Hank and Janet put an end to his schemes, Janet finally becoming the Wasp properly after a brief test run of the suit in Iron Man.
In the end, Scott's fractured emotional state after his tumultuous relationship with Jessica leaves him an unsuitable candidate for Hank, and he decides to create an AI to protect the Earth.

Fantastic Four: Rising Storm

I don't have a particular plot in mind for this film but I have an idea, basically just the coming of Galactus plot but with less of Galactus, rather more of Silver Surfer as a precursor to his arrival. Make it known that the Baxter Foundation is looked at with more and more raised eyebrows as they seem to be misplacing some important and dangerous things often, as proven by the existence of the Fantastic Four as well as the accidents involving Mole Man and Spider-Man.
The main things I want this film to accomplish is setup Galactus as a top threat for the future and strengthen the bonds between the F4 and their peers. Really make them feel united together, Alicia too is with Ben and the two are happy together. The Silver Surfer retreats, he is defeated (no switching of sides just yet).
Post-credits: Hank Pym, with the help of Reed, completes his AI: Ultron, the final pieces being some alien remnant tech that the Silver Surfer left behind. Ultron immediately awakens, becomes self-aware, and kills Hank before escaping the Baxter building, gaining access to non-nuclear missiles and decimating New York City using it. The extent of the damage is unknown in this scene.

Avengers: Age of Ultron

This film could even be a two-parter, but I think one 3 hour film should do the trick.
New York is decimated. In the wreckage, Wasp, Mister Fantastic, The Thing, Human Torch, Iron Man, Captain America, Black Widow, Spider-Woman and Scarlet Witch are confirmed dead. We have an actual 'age' of Ultron as Ultron basically takes over the world, creates Vision and inhabits his body, while the rest of the world tries to survive. As you have realised by now, the only surviving member of the Fantastic Four is Sue Storm, and while its unclear which mutants died, Emma Frost and Wolverine who are two of the most prominent characters in this film, both imply that they lost many friends. We explore these characters' grief while in this dystopia. As must be clear by now, Ultron has no real personality. He is what Ultron should be: ruthlessly efficient, and unfeeling. The Terminator, given the goal to terminate the world.
We have a new character in Hawkeye and Spider-Man introduce us to the post-apocalyptic world, and then slowly the plot is discovered: that technology that Silver Surfer left behind is capable of travelling across timelines. Before their final gamble, we spend the majority of the film in this dystopia with all the heroes, exploring their lives in the post-Ultron world trying to survive and hide. Heroes from elsewhere like Storm, Black Panther, Namor and others come to New York too so that all the power is in one place to devise a plan against Ultron.
Our primary protagonists after the first few minutes with Hawkeye and Spider-Man are Wolverine, Invisible Woman, and Emma Frost. Wolverine and Invisible Woman have their screen-time and grieve their massive losses, but another important player must be Emma. Her arc of going from cunning and sly Hellfire Club member to standing with Xavier and choosing the right side of history is made very clear in this film.
We have our heroes send Wolverine and Invisible Woman to an alternate timeline, where they meet The Defenders which consists of Iron Man, Captain America, Ant-Man, Wasp, Professor X and another Wolverine. The two parties fight, thinking our heroes have been sent by Morgan Le Fay, before the Defenders realise that our heroes aren't lying about their timeline and agree to help them, using the Silver Surfer's technology to reconstruct another device to send them back to their timeline to before Hank and Reed create Ultron.
Our big 'final' confrontation is Logan and Sue trying to confront Hank about creating Ultron, trying to convince him not to do it. Hank refuses to listen, and eventually Logan is forced to kill him, causing him and Sue to become fugitives. Upon capture, Emma Frost reads their mind and realises they aren't lying. However, unbeknownst to all of them, Ultron knew about the technology (because of course he did) and followed the heroes into this point in the timeline. As Ultron does not exist in this timeline yet and isn't connected to the rest of the world in his semi-organic android Vision body, he is not more than his android body, resulting in our final fight being Ultron against everyone, a proper one versus all as Ultron's practically infinite computing power causes him to sense pretty much every attack that comes at him.
Everyone who died is back (minus Hank of course), but the final fight extracts a price too, as Black Panther dies when he gets in the way of a Vision beam headed straight for Namor. Emma Frost dies when she tries to infiltrate the mind of the android but encounters Vision's countermeasures, which instantly attack her and render her brain-dead. Emma dies trying to do the right thing, ending her arc over the course of the last two phases in tragic fashion. Ultron is eventually defeated when Doctor Strange uses magic to trap him in an infinitesimally small micro-universe after being worn down by everyone else.
And that's how this phase ends. The world is saved but it is quite the downer. Nick Fury however, sees potential in putting the non-associated heroes together, and decides to contact Tony Stark about starting the Avengers. Our movie ends with the very first Avengers team being put together.
Post-credits scene: The Baxter Foundation is officially disbanded, and Reed Richards replaces it with the Future Foundation.
So, to recap the end of the phase, here is how our factions look:-

• Avengers: Iron Man, Captain America, Hawkeye, Black Widow, Doctor Strange, Wasp, Scarlet Witch
• X-Men (Scott's team): Cyclops, Jean Grey, Blink
• X-Men (Xavier's team): Professor X, Beast, Thunderbird, Storm, Bishop, Jubilee, Sabretooth, Sunspot, Armor, Iceman
• X-Corporation: Lifeguard, Multiple Man, Domino, Cannonball
• Future Foundation: Mister Fantastic, The Thing, Invisible Woman, Human Torch, Wolverine
• Unnamed villain faction: Archangel, Magneto, Mister Sinister

The next phase will close out the first arc of this universe by eventually bringing the X-Men together for the final event, while also giving some hints to phases to come with some cosmic stuff and the introduction of the Inhumans.

Hi everyone! My gf and I are moving to Rochester this upcoming SeptembeOctober. She’ll be doing a one year post-grad fellowship at Mayo, while I’ll be relocating for work. We are coming from NYC and downtown seems like the best transition for what we have been used to the last few years. We are pretty excited to move into a new area and hopefully can lay some roots here.
Had a few questions for y’all:
-We are looking at staying in downtown near Mayo and the St. Mary’s campus. We have checked out The Berkman and the Avani development online and plan on checking both. Seems to offer everything we’d really like. Any pros/cons to living at either or what you’d recommend between these two?
-Anything from a rental standpoint that we shouldn’t waste our time and energy on? Like any leasing companies or rentals that have burned people in the past while living downtown?
Thanks for any info!

Company Name	Title	City
HealthMarkets	Insurance Agent	Beacon Falls
HealthMarkets	Insurance Agent	East Killingly
Capital One	Distinguished Engineer (Director) - AI Developer Experience	Hartford
Capital One	Manager, Ontology and Data Modeling	Hartford
HealthMarkets	Insurance Agent	New Britain
Capital One	Sr. Manager, Technical Program Management	New Haven
Capital One	Director, Technical Program Management - IT Asset Management	New Haven
Capital One	Senior Software Engineer, Full Stack, Go	New Haven
HealthMarkets	Insurance Agent	North Branford
HealthMarkets	Insurance Agent	South Glastonbury
HealthMarkets	Insurance Agent	Southport
HealthMarkets	Insurance Agent	Sterling
HealthMarkets	Insurance Agent	Suffield
HealthMarkets	Insurance Agent	Unionville
HealthMarkets	Insurance Agent	Voluntown
HealthMarkets	Insurance Agent	Waterbury
Enjet Aero, LLC	CNC Machinist	Bloomfield
Enjet Aero, LLC	CNC Operator	Bloomfield
The WorkPlace	Employer Engagement Specialist	Bridgeport
Pinstripes	Experienced Sous Chef	Bridgeport
JobTarget	Junior Software Engineer	Bridgeport
AccessPT	Physical Therapist (PT)	Brookfield
AccessPT	Physical Therapist	Brookfield
AccessPT	Physiotherapist	Brookfield
TPC Network	Cook	Cromwell

Hey guys, here are some recent job openings in ct. Feel free to comment here or send me a private message if you have any questions, I'm at the community's disposal! If you encounter any problems with any of these job openings please let me know that I will modify the table accordingly. Thanks!

Welcome one and all! Some of you may remember me mentioning the idea of this series a while ago in the Daily Discussions, and now, many moons later, we’re finally here. Worldbuilding is one of my passions and one of the things that keeps my brain playing with fanfiction, so I’m here to share my dubious expertise. Remember though that these are just my methods and preferences, and if you can find something different that works for you, that’s great! I hope at the very least this series of posts will provide a decent basis for people to develop their own skills and style of worldbuilding.
The goal of this first post is to get you acquainted with some fundamentals of worldbuilding, things that apply to both original fiction and fanfiction, and we’ll to expand on how to apply these ideas in the next post.

First Principles

Back in my younger days in uni, I spent a while exploring the interaction of history and anthropology, which meant I learnt a little about anthropology as well. I’m far from an expert, so if you have actually studied anthropology in any depth, you may have to hold your nose through this section, but I want to stress that this is not necessarily a commentary on anthropology as a discipline, but on what I took away from it as a useful way to think about fictional societies.
Okay, disclaimer done. Broadly speaking, we can talk about two major approaches to analysing the rituals and practises of societies: as symbolic or functional. A symbolic understanding of a society will take the approach of focusing on the, well, symbolic meaning of rituals, essentially having them stand in for something bigger. Functional analyses, meanwhile, will focus on what purpose a certain ritual may serve in a society, which may not necessarily be what it appears to be on the surface.
(“Ritual” is another bit of anthropology speak here: rituals aren’t necessarily religious or virgin-sacrifices-under-the-full-moon (that’s only the fun ones), but can just be shared traditions. For example, singing ‘happy birthday’ could be considered a celebration “ritual” in our society.)
Now, “symbolic” and “functional” reasons can overlap and even be different ways of understanding the same thing. For our purposes, we want to remember that every bit of detail we introduce about a society should serve at least one of these functions in order to feel realistic. If you’ve ever seen an obvious Bad Guy Nation that worships Evil God Bob who regularly demands human sacrifices and puppy kicking and rolled your eyes, it’s probably because these rituals failed to establish symbolic or functional meaning, and thus society felt shallow and unrealistic.
What purpose do the human sacrifices serve? Perhaps those sacrificed are symbolic methods of bridging the gap between the people and their god: by spilling innocent blood, the people grow closer to their god’s power and incorporate some of it into themselves. Or, perhaps those sacrificed are criminals, and thus the function of the ritual is punishment and as a focus for the community’s anger against those who have transgressed social norms or broken laws. Just because a nation is full of bad guys doesn’t mean their society can’t have sensible meaning in it’s rituals.
Symbolic or ritual or both? This question is worth asking yourself as you build your society. Of course, you should feel free to work backwards if you come up with some really cool shit. This is fiction after all: “because it’s cool” is half the point.

Society Load-Bearers

Now that we’ve considered our intellectual starting point, it’s time to consider our pragmatic starting point: the shit that actually makes up “a society”. You could probably make an argument for multiple things to be included here, but I have boiled this section down into what I believe are the three most important elements to consider. These three are: landscape, religion/beliefs, and people.
#1: Landscape
To a certain extent, this list is in priority order, not necessarily because one is more important to consider than the other, but because certain things on the list will necessarily limit what you can do with other parts of your worldbuilding. Nowhere is this more true than with the landscape of your society. The land your people are in will dictate what kinds of foods they can eat, what methods of travel they most commonly use, weather patterns… unless of course you use your Author Fiat Wild Card and declare an exception because of Reasons(tm), but we’ll get into that later.
Let’s say you want to write a pirate story. This means that you have excellent taste because pirates are awesome, but it also means your story necessarily takes place on islands or the coast: the rhythms are a sea are going to be a major part of your characters’ lives, and therefore of your story. Sea travel means you need to think about the preservation of food and water on a ship, hazards that could overcome your characters, and the space on the ship itself, cramped cabins, et cetera, and this will be where you want to focus your research in order to make the “landscape” around your characters feel realistic, even if they’re fighting mythical sea monsters.
In general, knowing the “landscape” of your story is very important, and I recommend having a map, or several maps depending on the number of locations in your story, for your own personal reference. This doesn’t mean you need an epic fantasy style map with detailed illustrations and every river, wood and village named. But having a rough sketch of the area your story takes place in won’t hurt and allows you to keep the areas of your world consistent. This applies to contemporary or science-fiction worlds too! Whether it’s planets in a system or the bus route your main character takes to work, just knowing how your characters move through “their” landscape will make your story feel more real, and allow you put in road blocks (maybe literal, in the case of the bus route) that your audience will understand all the better because of how this landscape has already been established.
#2: Religion/Beliefs
The next most critical element is what people in your society believe. This will guide social norms, relationships, character motivations, systems of government, all of that jazz. This sounds like a broad and complicated category, and it is, but you can simplify development in this area by focusing on one (1) major guiding principle for your society, then adding nuance as you expand through the other parts of the world. You can also, as with the previous example, work backwards from what your end goal to be.
Let’s say for example that you want to build a pseudo-medieval world, but one where gay relationships are completely normal and accepted. To make this work for your society, you might say, okay, let’s set up a society which values individual freedom. The god(s) of your medieval tech society value freedom and love, giving you a culture which puts emphasis on free choice in marriage, regardless of anyone’s gender. Since freedom is a staple of the culture, you probably don’t have a monarchy in this medieval world; instead, perhaps you have something more like the early democracy of some of the Greek city states, with limited numbers of citizens who can vote for representatives. This, again, would play into the individual freedom that was your starting point.
So we have our basics of this society down. But this sounds a bit happy and low on conflict. Here’s where we add the nuance. A society which places a religious emphasis on love puts pressure on people to be in relationships, which is bad for ace and/or aro folks, or for those who simply don’t want to be in a relationship—there could be a character story in this! Similarly, perhaps a society which values freedom also struggles to find reasonable limits on that freedom, meaning that blunt honesty (and hurt feelings resulting) are a norm. People who are more sensitive may find themselves looked down on for not being able to meet societal norms of tolerating others’ freedoms. And a democracy in a low-tech society may be slow to respond to crises (because speedy transport options are limited, slowing communication before you get into group discussion) or troubled by corruption (because it’s difficult to make tamper-proof voting methods)… not to mention those who may not get to vote.
There you go! From a really simple premise we built a pretty decent society and thought of ways its norms might pose problems to characters, whether as internal conflict in character arcs, or external conflict with plot issues. More detail, such as in specific rituals, days of celebration, and so on, will add more depth to this society, but if you’re stuck on this point, you can always go back to your central premise: what sort of things would a society that values freedom celebrate? What religious festivals might there be if their gods that value freedom and love in all forms? (You can try this as a worldbuilding exercise by leaving some ideas in the comments!)
#3 People (or: Movement)
I went back-and-forth on what I wanted to call this part, but in the end settled on ‘people’ because that expresses what I mean better, I think. Anyway, the main point of this society is to remember that your society is made up of multitudes of different people, hundreds or thousands of individuals. You can generalise about values your society might have, just as you can with any modern society – but just like the world we live in today, no society is a monolith. People will push back against their cultural norms in various ways, and even folks who accept cultural norms may participate in norms to different extents, with varying levels of enthusiasm.
As a parallel, think of people who take part in religious festivals like Christmas as a part of their religion, and people who do it as a cultural norm without serious religious elements, or without actively believing in Christianity at all. Those people are participating in the same cultural norm, the same “ritual”, but they aren’t all doing it in the same way. To make the world of your society feel truly alive, you should attempt to show something similar.
Don’t get me wrong, this doesn’t have to be something that you dedicate masses of space to. In fact, generally it’s more realistic if there isn’t one “counter-cultural” character who all questioning or negativity about aspects of the culture is pushed onto. I’m talking about things such as, people who leave a cheering crowd because they’re not interested or disagree with a public speaker, a store owner who doesn’t ask questions about these strangers whilst others in the street blatantly stare at them, various levels of enthusiasm in the major religion, the presence of religious or ethnic minorities. You can tie this into your main story by using it as part of character arcs or subplots, too, to get characters to question their prejudices, beliefs, or generalisations they’ve made because of past experiences.
Another thing to remember about building a society of various individuals isn’t just how they “move” through the space culturally (...you can see why I felt “movement” didn’t really work), but how they move through the space of your world physically.
This is partly covered under ‘landscape’ for things like travel (if you have to teleport people around your continent, keep it subtle, yo) and what food is readily available, but it’s worth thinking about more specifically too, how your society will show, physically, that it has a multitude of people living in it. For example, if your character goes to a city, they should probably see signs of different periods of architecture, rich and poor areas of the city—and if they’re not seeing that, there has to be some reason for it. (There could be an interesting story in that idea!)
Think about the ways people will live in a period of your tech level and how that will make the space around your character feel ‘lived in’. Are the city streets clean? Where do children play? What do people do to celebrate festivals? As a modern example: even though I don’t really follow football (soccer), I always know when England are playing, because people start putting England flags in their windows… and then flags of other nationalities start appearing as well, because no society is a monolith! I hope this example also shows that worldbuilding doesn’t have to be complicated or about elaborate rituals. You can add lots of depth to a society with really simple touches like this, things that you may not even think of as “worldbuilding” because it’s so normal. But adding touches of normal is precisely what makes a fictional society feel natural!
So, that’s u/holliequ’s three major points to remember when building a world. My area of expertise, and hence most of my examples, is in (pseudo-)historical societies, but this doesn’t just work for building pre-modern or pseudo-historical societies! Let’s say that the “society” you’re building is a more modern neighbourhood instead: you can go through the list above in order in a similar way.
For “landscape” here, you’d want to think about urban vs rural communities (or a place where those communities mix, such as at a school), which country or area of the world they’re in (weather, basic patterns of life). Let’s say you want a ‘fish out of water’ story with classism themes, so you pick a rich urban neighbourhood for your main character—someone from a poorer, rural background—to move into.
Now depending on the area of the world you’re in, the urban neighbourhood may not be very religious, but they may have certain sets of beliefs already, such as homeowner’s associations which expect certain standards in the neighbourhood, or just shared assumptions about what ‘people like them’ do and how they act: for example, maybe in this affluent neighbourhood they’re used to hiring people to do housework for them, and so when they see the main character working in the garden, they assume the MC is ‘hired help’.
Lastly, people: even if your character encounters classism or snobbery from some of their new neighbours, not all of them are going to be the same kind of classist. The neighbour who mistook them for a worker, not someone who lived in the area, for example, may have made an honest mistake because of being raised with certain classist assumptions. Other characters may be explicitly hostile to the newcomer, whilst still others might be genuinely friendly and welcoming of different perspectives. In a smaller-scale “society” like this neighbourhood, which of these attitudes is dominant depends on exactly what kind of story you want to tell and there’s a bit less room for generalising than there is when developing a whole country, but as you can see, the principles work basically the same.

On using your Author Fiat 'Get-Out-of-Jail-Free' card

The above is a rough guide to building a society which functions more-or-less on the same principles as our own. But what if you don’t want to build a society that functions like our own? What if you aren’t working with humans, but aliens? Or your society has magic? Or it’s set in the future with some cool science-fiction technology?
This is when you pull out your Author Fiat card to handwave away any of the issues we’ve talked about. (This is also for occasions when you want something to just Be and don’t want to explain it, like “yeah this medievalesque society isn’t sexist. why? it just isn’t ok” but you know… this is a worldbuilding post, so we’re gonna assume you want to do some explaining here.)
For example, you probably need to think about how your characters move around the world, roughly how long it would take to get them from place-to-place with various methods of travel, the distance between stars, etc. Unless you Author Fiat declare there is an element which can make ships travel between solar systems in almost no time at all. (Hello, Mass Effect!) Unless you Author Fiat declare that giant birds can quickly taxi people around the country. (Hi, Pokemon!) Unless you Author Fiat declare that magic lets people teleport, or create gateways between different parts of the world, or… you get the picture, you always have a special ability to say “yup, it is that way because of magic and/or science”.
That said, there are consequences to using your Author Fiat card. If you have a world in which teleportation magic is a thing, then you need to think harder about ways to explain why your characters can’t get to a place: you will lose your audience if you have to resort to explanations like ‘they forgot about teleporting because they were so panicked!’ or ‘this never-before-established way of blocking teleportation magic happened!’ and erode the willing suspension of disbelief.
This is when it becomes necessarily to build probably THE most famous bit of worldbuilding… a magic system! jazz hands Or a sci-fi piece of tech. (A tech system? I guess tech systems can be a thing too.) At its most basic, the idea behind a magic/tech system is to give the audience an understanding of the rules so that things such as “magic that can block teleporting” don’t appear to come out of nowhere. By delivering these explanations early, and keeping to them consistently, you can use them to create tension later when the audience realises that a critical system in the starship is about to fail, or the main character doesn’t have the ability to cast the teleport spell right now, or whatever.
There are two approaches to building magic/tech systems: hard or soft. (Stop that smirking. Stop it now!) You may already know about the distinction between “hard” (scientifically realistic) and “soft” (scientifically plausible-ish, mostly, sometimes) sci-fi, but this can also be applied to magic systems, “hard” magic systems being popularised as a concept by Brandon Sanderson. Essentially, a hard magic system is simply one with more detailed explanations or formulas for how the magic works, giving concrete limitations, whereas soft magic systems may rely on more vague limitations such as “lack of energy” or “magic supply depleted”.
Neither of these is necessarily a better approach than the other, and mainly it’s about what kind of story you want to tell. If you believe Sanderson’s First Law, it’s easier to get your audience to buy characters solving problems with magic if they can understand, as it were, how the magic trick was done, but you may not need this sense of detail in your magic system if the issues faced by your characters are personal, or plot problems that can’t be solved with magic.
There’s not really room in the scope of this post to discuss building magic/tech systems (it’s long enough already!) but in general, unless you really enjoy making these things for their own sake, I recommend building your system backwards, starting with a vague idea of your plot and what kind of issues your characters will need to run into, and then building flaws or limitations into your system that facilitate that. For example, limit the time the character can be in the mech suit without taking brain damage, heightening the tension of the long finale you have planned, or invent some kind of magic rock that blocks teleportation magic, so your villain can have deposited a bunch of it in Plot Critical Location to prevent your heroes just teleporting there to stop them.

Resources

One last thing I did want to discuss was, in my opinion, the best way to improve your confidence and ability to worldbuild your own societies: learn about other societies! So to that end I’m going to discuss a some places where you can increase your knowledge and help your worldbuilding :D
The first one is probably an obvious one for writers, which is read widely. Fiction stories are a great resource for improving your writing, especially ones that have in-depth worldbuilding themselves. Some of the books I’ve enjoyed most over the past year from a worldbuilding perspective are Judy I Lin’s A Magic Steeped in Poison, These Violent Delights by Chloe Gong, and The Lady Astronaut series by Mary Robinette Kowal, respectively a China-inspired fantasy setting, 1920s Shanghai with supernatural elements, and a sci-fi alternate history of the 1950s and 60s—so quite a wide range! A Magic Steeped in Poison also has one of the freshest and most interesting ‘soft’ magic systems I’ve encountered if that’s to your interest as well.
If we want to learn about societies, though, there is an entire profession that have dedicated themselves to learning about past societies! I keep telling everyone that my history degree comes in very useful for writing >D However, I do realise that getting into historical non-fiction can be a bit intimidating if you don’t have the degree, as history books are not always accessible. What I recommend if you do want to read more non-fiction is to look into books aimed at a popular audience rather than academic works. Two particular accessible recommendations I’ve read over the past year would be Ian Mortimer’s Time Traveller’s Guides series (particularly useful as they cover all kinds of elements of historical life, from religion to clothing to how people greet each other) as well as The Five by Hallie Rubenhold, which goes into great detail about working class Victorian life through the lens of biographies of the five victims of Jack the Ripper.
If you are willing to tackle more academic sources, when it comes to specifics, I recommend Jstor which allows you to make a personal account and access free articles each month. Trust me, some historian has DEFINITELY written something very specific on your area of interest at some point. Outside of that, I would suggest looking for books that are collections of multiple authors, since these are often designed to give a broad overview of the period from multiple historians’ specialities/perspectives. For example, I finished relatively recently Japan Emerging edited by Karl F. Friday, which was a great introduction to Japanese history from the perspective of someone mostly completely unfamiliar with the topic, and the bibliographies of books like this are an excellent starting point for doing more detailed research.
Apart from these “edited by” collections, series that are designed to be a comprehensive history on the topic can be very useful. I’ve been making my way through the Penguin History of Britain series and two books in particular, Britain After Rome by Robin Fleming (covering c. 400-1070AD) and The Struggle for Mastery by David Carpenter (1066-1300ish), stood out for their excellent attention to detail and the amount of ground they managed to cover.
(If you want any other recommendations, feel free to ask me! My best areas of knowledge are probably early modern and modern Britain and Europe, but I’ll see what I can do for any other periods or topics of interest!)
Non-fiction books are not the only way you can learn about societies either, especially for those of you who struggle to find time for books. Historical documentaries can be a great and accessible way to find out more about a particular era – my favourite documentary of all time is Victorian Bakers which is a BBC series available on DVD where bakers from the modern day try out different methods of baking throughout the Victorian era, starting with stone ovens and all the way up to industrialisation. Since bread has been a staple food for most of European history, it’s a really valuable perspective, as well as fun! (And yes, I am the kind of person who has a favourite documentary of all time, lol.)
There are also plenty of youtube series out there talking about history, but do try to find reliable perspectives if you can, particularly people who actually share their sources with you (and even if you don’t want to read the source itself, you can google it to check out the reviews). Some historians are now putting their work online to try to reach a wider audience, and one historian’s blog in particular which has been useful for me is A Collection of Unmitigated Pedantry by Brett Deveraux which even has an entire section for resources for world-builders, looking at things such as what do pre-modern cities look like, how do people make clothes, etc.
Now I really have talked for long enough, so I’ll leave it there. I hope you all learnt something from this post, even if it’s just “I don’t like this, so I’m going to do everything the opposite way”. I’d love to hear your thoughts and feedback in the comments as I may consider posting a revised version of this on AO3 at some point.
There is one more post planned in this series. The next one will cover how to apply these worldbuilding concepts to fanfiction in a more direct way (i.e. when you’re not building a world from scratch, but expanding around existing concepts) and how to actually put all this worldbuilding into your story. Look out for that some time in the next week or so!

^{[back to \}Cars, Events and Patch History)](https://redd.it/mun5md))
^{This is the actual list of all RR:}

Chapter \ fuel / start type / PR)	Type / encounters / Location	rewards	opponents
1.3 \ 1 / standing / TBA)	Rush Hour / Traffic / Cornerstone North, Night	Motor Segment, Connector, Cash	Chris \Subaru Impreza WRX STI, 196 PR], Jack [BMW M3 Coupé (1999)), 195 PR\)
1.5 \ 1 / flying / TBA)	Rush Hour / Traffic / Hope Bridge East, Night	Turbo Segment, Nitro Segment, Cash	Darius \BMW M3 Coupé (1999)), 196 PR\)
1.8 \ 2 / standing / TBA)	Rush Hour / Traffic / The Square East, Night	Subaru BRZ, Calibrator, Cash	Slayer \Subaru BRZ, 208 PR])
2.2 \ 1 / standing / TBA)	Nitro Rush \1:02,63)) / Nitro Zones, Traffic / Hope Bridge East, Night	Plating, ECU Segment, Cash	–
2.5 \ 1 / standing / TBA)	Airborne / Ramps / Blackridge Park Chase, Day	Transmission Component, Transmission Segment, Cash	Darius \BMW M3 Coupé (1999)), 264 PR\)
2.8 \ 2 / standing / TBA)	Airborne / Ramps / Blackridge Park Climb, Day	Ford Mustang Boss 302, Lubricant, Cash	Kris \Ford Mustang Boss 302, 284 PR])
3.3 \ 1 / flying / TBA)	Rush Hour / Traffic / The Square East, Night	Bolts, Wheel Segment, Cash	Darius \BMW M3 Coupé (1999)), 274 PR\)
3.6 \ 1 / standing / TBA)	Rush Hour / Traffic / Hope Bridge West, Night	Turbo Component, Turbo Segment, Cash	Rocky San \Mazda RX‍-‍7 FD, 284 PR])
3.8 \ 2 / standing / TBA)	Rush Hour / Traffic / Hope Bridge East, Night	BMW M3 Coupé \1999)), Connector, Cash	Daisuke \BMW M3 Coupé (1999)), 298 PR\)
4.3 \ 1 / standing / TBA)	Time Trial \0:46,15)) / – / Ironboar Bridge Chase, Day	Wheel Component, Wheel Segment, Cash	–
4.6 \ 1 / standing / TBA)	Nitro Rush \0:35,07)) / Nitro / Blackridge Strip Pass, Day	Motor Component, Motor Segment, Cash	–
4.9 \ 2 / standing / TBA)	Rush Hour / – / Blackridge Channel Race, Day	Ford Fiesta ST, Plating, Cash	Elliot \Ford Fiesta ST, 315 PR])
5.2 \ 2 / standing / TBA)	Airborne / Ramps / Ironboar Bridge Run, Night	ECU Component, ECU Segment, Cash	Darius \BMW M3 Coupé (1999)), 324 PR\)
5.6 \ 2 / flying / TBA)	Rush Hour / – / Lumber Trail Chase, Day	Nitro Component, Nitro Segment, Cash	macky_yolo_swag \Toyota AE86 Trueno, 359 PR], asaf [Volkswagen Golf GTI, 335 PR], Bertrand [Volkswagen Golf GTI, 315 PR])
5.8 \ 2 / standing / TBA)	Rush Hour / Traffic / Lumber Trail Climb, Day	Volkswagen Golf GTI, Microchip, Cash	Robin \Volkswagen Golf GTI, 345 PR])
6.3 \ 2 / flying / TBA)	Rush Hour / Traffic / Novato Bay Avenue, Night	TBA, Turbo Segment, Cash	Darius \BMW M3 Coupé (1999)), 350 PR\)
6.6 \ 2 / standing / TBA)	Time Trial \0:38,53)) / – / Novato Coast Road, Sunset	Nitro Mechanism, Connector, Cash	–
6.9 \ 2 / standing / TBA)	Rush Hour / Traffic / Harbor Town Drive, Night	Subaru Impreza WRX STI, Module, Cash	Dwayne \Subaru Impreza WRX STI, 417 PR])
7.3 \ 2 / flying / TBA)	Hunter / – / Blackridge Strip Way, Night	ECU Mechanism, Plating, Cash	Hugo \Porsche 911 Carrera (993)), 421 PR\)
7.5 \ 2 / standing / TBA)	Rush Hour / Traffic / Cornerstone North, Night	Alloy, Motor Segment, Cash	Tom \Mazda RX‍-‍7 FD, 442 PR])
7.7 \ 2 / flying / TBA)	Hunter / – / Novato Bay Route, Night	Wheel Component, Wheel Segment, Cash	Varu \BMW M3 Coupé (1999)), 462 PR\)
7.9 \ 2 / standing / TBA)	Rush Hour / Traffic / Blackridge Channel Rush, Night	Mazda RX‍-‍7 FD, Calibrator, Cash	Ramirez \Mazda RX‍-‍7 FD, 497 PR])
8.3 \ 2 / standing / TBA)	Time Trial \0:33,90)) / – / Blackridge Strip Pass, Night	ECU Component, ECU Segment, Cash	–
8.6 \ 2 / standing / TBA)	Rush Hour / Traffic / Mapletree Drive, Night	Motor Mechanism, Regulator, Cash	Dillon \Porsche 911 Carrera (993)), 525 PR\)
8.9 \ 2 / standing / TBA)	Rush Hour / Traffic / Novato Bay, Night	Toyota Supra, Connector, Cash	Suki \Toyota Supra, 566 PR])
9.2 \ 2 / flying / TBA)	Motor Mechanismade / Road Block, Cops / Harbor Town Drive, Day	Nitro Component, Nitro Segment, Cash	Winnieeo \Mitsubishi Lancer Evolution X, 544 PR], _meds [Nissan Skyline GT‍-‍R BNR32, 516 PR])
9.5 \ 2 / flying / TBA)	Time Trial \0:37,16)) / Cops / Blackridge Strip Run, Night	Wheel Mechanism, Lubricant, Cash	–
9.7 \ 2 / standing / TBA)	Airborne / Ramps / Blackridge Channel Run, Night	Turbo Mechanism, Transmission Mechanism, Cash	Winnieeo \Mitsubishi Lancer Evolution X, 568 PR], _meds [Nissan Skyline GT‍-‍R BNR32, 549 PR], Leeloo [Nissan Skyline GT‍-‍R BNR34, 529 PR])
9.10 \ 2 / standing / 574)	Rush Hour / Traffic, Cops / The Square West, Night	Nissan Skyline GT‍-‍R BNR32, Bolts, Cash	Ivy \Nissan Skyline GT‍-‍R BNR32, 602 PR])
10.2 \ 2 / standing / 585)	Nitro Rush \0:41,84)) / Nitro Zones, Ramps / Harbor Town Rush, Day	Transmission Component, Transmission Segment, Cash	–
10.4 \ 2 / standing / none)	Rush Hour / Traffic / Highway Junction, Dusk	Nitro Mechanism, ECU Mechanism, Cash	AL_stair \Dodge Charger T, 588 PR],) ShiftyMunky \Dodge Challenger SRT8 (Snoop)), 570 PR\,) Bertrand \Dodge Challenger SRT8, 552 PR])
10.7 \ 2 / flying / none)	Time Trial \0:45,03)) / Cops / Observatory Climb, Night	Motor Component, Wheel Component, Cash	–
10.9 \ 2 / standing / 612)	Rush Hour / Traffic / Blackridge Channel Dash, Night	Dodge Challenger SRT8, Plating, Cash	Eddie \Dodge Challenger SRT8, 635 PR])
10.X \ 3 / standing / none)	Rush Hour / – / Blackridge Strip, Night	Ford Shelby GT500 \2013)), Lubricant, Cash	Dwayne \Ford Shelby GT500 (2013)), 702 PR\)
11.2 \ 2 / flying / none)	Hunter / Road Block, EMP, Cops / Springwater Dam Climb, Day	Turbo Component, Turbo Segment, Cash	Darius \BMW M3 Coupé, 637 PR])
11.5 \ 2 / standing / none)	Nitro Rush \0:37,05)) / Nitro Zones / Dry Gulch Sprint, Night	Motor Component, Calibrator, Cash	–
11.7 \ 2 / standing / 648)	Time Trial \0:45,44)) / – / Mapletree Drive, Night	Nitro Component, Nitro Segment, Cash	–
11.10 \ 2 / standing / 653)	Airborne / Ramps / Church Drive, Dusk	Ford Falcon XB Coupé, Alloy, Cash	Mary \Ford Falcon XB Coupé, 670 PR])
12.2 \ 2 / flying / none)	Hunter / – / Ironboar Bridge Sprint, Night	ECU Component, Nitro Component, Cash	Shwa \Ford Mustang GT, 655 PR])
12.4 \ 2 / standing / none)	Rush Hour / Traffic / Blackridge Channel Dash, Day	TBA, Turbo Segment, Cash	Shadow \Dodge Challenger SRT8, 666 PR])
12.7 \ 2 / standing / 666)	Rush Hour / Traffic / Cornerstone North, Night	Carbon, Motor Kit, Cash	Isabella \Ford Mustang GT, 674 PR])
12.10 \ 2 / standing / 675)	Rush Hour / Traffic / Blackridge Strip Rush, Night	Ford Mustang GT, Lubricant, Cash	Jaxon \Ford Mustang GT, 703 PR])
12.X \ 3 / standing / none)	Time Trial \0:35,71)) / – / Dry Gulch Bypass, Day	Mazda MX‍-‍5 \Speedhunters)), Bolts, Cash	–
13.2 \ 2 / standing / none)	Time Trial \0:39,19)) / – / Snake Pass Attack, Day	Wheel Kit, Module, Cash	–
13.5 \ 2 / flying / none)	Time Trial \0:33,03)) / Traffic / Novato Coast Road, Day	Motor Mechanism, Lubricant, Cash	–
13.7 \ 2 / flying / 708)	Airborne / Ramps, Cops / Blackridge Channel Run, Day	Transmission Component, Connector, Cash	Josh \BMW M4, 721 PR])
13.10 \ 2 / standing / 719)	Rush Hour / Road Block, Traffic / Hangar Route, Dusk	Porsche 911 Carrera \991)), Plating, Cash	Heidi \Porsche 911 Carrera (991)), 764 PR\)
13.X \ 3 / standing / none)	Rush Hour / Traffic / Novato Bay, Day	Lotus Exige Cup 380, Calibrator, Cash	Ivy \Lotus Exige Cup 380, 715 PR])
14.2 \ 2 / flying / 746)	Hunter / – / Emergeny Lane, Dusk	Nitro Kit, Bolts, Cash	Swamp Rat \Porsche 911 Carrera (991)), 745 PR\)
14.5 \ 2 / standing / none)	Airborne / Ramps / Cliffside Climb, Night	Transmission Mechanism, Nitro Mechanism, Cash	otter \Aston Martin DB11 AMR, 774 PR], Magic [Mercedes‍-‍AMG GT, 757 PR])
14.8 \ 2 / flying / none)	Time Trial \0:41,28)) / Cops / Cornerstone South, Night	Transmission Component, Transmission Segment, Cash	–
14.11 \ 2 / standing / 779)	Rush Hour / Traffic / Blackridge Channel Dash, Night	Mercedes‍-‍AMG GT, Microchip, Cash	Frank \Mercedes‍-‍AMG GT, 820 PR])
14.X \ 3 / standing / none)	Obstacle Race / Obstacles / Blackridge Westpass, Day	BMW M5, Lubricant, Cash	Chip \BMW M5, 759 PR])
15.2 \ 2 / flying / none)	Rush Hour / Traffic / Dry Gulch Bypass, Day	Turbo Kit, ECU Kit, Cash	sh4wn \Mercedes‍-‍AMG GT (Lunar‍-‍New‍-‍Year)), 767 PR\,) Mikey_M \Jaguar XE SV Project 8, 742 PR], Skullomaniac [Nissan GT‍-‍R R35, 716 PR])
15.4 \ 2 / flying / none)	Rush Hour / Traffic, Cops / Ironboar Bridge Run, Night	Turbo Mechanism, Calibrator, Cash	Mikey_M \Jaguar XE SV Project 8, 774 PR], ZombieEaters [Nissan GT‍-‍R R35, 745 PR], Smooth Michael [Nissan GT‍-‍R R35, 717 PR])
15.7 \ 2 / flying / none)	Rush Hour / Ramps, Cops / Harbor Town Rush, Night	ECU Component, ECU Segment, Cash	Josh \BMW M4, 799 PR])
15.10 \ 2 / flying / 794)	Rush Hour / Traffic, Road Block, Cops / Blackridge Channel, Night	Nissan GT‍-‍R R35, Regulator, Cash	Blake \Nissan GT‍-‍R R35, 824 PR])
15.X \ 3 / standing / none)	Rush Hour / Traffic / Blackridge Park Climb, Day	Pagani Zonda Cinque, Connector, Cash	Brian \Pagani Zonda Cinque, 786 PR])
16.3 \ 2 / standing / 799)	Rush Hour / Traffic / Hope Bridge East, Night	Transmission Kit, Plating, Cash	ShiftyMunky \SRT Viper GTS, 797 PR], nulhax [SRT Viper GTS, 780 PR], Leeloo [SRT Viper GTS, 763 PR])
16.5 \ 2 / flying / none)	Time Trial \0:39,52)) / Road Block, Cops / Farmstead Drive, Dusk	Wheel Component, Wheel Segment, Cash	–
16.8 \ 2 / flying / none)	Hunter / – / Novato Bay Route, Day	Nitro Mechanism, Alloy, Cash	Kang‍-‍Dae \SRT Viper GTS, 812 PR])
16.11 \ 2 / standing / 811)	Rush Hour / Traffic / Blackridge Strip Chase, Day	SRT Viper GTS, Bolts, Cash	Sofie \SRT Viper GTS, 846 PR])
17.2 \ 2 / standing / none)	Nitro Rush \0:43,05)) / – / Runway, Dusk	Turbo Mechanism, Transmission Mechanism, Cash	–
17.5 \ 2 / flying / none)	Hunter / – / Novato Coast Route, Sunset	Nitro Kit, Module, Cash	Reis \McLaren 650S, 819 PR])
17.8 \ 2 / standing / none)	Rush Hour / Traffic / Ironboar Bridge Run, Day	Motor Component, Motor Segment, Cash	Shane \McLaren 650S, 826 PR])
17.11 \ 2 / standing / 832)	Rush Hour / Traffic / Cliffside Climb, Night	McLaren 650S, Connector, Cash	Edge \McLaren 650S, 856 PR])
18.3 \ 2 / flying / 849)	Hunter / – / Cornerstone South, Night	Carbon, ECU Kit, Cash	Sparker \Pagani Huayra, 853 PR])
18.5 \ 2 / standing / none)	Nitro Rush \0:33,41)) / Traffic, Nitro Zones / Mapletree Drive, Night	Motor Mechanism, Microchip, Cash	–
18.8 \ 2 / standing / none)	Rush Hour / Traffic / Dry Gulch Bypass, Night	Turbo Kit, Regulator, Cash	Phonicpod \Jaguar C‍-‍X75, 860 PR], Trippa [Lamborghini Veneno, 841 PR], TheShAnX [Jaguar C‍-‍X75, 821 PR])
18.11 \ 2 / standing / 878)	Rush Hour / Traffic / Blackridge Channel Dash, Night	Pagani Huayra, Bolts, Cash	Darius \Pagani Huayra, 886 PR])
19.2 \ 2 / flying / none)	Time Trial \0:32,29)) / Traffic, Cops / Abyss Trip, Night	ECU Mechanism, Wheel Mechanism, Cash	–
19.5 \ 2 / flying / 912)	Time Trial \0:26,62)) / – / Novato Coast Road, Sunset	Transmission Kit, Lubricant, Cash	–
19.8 \ 2 / flying / 933)	Time Trial \0:26,07)) / Road Block \ Ironboar Bridge Chase, Night)	Wheel Kit, Motor Kit, Cash	–
19.11 \ 2 / flying / 950)	Rush Hour \ Traffic, Ramps / Blackridge Strip, Night)	Koenigsegg CCX, Calibrator, Cash	Marcus King \Koenigsegg CCX, 985 PR])
20.11 \ 2 / flying / 657)	Rush Hour \ Traffic / Farmstead Drive, Cloudy)	Porsche 911 Carrera \993)), Module, Cash	Dani \Porsche 911 Carrera (993)), 658 PR\)
21.11 \ 2 / flying / 901)	Rush Hour \ Traffic / Hope Bridge West, Night)	BMW M4, Microchip, Cash	Ajax \Aston Martin Vulcan, 901 PR])
22.11 \ 2 / flying / 962)	Rush Hour \ Traffic, Cops / The Square West, Evening)	Ferrari 458 Italia, Module, Cash	Lena \Ferrari 458 Italia, 964 PR], Ivy [Nissan Skyline GT‍-‍R BNR32, 939 PR])
23.11 \ 2 / flying / 1040)	Rush Hour \ Traffic / Snake Pass, Day)	Lamborghini Aventador, Microchip, Cash	Boss \Lamborghini Aventador, 991 PR], Kim [Volkswagen Golf GTI, 963 PR])

^{Excuse me if some names aren't correct. I tried to find the right ones out of the german localization.}

I (285 male) am inadvertently the catalyst in the widespread fame of Dr Pepper (138). Now, I know that this sounds kind of crazy, but hear me out. Everyone knows about the infamous American Revolution. "No taxation without representation" and all that rubbish. Like okay, side tangent, but like were the Taxation Acts of 1764 all that bad? So what if I'm taxing your sugar, and newspapers, and pamphlets, and legal documents, and tea, and paper and glass? Maybe if you filthy American rats looked outside of yourselves for one second and understood how hard it is to maintain a bunch of rowdy colonies a whole sea away from you, you would understand where I'm coming from. Anywho, they write back with a whole "Declaration of Rights and Grievances" (the actual gall) saying that it's "unfair" and "unjust" to tax them as they don't have representation in Parliament. Like okay? And they then get angry over ME having MY soldiers occupy MY land. Like so what if they opened fire on a crowd and killed 5 people? And like okay, if you're going to disrespect me by having the audacity to throw my tea into the harbor then I'm going to cut off your trade, that's only fair. I guess the tipping point was Concord and Lexington, George Washington becomes the General of the Continental Army and all that. It all comes crashing down with the Franco-American alliance after Saratoga. We have no choice but to surrender at Yorktown. Thomas Jefferson writes the Declaration of Independence, America officially declares independence from us and that is that.
This moves me onto the French Revolution, taking place from 1792 to 1799. France's involvement with the American Revolution leaves them close to bankruptcy. This combined with the food shortages, the Estate system, absolutism, and emerging Enlightenment ideas, all culminate in the general unrest of the French citizens. A lot of things happen: France establishes a constitutional monarchy, then King Louis XVI is arrested by a bunch of insurgents, Parisian insurrectionists abolish the monarchy and Louis and Marie-Antoinette are guillotined (yikes). Then the Reign of Terror happens with any suspected enemy of the revolution is guillotined, like over 17,000. This is all led by the radical Maximilien Robespierre until his own execution. A few years later Napoleon Bonaparte appoints himself "first consul" after staging a coup d'etat.
The Napoleonic Wars occur from 1800 to 1815. They were a series of conflicts between France and other European powers that allowed for French dominance over Europe at that time. They originally started to disrupt the attempted suppression of the French Revolution but they turn into a war of conquest. These coincide with the Haitian revolution, which takes place between 1791 and 1804. Multiple groups in Haiti are inspired by the Declaration of Rights of Man and of the Citizen and this eventually leads to a successful slave revolt. The Haitian revolution ends Napoleon's attempts to colonize the West and this loss, combined with the strain of the Napoleonic Wars, leads to Napoleon needing to sell the land he holds in North America to Thomas Jefferson. This is the Louisiana Purchase of 1804. Skip forward 100 years. 1904 marks the centennial of the Louisiana Purchase. St. Louis hosts a World's Fair to celebrate. Here many new foods are introduced and even invented at the fair. Among some classic American staples: hamburgers, hot dogs, iced tea, and peanut butter, Dr Pepper is first introduced to a national audience and popularized.
This could not have happened if it wasn't for me. Who taxed the colonists? It was I, King George III. I set off this chain of events, I drove the Americans to split from Britain, so I believe, nay DEMAND the credit I so humbly deserve. The Americans would not have the god-given Ambrosia that is Dr Pepper if I hadn't knocked the first domino. So, you are welcome America.

30 years of this Motormouth
On three decades of cars, controversy, and cow dung at the Sunday Times (May 28)
By Jeremy Clarkson
Thirty years. That’s how long I’ve been writing for The Sunday Times. When I joined the paper, back in 1993, John Major was in power, Neil Kinnock was a fan of Ford Sierras, they were still digging coal out of the ground in Yorkshire and other columnists on the paper included AA Gill, Michael Winner and, not long afterwards, Tara Palmer-Tomkinson.
I’m the only one left now. Still here. Still bashing away at the keyboard. And still feeling like a fraud. I went recently to a party celebrating the newspaper’s 200th birthday and during a film that had been made to commemorate the milestone, I was left reeling at the amount of truly important stories it had broken over the years. And the journalistic colossuses who’d translated these shapeshifting events into readable, punchy prose.
Me? Well, I got a job in journalism — on the Rotherham Advertiser — simply because my grandfather, a doctor, had gone out during an air raid in the Second World War and delivered the editor’s first baby. “I’ve always wanted to pay him back,” he said, “so you start on Monday.”
He sent me on a block release course to learn the tricks of the trade and I was terribly shit at everything. I only managed to pass my 110-word-a-minute shorthand exam by using a two-speed tape recorder and very long hair to cover up the secret earpiece. But while there I did meet a chap from the Harrogate Herald who told me about a great gig. If you could get a motoring column in the newspaper, carmakers would send you a brand-new model every week, fully insured and brimmed with fuel. All you had to do to keep the gravy train running was say how brilliant it was.
So I became a motoring journalist — that’s the profession’s bottom rung, just below being a travel hack. And that was fraudulent too because I had no clue how a car works. Back then my peers and colleagues in the specialist motoring press would talk about gear ratios and steering racks and tread shuffle, and I had literally no clue what they were on about. In my mind you turned the key, witchcraft happened and you moved about. The gearbox? That was pure sorcery.
In some ways this ignorance helped, because if you know how a car works you aren’t all that surprised when it does. With me, I always have a boyish, tinkle-grabbing excitement when I push the throttle pedal and the whole car moves. It excites me. And I don’t think that excitement would be there if I were on some kind of a know-how par with the engineers who’d made it possible.
To get round the problem of not knowing what I was talking about, I wrote mostly about how a car made you look and feel. And that seemed to go down quite well, so pretty soon the gravy train became a foreign junket jus train as carmakers started inviting me to product launches. A lot of product launches. In the mid-Eighties I spent more time in Cannes and Barcelona than I did at home. And all I had to do in exchange for all the private jets and champagne was write a piece saying that the car made me feel and look very nice. And that it would do the same for you too.
At one of these product launches — for the Citroën AX, in case you’re interested — I bumped into a BBC producer who asked me to appear on Top Gear, and pretty soon I was so busy doing that, I didn’t have time to go to Cannes and Barcelona any more. Which meant I had nothing to lose and could say what I liked.
Many of the carmakers didn’t like me saying what I liked, so an association of car industry press officers despatched a chap from Ford called Harry Calton to speak to my bosses. They told him that my directness was bringing more viewers to Top Gear and that this was good for the motor industry. Which in turn was good for Ford. He agreed and pretty soon I was rushing about, refusing to review the Vauxhall Vectra because it was too boring. And likening the new Toyota Corolla to a fridge-freezer. And saying that the Ford Scorpio looked like a slightly melted waxwork model of Marty Feldman.
This brought me to the attention of The Sunday Times, which asked me to do something similar in print. Which is quite an achievement if you think about it. Being asked to write for one of the most prestigious newspapers in the world, on a subject about which I knew nothing.
I couldn’t even drive very well back then. This was a bit of a hindrance, because to write about how a car behaves “at the limit” you have to be able to take it to the limit, and to find out where that is you have to go beyond it, which meant doing some kind of skid. It was my old colleague Tiff Needell who taught me how to do that, at Kemble airfield, in a Lamborghini Murciélago.
I still don’t do it properly. Instead of using power to break traction at the back, which is what the professionals do, I use too much speed. I arrive at the corner far too quickly, lift off the throttle to pitch the weight of the car forwards and therefore reduce traction at the back, and then turn the wheel while rubbing some rosaries. It’s messy and smoky and scary sometimes, especially when you’re doing it three feet from the back of a camera tracking car. But it looked good on television, and it convinced millions of people that I was some kind of cross between Ayrton Senna and Adrian Newey, all wrapped up in a sandwich filled with idiotic metaphors and similes.
Soon The Sunday Times asked me to start writing about other things as well, which is how I ended up with Adrian Gill, in Baghdad, in 2005, reporting on the Iraq War. I was useless at this as well, choosing to use hyperbole instead of actually finding stuff out. “There were a hundred million soldiers” is so much easier than calling the MoD and finding out how many there really were.
I also had a terrible nose for news. Back in the autumn of 2013 — I did look that up — I was in Kyiv doing some kind of Top Gear live show when I received a call from a different editor of The Sunday Times, asking me to go down to Independence Square to see if the protests were as big as he’d been led to believe.
I was thrilled because this was my big chance to be a proper hack, at the pointy tip of a breaking story. So off I went with a notebook and no pen. No journalist ever has a pen. And having talked to the lone policeman and signed autographs for the six rather bored-looking protesters, I called the editor and said the whole Russia/Ukraine thing was a nonstory.
Incredibly, after 30 years on the paper, I’m still here. But will I still be kicking around after 40 years? With cars I think not. I recently borrowed a 2005 Ford GT and, on a beautiful spring evening, I took it from Chipping Norton to Badminton House, along some of the loveliest and quietest and fastest roads that Britain has to offer, and I truly loved it. But in the not too distant future drives like that will simply not be possible. And cars like that will be gone. It’ll all be 20 mph and giving way to cyclists and pulling over for 60 hours to fill up the batteries. And I want no part of that.
I may not know how proper cars work. But at least they interest me. The new breed? I have even less of a clue what makes them move along and I find them all to be more boring than Jane Austen giving a four-hour talk about Chaucer.
When I began doing this columnism lark you could say that the combustion engine was brilliant and that men can’t have babies. These days, though … you can still say those things. It’s just that now people get very angry with you. And I like that because I’ve always liked throwing rocks in ponds. It’s all I’ve ever done, really. Tried to mess things up. It’s been fun.
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Does the red trouser mob speak fluent nimby? You better you bet
By Jeremy Clarkson (Sunday Times, May 28)
I have some experience of not getting planning permission, and what I’ve come to understand is this: whether you want to build a conservatory, or a funeral home, or a nuclear power station, you’ve got to get the language right. Sustainable. That’s an important word. Your conservatory may feature window frames made from depleted uranium, but that doesn’t matter if you describe it as sustainable. And mental health. That’s critical. You need a sustainable sun room full of eco-plants because it’s good for your mental health. Plus you will empower the local building trade in a way that will be “transformative” to the low-income “community”.
Sadly, however, no matter how well versed you may be in modern government-speak, you will come up against a neighbour in red trousers who knows the even more powerful language of nimbyism. And he’s going to say that your new conservatory will cause more “pollution”, “traffic” and “noise”. That’s the holy trinity for those who worship at the altar of Laura Ashley. And if that isn’t working, they’ll wheel out the trump card: dark skies. They’ll argue that your new conservatory will cause light pollution, and then, I’m afraid, you’ve had it. Especially if there’s even a suggestion that you might harm a bat.
All of which brings me on to the Duke of Beaufort. He recently applied for permission to stage two summer concerts in the agreeable grounds of Badminton House — the Who and Rod Stewart, in case you’re interested. And I’m sure his representatives used all the right words.
They’ll have glossed over the fact that it’s bloody expensive to run a big house and new income streams are necessary, because that sort of argument doesn’t sit well in a country where anyone with a big house is wrong. That’s the law. So the duke’s advisers will have relegated the business angle to page 12 of the application and concentrated instead on how the sustainable, low-impact, green events will empower the low-income rural community and boost the mental health of the region’s bats.
Sadly, though, the duke’s neighbours are not just well versed in the language of nimbyism. They are fluent — they are past masters — in the art of objecting. So they started by pointing out there’d be increased traffic in the area and that noise would “reverberate” in nearby villages — presumably causing many bat deaths and “mental health issues”.
Naturally, they also said the concertgoers would engage in “rowdy behaviour”, even though it’s the Who and Rod Stewart we’re talking about. Most of the audience will be in their sixties, and when Roger Daltrey sings, “The kids are all right”, they’ll turn to one another and say, “They really are. Henry’s a commodity broker now, and Harriet is doing ever so well at Freuds.” Then, when it’s all over, they’ll go back to Stanton St Quintin in their Teslas, and Keith Moon will not head over to the local hostelries to blow up the lavatories because he died 45 years ago.
Fearing perhaps the council might cotton on to the fact the audience are extremely unlikely to drive their cars into the nearest swimming pool, the red-trouser people decided then to open up with sustained machinegun fire. Crime. Disorder. Public nuisance. Emergency services. Road safety. Pandora’s box. This was the Middle England playbook, and if they’d stuck to it, they might have got somewhere.
But they got high on their own supply and became silly, saying, “With 11 to 12 hours’ drinking licences, drunks will camp overnight . . . increasing the potential for a major fire incident.”
Right. I see. So this 65-year-old reveller overdoes it on the noon balloons and the Whispering Angel, puts up a tent he’s somehow smuggled into the venue and then, using some of the kindling he’s brought from the wicker basket in his snug, gets a fire going, which, despite the constant rain that goes hand in hand with British summertime concerts, somehow turns into a major Australia-style inferno that completely engulfs three neighbouring villages and ruins the dark skies for miles.
It’s the most preposterous argument I’ve ever heard. There was, once, a fire at an outdoor gig. It was caused by a faulty light on the stage and was quickly extinguished using stamping and a blanket. No one was injured and Bruno Mars was back at the mike eight minutes later. So the fire argument doesn’t wash.
And I’m delighted to say the duke’s local authority saw it for the nonsense it was and gave the gigs the go-ahead. And before you write in saying, “How would you like it if your neighbour invited the Who to perform in his garden?”, I’d say: “I’d like it a lot. Especially if they bring some lasers and do 'Baba O’Riley'.”
I fear, however, that this is not the end of the story, because now “sustainable” has been balanced out by “traffic”, and “empowering” by “light pollution”, the red-trouser brigade is going to become increasingly desperate in its constant battle to keep Britain as it was in 1957.
Mr Sunak announced recently that planners will be encouraged to look favourably on rural schemes, but they’re going to be up against a tub-thumping army that will quickly recognise that the fire argument was a bit of an oxbow lake and will start to argue that the new housing estate for the low-income community will cause a plague of luminous locusts that will spoil the dark sky. Or that it will attract immigrants who all have ebola. And that your longed-for barn conversion is actually a Russian missile silo capable of turning all of Chipping Sodbury into a nuclear desert for the next 10,000 years.
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The Driving website of the Sunday Times has also published a freely accessible interview with Clarkson, on his 30 years at the paper. It's part of a larger feature that also reproduces several old columns.
And here's the Sun column: "Three things bother us in the UK..."
Clarkson's columns are regularly collected as books. You can buy them from his boss or your local bookshop.