BeyondtheGM EP 22 featured special guests Doodles CEO Julian Holguin and head of Business Development and Strategy Austin Hurwitz. Great listen where many heard the vision from the Doodles team for the first time.
Heres the show if anyone wants to listen back. https://twitter.com/i/spaces/1OdKrzqrMbYKX
I've shared some of the Doodles related Q&A and alpha below:
Can you share some details about your latest announcement for those who haven't seen it yet?
Julian: Doodles is partnering with a company called Camp to launch our first ever immersive retail experience and for those of you that don't know what camp is, it's basically a network of hybrid play / shopping experiences where the front of the establishment is basically a toy store, but think of it like a specialty toy store. It's kind of like a modern day FAO Schwarz or something like that. It's got all the viral kids toys. It's not just like walking into a Toys R Us or a Target or something like that, t's kind of got that specialty feel to it. That makes up about I'd say less than a sixth of the space but in the back of that toy store, there's this hidden door and a camp counselor is waiting for you if you purchased a ticket to the immersive experience, you push through that magic door and behind that is essentially a 6000 square foot immersive experience that totally brings the world that you're going into to life. So they partner with some big IP to actually program those experiences. Los Angeles is Nike. It's called Nike Kids Camp.
New York is Disney's Encanto, a really big Disney animation movie that kind of took the world by storm last year. Dallas is Mickey Mouse and friends. Atlanta is The Little Mermaid. So obviously some of the biggest IP in the world. We are launching a new location with them this summer. So basically, we're going to be introduced to a whole new set of potential people in the particular market that we're going to be in because these experiences actually serve a purpose in those specific markets for longer than say 2 or 3 days. They are permanent establishments in those markets. So we're going to stay there for about 3 to 6 months and then the Doodles show will likely go on the road to some of their other locations. The solution that camp solves is what do you do with your family today? What do you do today? Do you have something to do with your kids, which is always on a parent's mind, right? Whether you're taking them to the park or you're taking them to Disneyland or you're taking them wherever you want to go. This is like a 2 or 3 hour thing that is really kind of hard to replicate, that gets people out of the house and you can have truly an incredible time.
My kids love it. So the the cool thing for us is that we get to bring one of our core competencies to life in a really material way where we know it's valuable to pop up at these big cultural moments like South-by and Art Basel, but it's a pretty resource intensive process to do that, and it's a pretty budget intensive process to do that. So we figured it made a lot of sense to kind of reallocate some of that funding into turning this concept into a true business, which is essentially what camp is, One, we're going to be selling merchandise, we're going to be selling tickets to the event, we're going to be selling sponsorships to the event. So there's a real business there but the big opportunity for Doodles is there's going to be thousands of new people that don't know anything about Doodles coming into this experience, and we have the opportunity to bring them into our world. We have the opportunity to bring those people on chain, especially with what we have planned and how the technology is almost going to be invisible to the people that are in there.
It's ultimately just going to be a great digital / physical consumer experience. So really, really excited. The utility that that's going to drive ultimately to holders is VIP all access, it's going to be free entry, whereas everybody else has to pay. There's going to be merchandise credits, there's going to be true like white glove concierge services. So whenever a Doodle holder is going to go to the the space in a given day, week, whatever it might be, they're actually going to have the really VIP experience that's going to come with all the bells and whistles and they're going to feel very, very special and not the kind of experience that everybody else is going to have when they go to the event and hopefully in time that space is going to travel so a lot more Doodle holders are going to be able to take part in it but one of the big things that we've heard in general from holders about our live events is, oh man, it's two days, three days, like what if I'm not able to make it that particular weekend? This is going to enable people to have a little bit more travel plans put together if they do want to make it all the way out here but the cool thing is, it's going to travel.
We're still going to do live events in other parts of the world but this is a big one for us. The other part is that we're actually going to introduce our first line of kids merchandise, goods and apparel, which is something that the community has been asking for. We have a lot of parents in the Doodles community and it's also a way to introduce the brand to a lot of new people. As far as the experience itself, there's going to be like dayparting programing. So kids and family programing is going to be in the day for the most part and then at night there's going to be stuff that's more focused on adults. So multiple generations can take part in this. It's going to be a blast. I can't wait for everybody to see the designs, what the experience is going to look like, how it's going to connect to our collector ecosystem in the studio and bring NFT's to life in a really meaningful way. It's going to be awesome. Can't wait for you all to see it.
I'm looking forward to the day parting. I'm wondering if you could share any timelines, anything in terms of location and where we can expect them or should we stay tuned?
Julian: The location is going to be a reveal within itself so I don't want to say that here because the reason we're not bringing up the location yet is because there's a really big opportunity to get a lot of local press. You want the local newspapers, radio stations, local bloggers and everything like that talking about it. So we want to reveal the designs and everything when we announce the location so we get as many people in the particular area that we're going to be in aware of the activation as possible. Timing wise, the experience is going to open in August. There might be a little fluidity in what exact time in August but it's August right before the school year starts for everybody so it's not too far away and then as far as like you asked kind of a leading question with adult versus kids experiences. You know, if you grow up in New York or any of these cities and you do kind of more mellow, like you've been kind of like boozy painting before or doing like casual things you bring drinking like wine and beer into it. It turns into like a really fun night out for adults. This isn't going to be a rage fest kind of thing but the idea is that we're going to be able to serve alcohol and create some really cool friend and family driven experiences that are a lot more geared towards adults. So it'll be a good time.
What's it like working with Pharrell and what's his involvement with the Doodles project at the moment?
Julian: That that was the first thing we did. Again, remember how much interest there was in the blue chip NFT projects back in April, May, June of last year and there were a lot of opportunities for us to work with some major major musicians that have global reach and millions of followers and we really saw the value in working with a creator to help us incubate the brand but they needed to be dynamic and Pharrell is the most dynamic, genius, brilliant creator that in our opinion has really ever lived and he spans music, he spans art, he spans fashion, film, television, technology, everything. So, we had started talking to him basically right when I started and we got the deal done very quickly. Pharrell is a pretty material part of the business, most of the work that he does is kind of behind the scenes, the Pharrell pack and him coming into the Doodles universe as a character was the first big collab that we did but we're working on music together, we're working on audio identity and visual identity and brand development etc and the doors that guy can open are truly unprecedented, the rooms that he's walked us into. I don't want to name drop but top C-suite in the world, top creators in the world, top everything. Pharrell's name comes with so much weight because he has the respect of everybody from business to creative and fashion and everything in between and the thing that surprised me most well, I shouldn't say surprised me, but the thing that I think would surprise most people is how shrewd of a business mind the guy has, he's always leaning into new technology, new ways of doing things. He's kind of contrarian, but he really understands business. He really understands opportunity and he's very leaned into Doodles, which is exciting. We couldn't be more blessed to have his have his support and have his mind on the on the company.
I really enjoyed Scott's (Burnt Toast) version of Pharrell. Could you talk about the expansion of the Doodleverse and the ethos behind it?
Julian: If you look at the end card to the most recent trailer that promoted the Pharrell pack, Doodles2, the stoodio, everything that we released last month, what you're going to find in that is a bunch of random Doodles characters that could be anybody, could be anybody on this call, could be people in South Dakota, could be people in Hong Kong, could be people wherever.
Then you see Pharrell, who is Pharrell in that universe and then you see our mascot who is obviously going to be the main character of our fictional universe. So you have the real world in there, through their Doodle, you have Pharrell who's also part of the real world in there through their Doodle and then you have the fictional characters from Doodles in that photo as well. So if you think about where we're going as a brand, we're developing this fictional universe of characters that are derived from the original collection. So you've seen the mascot, you've seen the cat, all of that stuff is going to be developed into a fictional line of programing and then running parallel to that is the lifestyle brand that is Doodles, right? You make your Doodle, you buy your Doodle merch, you go to Doodles events, you're on Twitter talking to other Doodles, there are Doodle holders that are more well known than other Doodle holders simply because they engage more and they're more kind of public figures in the community and we kind of believe that as that starts to grow, those two, that kind of lifestyle brand and real world aspect of the Doodles will crash into the fictional world at times.
Maybe you do see a creator or someone that you know in the actual fictional world of the universe, or maybe you as a Doodle holder, whether it be through your Doodle or the customized Doodle that you create, will be in that fictional universe as well, the same way that Lady Gaga was a character in The Simpsons, or The Weeknd was a character in The Simpsons, set in the fictional world of The Simpsons but they're Lady Gaga. They're The Weeknd. So we have this really cool track of programing where you can bring digital identity to the table and collecting. We have this kind of sincere belief that digital identity paired with collecting connected to every single consumer touchpoint, whether it be going to the movies, watching television, buying stuff at retail, playing video games, if you can bring that back to a collecting hub where the brand knows who their most loyal supporters are, who engage with the company the most, who are supporting the most and you can reward those people and create aligned incentives as our business grows. That's something really special that brings the brand and the ultimate collector closer together, which makes them feel like they are part of the universe because they actually are going to be part of the universe. They're not going to be just a passive participant and the best way I can give you kind of a framework for how that doesn't exist today.
If you look at most movie IP, they license the movie rights out to a distribution company that actually puts the movie out, which then goes to theaters so they don't actually own the relationship with their customer. You buy merchandise through another third party, so they license it to another third party. They license their books and publishing rights. They license their music rights. They license everything out and they don't actually own the relationship with a lot of their audience. So they have no way of knowing who their most loyal supporters are, who goes and sees the movie three times, who plays the game, who buys the merch, who shows up at the theme parks and the events? What's really cool about the technology that we all work in is we could figure out a way to track all of that and make sure that those people are not just being seen and heard, they're getting stuff, they're getting more rewards, they're creating this sense of identity being close to this brand because they're actually going to feel like they're part of it with all the activations that we have planned. We think that's a business model and a mindset that doesn't exist today and that that's really where we're leaning in.
Are there any projects or founders or individuals that you guys chat with a lot or anyone you guys want to meet?
Julian: Yeah, obviously day to day work kind of gets in the way of, you know, people spending too much time together but Luca and I talk pretty often, he actually hooked me up with a couple of the plushies for my kids. They loved them. So there's there's definitely love and support there. I talk to Greg from Yuga every now and then, I've connected with Zag a couple of times but it's not as much as it should be and I think that's kind of the real takeaway, is that, we should be coming together as leaders in this space more often, because if one of us wins, all of us wins and there's so much incredible work being done right now, we just we need to figure out better ways of kind of taking ourselves out of the day to day and the kind of the pitting ourselves against each other that exists so much on the timeline right now and just remember, we're all fighting the same fight, right? We're trying to take market share from all the biggest companies in the world, not from each other. If Web3 makes it, it's not going to be just one of us that makes it. It's going to be a few of us. It's going to be a bunch of us and it's ultimately just going to create more opportunity for everybody building in this space. So more of that 100% needs to happen.
How do you feel about the sentiment? Obviously you guys went through a lot of FUD and now you're kind of bouncing back. How do you feel about the NFT space and where you guys kind of see yourselves fitting in?
Julian: I think anybody who saw our keynote at NFTNYC last year, we are doing every single thing that we said we were going to do. I think there's a misconception in how long this stuff actually takes to develop, to reach millions of people around the world, how long it takes to get music to market and film and television content to market and true partnerships and things like that. You know, especially when you kind of have the bar for quality that Doodles does. I think one of the areas that we've fallen flat is just communication and community building in general and I think that's something that if hopefully you've been paying attention lately, you've seen that there's a real concerted effort internally to try and bridge that gap and to try and rebuild that vibe in the Doodles community. It's something we think about every day. Austin has been invaluable in that regard and truly making the community understand that we are a Web3 company. We do care deeply about this space. We do sincerely believe in the technology and what it's going to do for brands and IP.
We really do feel like every action and activity we take is not just going to benefit Doodles, it's going to benefit everybody in our community and everybody in the Web3 community at large. So has it hurt to see kind of Web3 not as pumped about Doodles anymore? Yeah, it's definitely something we think about, but we're not going to sit here and try and sell, sell, sell to the space on why we're great. What we're going to do is just prove it by shipping product and show people that we really are in this for the right reasons and it'll start to make more and more sense over time. We're kind of sick of talking about what we're going to do and we're just going to show people and think by the end of the summer, by the end of September, you're going to you're going to see a very, very different looking business that the community is truly at the center of. So we're excited for that.
You guys are talking about collectibles and I think Burnt Toast recently shared a photo of a monochrome dude. You guys are working with All Rights Reserved who is definitely a premium art / toy sculpture producer. I would love to know a little bit more about how you connected and maybe a little bit more that around what we can expect for that that drop.
Julian: So this relationship predates me joining but Evan got introduced to SK, I believe through Todd Kramer, who's a big art collector, and he has a gallery in New York and I believe they really hit it off kind of from the beginning and the first the first vinyl that came out was so successful, people were going crazy for that thing and it became very clear that hese vinyl stand toe to toe with Bearbrick statues and Kaws statues and we had a real opportunity in the designer toy market. So we really wanted to start to double down on that concept and try and play in that space. So we've been developing a strategy for a while on how we actually bring that to a wider audience and get that in the right kind of environment so this, this summer, August, actually, we're going to be doing a big drop tied to the physical's, the vinyl that you saw. There's going to be multiple colorways. There's going to be some really interesting, I'll say expanded things outside of the toy, outside of the figure itself but it's going to have some specialty retail distribution so it'll be at some key retailers, both digital retailers and physical retailers, All those retailers are going to be distributed around the world.
There's some pretty select markets that we're going into and then that is going to lead directly into the camp opening a few weeks later. So it's pretty exciting. The vinyls are definitely a big area of growth for us because we see them as a way to reach new collectors, new people. It's not enough to try and sell everything to the people that are here today, what we need to be able to do is actually bring these these experiences and these products to as many new people as possible. I think one of the things that Luca actually said when they did the toys was, being financially independent so you don't need to continue putting more and more NFT's in the ecosystem. I don't think that means any of us are going to stop producing NFT's but the whole idea of being able to make those experiences incredible because you have a real business outside of it. I think that is a really great takeaway and something that we think is possible through this drop and the other stuff that's coming soon. We're talking so much more man. It's going to be crazy.
One thing I would like to hear your thoughts about is how are you trying to to bring value back to holders from these events? If I walk into a Camp store, do I know that Doodles is a originated from an NFT project or is there another another strategy like a Trojan horse?
Julian: I think the goal for us and thank you for that question, but the goal for us is more how do you eliminate the technological barrier between someone that has no appetite for it but might be interested in your brand? And as the brand grows and as the technology gets a little bit more seamless and people start to understand what the original collection actually means, that there's a lot more demand for that because there's only 10,000 of them. So if we all of a sudden reach millions of people and those millions of people know that there is this collectible that started it all, it's the original artwork but that artwork is also it's the first edition Pokemon card, right? That's kind of the parallel that I'd say and then that art is attached to this essentially membership, that is the ultimate access pass within the ecosystem, right? Like the Pharrell pack, there was only 300 of them, but you couldn't get one if you didn't have an original Doodle So that was basically a free airdrop. You had to hit certain metrics, engagement metrics within the community to actually get the pack but that was just one iteration of it. We'll have that for a lot of drops where, there will be, a certain amount of things that are free and the free thing will always come to people that own the original Doodle and then the free entry specifically speaking about camp, free entry to the experience when everyone else has to pay, merchandise credits and then a true white glove concierge service where you're you're going to reach out to Doodles before you go and then you're going to be set up with this kind of VIP experience at that location.
If you believe that Doodles has the opportunity to grow and turn into a bigger brand, you know that free airdrops and claims and free claims on merchandise in one location is not going to be all the utility that there is for the original collection. We're going to build a lot more than that and that is kind of how we see value trickling back down to the original token, we're also going to be licensing people's Doodles to use in media, to use in products. We haven't done it yet because we just haven't figured out the right way to make it scalable. It's kind of a big thing to set that precedent this early, especially if you have the kind of ambition we do to go as big as we want to go but we are thinking about that and we are going to bring that to market soon and then the last thing that I'll bring up is just the Doodle bank, which is honestly, I feel like a really under the radar thing. We have a $5 million or so fund that only people with a Doodle can access to build businesses around the Doodles brand, to build creator platforms around the Doodles brand. I would love to see a Doodle holder try and access the Doodle brand to actually build some of the stuff that you've been able to build, right? How can we help subsidize costs so they can create their own podcast studio so they can advertise their content a little bit more all through the Doodles brand, which is ultimately aligned incentives
You as a creator get bigger. Doodles gets more of a microphone because you're getting bigger as a creator and then the last couple pillars of the Doodle bank is also rewards , so how can we use the funds in the Doodle bank to actually create more rewards for Doodle holders, is it sponsoring a concert tour? Is it trying to get memberships to a specific social club? There's so many different things that we can use to drive value back to the original token with this fund and ultimately empower the creators and the entrepreneurs that exist in our ecosystem. So I'd say we're doing so much to try and drive value back to the original token, but I think people will I think people will start to see that when there's truly like real world utility Pharrell pack was one iteration. We've done an airdrop with the Dooplicator, we're doing this experience with camp and it'll keep going from there.
Have you guys kind of like established your council? How do you guys kind of think about the Doodle Banks as it operates as I guess a "DAO" tied to Doodles itself? What does the structure look like, high level?
Austin: In terms of where we're at with it right now. We've installed the first class of the DoodleBank community council, which consists of a chair to oversee the council, a treasurer who is distributing the funds and tracking the finances, an events lead who is going to be building out community global programing, a grants lead, which is really when Julian speaks about how do we empower individuals to build businesses, whether it be through grants or ways to prop up businesses through their IP and then a rewards lead who is focused on how can we bring in additional benefits to holding a Doodle. They have been live since the top of May and right now are developing the processes for how approvals come in, what the approval process looks like, effectively what are our guidelines and what we're looking to support, our budgets overall per quarter and then have also been fielding questions and feedback from the community. So it's been great. They serve multiple roles in addition to just their remit, given their different titles. They're also really our first line of taking in feedback and doing product reviews.
Austin: They're all under NDA and really have a clear sense of where we're going. So it's been great to be able to build with the community in that way but our intention is that in pretty short order, like within call it the next few weeks, we want to get these processes out to the community for feedback and start taking in the first set of proposals. We also really love the nouns model of like the prop house RFP, so for things that we know we need to do as a company, but we want to be able to empower the community to be able to help build with us we effectively want to have bounties that we can put out there, whether it be to create content or create merchandise or whatever the case may be, have it be more of a two way street than just reactively taking in proposals. We're we're moving really quickly. I'm literally in a Slack channel with with the council right now as they're giving me all of their weekend updates but it's been progressing and hope to have more for the community soon.
I'm curious to see how you guys do it. I think we've noticed that you need a processes onboarding and kind of filtering and then also controlling budgets and you sometimes see proposals that are grossly overestimated so being smart about allocation, making it efficient etc
Austin: It's a great point to illustrate and we are very fortunate with the few individuals we have as Treasurer and the grants lead. John Shank, who is our Treasurer was a CFO for a large corporation for a long time and really focused on having a balanced budget. How do we ultimately bring additional funds into the bank and what are the checkpoints over time? So instead of distributing all those funds up once, how do we ensure that we're getting the necessary reporting and then Eyal who is our grand lead has actually run incubators in the past and ensuring that we have the right checks and balances as we're deploying that capital to ensure what you just said doesn't happen, that we're not put in a situation where we're deploying funds and we're not seeing the direct action that's being taken against them.
Does it mean that there are no more pop ups this year or are there also some plans to keep going with the pop ups or other plans?
Julian: It definitely does not mean no pop ups. That's core to our DNA and it's also such an incredible onboarding opportunity, when we went to Something In The Water festival, Pharrel's festival in Virginia Beach, there were so many spokes to that partnership where we basically brought a 30 by 30 space. We sold the new collaboration that we had on site with ice cream. So all these people now have Doodles products that were there and bought the merchandise and right next to that was kind of a live demo of Doodles2 where we were able to capture people's emails so we can send them marketing after the fact. We got a few thousand emails at that activation, we sold a bunch of merchandise and we basically introduced a lot of people to the brand and on the other side of it like, okay, what does that do for the holder apart from growing the ecosystem, which we do find pretty valuable to ultimately Doodle holders and our entire ecosystem but we were able to secure 50 tickets that we gave to the community for free in a raffle and they were VIP tickets. They were super close to the stage, there were credits involved in them and for the people that went, it was a really awesome experience and then the other piece is that when you talk about creators in our community. JKB, Juicy, Kat, Sammy. I'm not sure how familiar any of you are with them, but they're very prominent members of our community.
They've been around for a very long time. They basically started their own media brand based on their Doodles PFP's and this is the second time that we've actually had them kind of live blog and create content on behalf of Doodles at the actual festival. So you saw them kind of do like A day in the life with Doodles and JKB, taking content of like festival goers, the stages, the experiences and then distributing that stuff, on Twitter and their other social channels. So it was a really cool thing that we could do for creators in our space and what I'll say kind of directly answer your question is, Something In The Water was just the first festival thing that we've done this year. We're going to show up at other music festivals. We're going to continue to do live events and what we built for something in the water was an activation that can travel a lot more easily. So South by Southwest, Art Basel, those things were very hard to pack up and repurpose, we have aspects of that, but this new activation that we've built, we can actually ship it from place to place and we can continue to add on to it depending on the actual activation itself. So festivals will always be and other live events will always be a way to drive utility for holders and also onboard new people into the ecosystem.
Julian: Doodles is about fun, man. We want to color the world with joy. We want everybody to feel the vibes and it's incredible to work on it every day. It's hard keeping things a secret, it's painful sometimes.
Can you tell me anything about the Pharrell album? I understand it's with Columbia, who are part of Sony Music. Is there anything you can kind of say on the project and when that could be landing?
Julian: Sure. So the album's not actually going to roll out as a traditional album where there's like a bunch of songs they're going to roll out. It's going to roll out kind of song by song and more as a platform on a perpetual basis. Columbia is going to distribute the music and I don't want to give too much detail because there's going to be a lot of hype in the reveal but you're going to see things like a music video set in the Doodles universe featuring whatever artist is going to be on it. Pharrell curated or produced tracks. Collectibles that are paired both physical and digital with the actual music itself and wide distribution so the songs are going to be on Spotify, Amazon, YouTube, radio, etcetera. So that's kind of how it's going to come to life and if you looked at Pharrell as a Doodle and Pharrell coming into the Doodles universe as a character, imagine some of your favorite artists coming into the Doodles universe as a character too. It's going to be a pretty eclectic mix of artists and it's going to roll out again, like I said, over time. That really is all I can say at the moment, but we'll update everybody as soon as we possibly can. All I can tell you is it's going to be fire.
You guys recently made an amazing acquisition with GoldenWolf Studios. Can we expect more animations and stuff on the Socials? What's the sort of direction with Golden Wolf and how did that come about?
Julian: That's a great question. So we acquired Golden Wolf back in January. They are an Emmy nominated creative studio. They're one of the most highly regarded animation studios in the world. Lot of brand notoriety from them in the entire animation industry. The goal, if you think of what Doodles is, there's a term in media called transmedia and that essentially means you tell stories on different channels, right? So different channels means you could be telling stories through live events, you could be telling stories through the distribution of toys, you could be telling stories through social media, you could be telling stories at the box office with a big film and the whole point is, you're not trying to fit one story or one thing for each of those channels that have very unique characteristics from a distribution standpoint. So Doodles is the kind of brand that needs to tell stories across all of these channels and meet people where they are, where they're actually spending their time versus trying to put the same thing out across the board. So GoldenWolf, which is very much specializes in social content and brand identity in advertisement. They're an incredible partner to keep kind of the always on content flow pumping out for Doodles, which is just starting to ramp up now and at the same time, with all the incredible creators, plus Scott and the people that we're working with in the traditional entertainment industry, bringing the actual story together, the universe that is Doodles, who the characters are, what adventures they go on, what is the backstory? What's the conflict?
Golden Wolf, Scott and a few others are actually developing that now and that is going to manifest itself through all of our content, through all of our product, all of our storytelling opportunities, while we're also developing long form content. So what does Doodles look like as a streaming television show or a motion picture? How does Doodles go into music videos like Golden Wolf is going to produce the music videos. So from a creative standpoint, we have, in my opinion, the best creative studio in the world, developing Doodles content and brand and I'll just say we just started the integration recently, there's kind of been really nothing yet. We've gotten started. It's been amazing, but there's so much coming from Golden Wolf soon and then I'd say on the flip side, Golden Wolf being in Web3 is not an insignificant thing either. So yes, it's amazing that they're going to help develop the Doodles IP but Golden Wolf has a lot of other ideas that NFT's and blockchain technology could be a really great format for incubating that IP or bringing new stories to life and new projects to market and leveraging the tech in new ways and Ingi who founded that company ten years ago is one of the smartest guys in the entire space, he's a true innovator, leaned into tech really leaning into AI tooling and how that can help Doodles as a business, how that can help the whole animation industry as a business. So we're just kind of seeing a little fruit from that partnership right now, but it's going to continue to grow pretty, pretty significantly from there. We really do have a crazy, talented team like Scott and then also Sammy and Alfie. There's so many brilliant creatives at Golden Wolf, and you'll get to know a lot of them soon.
Have you guys made any made any new key hires or are you guys planning to make some key hires to kind of push this forward?
Julian: We kind of wrapped up the majority of our hiring after our head of business and legal affairs came into the company about a month or so ago. I mean, we're at 60 people right now across Doodles and Golden Wolf, so we're pretty staffed well, there's some more product and engineering resources that we're going to be bringing in so we can be quicker to market with a few things but I'd say we're pretty well staffed at this point.
So to build on top of what you've said, I was wondering if you guys could give us any insights into the Doodles culture, the work culture.
Julian: I love that question. So we just opened an office in Miami a couple months ago. Our team is distributed, so we have some people that are remote. We have some people that are here in Miami. We have an office in New York. We have an office in London and again, there are people that are remote. So for the people that are in Miami, the office is pretty awesome. It's got a pretty, pretty cool view. It's right in a really good area of the city and when you walk in, it's very much neutral tones and colors and things like that and then we make the space pop with product that we have. So there's vinyls all over the office. We bring other IP into the office like we have this gold Mickey Mouse that that Jordan donated, it was a Fantasia Mickey Mouse with him holding a Bitcoin instead of a magic ball, just a lot of different artists and IP that we respect to try and inspire some creativity in the space. We have this really cool synthesizer that Evan got made, where people come in, play it. It's actually like a Doodles synthesizer.
We have a merchandise kind of like retail display. We have all of our statues on display. So you can check out our brand, learn a little bit more about us. We also have this pretty cool ice cream set up like actual ice cream and then the New York office couldn't be a different vibe. It's more of a grunge studio, true artsy vibe and then it's the same kind of thing in London in Shoreditch. The original GoldenWolf office.
It's awesome. I think what we're trying to bring to life is the inspiration of creativity and trying to emulate a lot of the incredible IP that we respect so much and we do remote work sessions, so we try and bring people all together, at least once or twice a quarter so we can all get those creative juices flowing, build relationships with each other because if we're going to truly be a community outside of the company, we got to be one internally first so it's been really cool trying to build the culture here and I think we've been doing a pretty good job.
I'm wondering for future pop ups or activations or installations that you guys are having, will there be places where people can actively onboard into the community, whether that's Doodles2 or the original collection?
Julian: Definitely at what I'll call Non-endemic to Doodles stuff, so festivals and more consumer facing events. The reason why we showed up at South by Southwest and Art Basel last year was because we were this really hot Web3 brand in a sea of some of the biggest companies and brands in the world. Whereas as when you go to the when you go to the NFT events, you're like the headline. Right? I think the opportunity to gain notoriety in those environments is really a big opportunity, but it's also an opportunity to bring your holders close to the action that all the influencers of the world, are part of. So when Doodle throws the massive event at Art Basel and it's like one of the tickets of the weekend and our holders are the VIP entrance into that thing we're going to continue to do stuff like that. We really love that concept and at the same hand, use that opportunity to bring new people into the brand. The goal right now is to onboard, people into kind of like information gathering until the stoodio product is actually out of beta. So we're collecting emails so we can retarget these people and make sure that they understand who we are, what we're doing, etcetera so that's kind of the strategy for us.

Introduction

I've been a part of this community for long enough that maybe 3 people recognize the color of my shave towels when I post on /wicked_edge (they're purple). In /wetshaving, I occasionally make dick jokes with mammothben.
As a result, I've spent about an hour ruminating on this post and how to make the Maggard Meetup as awkward as possible. These are my memes and mine alone. I have rejected several cash offers to not post these findings, and I will not be stopped.

Grievance #1: Ending the Base Race

Background

In the before-fore times, the meta for soapmaking that every soapmaker followed was to get a handful of main scents that they keep the same, and release small tweaks to their soap base every 6 months to render the community's collection obsolete and generate a buying spree where people now had to get their favorite scents in the "latest and greatest" soap base.
Many consider this era the golden age of wetshaving, and Barrister and Mann was an active contributor to the base race. White Label/Black Label base, Glissant base, Latha base, Reserve base, Soft Heart base, and Excelsior base all helped encourage wetshavers across the world buy Seville multiple times in the hopes for better slickness, improved cushion (which is totally a thing), and the ultimate post-shave feel.
Then everything changed when the Omniberries attacked.

Omnibus

On September 29, 2021, a nuclear salvo was unleashed from the halls of barristerandmann.com. Leviathan was released in the Omnibus base, and soapmakers around the world waved the white flag on the base race.
Declaration Grooming's Milksteak, Sus Artisan Accoutrement's CK-6, Boob-label & Evans' Kaizen K2. These mainstays of American soap bases have remained stagnant ever since. Omnibus effectively ended the base race across the entire market, and led to the community consensus becoming "chase scents, not bases."

Why This Matters

This alone isn't problematic, having a stable set of great bases to choose from and allowing premiere soapmakers to focus on releasing more interesting scents in smaller batches is good for the community, for the industry, and the world.
The problem arises when old, established brands like Tabac take the end of the base race as a signal from the market that they can cut costs by moving their soaps onto to inferior bases. I'm not saying that it's Will's fault that tallow Tabac is now unobtanium, but you could make the argument that it's Will's fault that tallow Tabac is now unobtanium.

The Solution

The best way the community can address this issue is to write daily letters to Maurer & Wirtz that they need to bring back the tallow base for Tabac, and buy out Maggad Razors' stock of 4.1/4.2 base Saponificio Varesino soaps so they can restock everything in the 4.3 base.

Grievance #2: Financial Abuse

Background

Every few years, the copyright expiration date on Mickey Mouse looms near and Disney lobbies the US government to extend the copyright expiration date so that Disney can maintain their stranglehold on The Mouse, despite their eager use of public domain IP like Sherlock Holmes and King Arthur. Is Will literally Big Soap? I'm not saying he is, I'm just asking questions.

Mousse de Saxe

Will has a whole blog post on how he came about his formulation of Mousse de Saxe, and while it's a very interesting story and his formulation of MdS has become catnip for wetshavers, it's also become something of a crutch in his soapmaking. MdS features in Beadelaire, Full Measure of Man, Lavanille, Le Grand Chypre, and most recently in Vespers.

Why This Matters

Although many of us in the community have no thrill anymore, MdS remains the inimitable constant source of thrill at all of /wetshaving cannot resist. L'appel du mousse is the compelling urge one feels to buy at least a sample (I just need a taste!) of Will's latest release featuring Mousse de Saxe. Will knows this fact about us. He knows it well. My sources tell me Will has bought several jetskis with the money he's earned from abusing this fact about us. And he can't keep getting away with it.

The Solution

Since the turn of the new millennium, sex strikes have proven effective in Colombia, The Phillippines, South Sudan, Togo, and elsewhere. By withholding that which their oppressors desire until behavior is changed, peace can be achieved. So to everyone at the Maggard Meetup, I call upon you to refrain from complimenting Will's scent-making until he releases Mousse de Saxe as a standalone dropper that can be added to soaps and aftershaves a la Declaration Grooming's menthol dropper. Si se puede!

Grievance #3: Olfactory Abuse

Background

It is at this point in the post that I must concede, Will is the superior meme-meister. This absolute madlad is at the gigabrain Dr. Manhattan level of the soapmaking world, except instead of moving to Mars he's decided to dead-ass fuck with us. Seville prints more money than the Nintendo Switch, he's got MdS for whenever he wants the cash to buy another jetski, and Omnibus ensures no other soapmaker will encroach on his soap base superiority. How do I know he's decided to stunt on our noses? Because of 2 scent notes.

Cilantro and Cum

Let's start with Cilantro. When the Four Horsemen series was announced, the wetshaving community was awash with curiosity and speculation about what each of the four horsemen would smell like. Would it be like how Noble Otter tackled the "Firefighter" theme without actually making a soap that smelled like a fire?
No. War would smell like an actual war crime. How does one scent a war crime? Apparently with Cilantro. I have it on good authority that Will devised the scent profile for War when eating tacos for taco tuesday and the topic of how cilantro tastes like soap to some people with a specific gene. "Well what would happen if I added an ingredient that tastes like soap to my actual soap?" and off he went. His friends and family didn't see him for days. The Cleveland Browns found a post-it note that had "Cilantro No Matter What" scribbled on it. And some time later, a scent that could curdle Wholly Kaw's Creme Fraiche base was brought to market. Will knew that we'd buy all 4 scents, get all matchy-matchy, and even dickhole the aftershaves. And then the SOTD's began. "My wife hates this," "my cat peed on the tub when I left it open to dry," "why has god forsaken me?" Guess who was laughing his ass off from Mars? Our very own Dr. Manhattan.
For those of us familiar with Pear Tree blossoms, they have a very particular scent. The kind of scent that makes guys inspect their pant leg and say "I'm fairly certain I didn't miss." The kind of scent that makes women think "Oh gross, honey I told you to change your underwear after last night." That's right, Pear Tree blossoms smell like cum. So when Will was considering what scent to re-release for Spring 2023, did he select fan favorite Paganini's Violin or the fruity fougere Passiflora? (Both of which he relased bath soaps for in February). No, he chose the cum soap. The soap that's supposed to remind you of the time you took a walk through Central Park and rounded a corner only to be accosted by a masturbating homeless man.
I tried to give Will the benefit of the doubt, and asked point blank "Is the pear blossom accord in Rhapsody going to be as, well... pear blossom-y as the original Rhapsody formulation?" to which he responded "Why would I change it?" He knew. He knew what he was doing when he originally released the soap, and he knew why I was asking if he had changed it in the re-release. Dr. Manhattan was laughing on Mars again.

Why This Matters

This matters because Will still hasn't re-released Roam and I need the matching aftershave in my life. There are only so many fresh tubs of Roam out there that j33pguy13 can source for me. Instead, Will chooses to re-release Rhapsody and put together what may go down in history as the most infamous multi-scent meme soap release in history with the Four Horsemen. This is a personal attack on my love for Roam and I will not stand for it.

The Solution

Will, re-release Roam and all is forgiven.

Grievance #4: Feet

Preface

I'm a heterosexual male, but that shouldn't matter when it comes to shaving products or labels. Yes, we drank beer. My friends and I. Boys and girls. Yes, we drank beer. I liked beer. Still like beer. We drank beer.

The Problem

Lavender, Interrupted has been to Will as At the Mountains of Madness has been to Guillermo Del Toro. Everyone wants to see it. Will wants to make it. But the creative ambition of the project makes the promised project almost un-makeable. Lavender, Interrupted had been long promised as an evolution of the lauded Lavanille scent, but faced delays and reformulations, and further delays.
And now, today, many of you will go to the Maggard Meetup anticipating getting a full bottle or sample of the long awaited fragrance. And I can't say I'm not jealous.
I'm really jealous.
But lets wind the clock back to Tuesday March 21, 2023 and remember the Deals/New Products thread from that day.
"Happy Tuesday!
Just wanted to drop in quickly to let you all know that the Q2 2023 Release Schedule is now posted on our blog and that it features a sneak peek at a mockup for Lavender, Interrupted packaging."
Will wanted us to see the packaging. Not a new blog post on how he put the final touches on the fragrance. Not a picture of the bottle it would be sold in. He wanted us to see the picture of sexy feet he put on the box. He postponed Lavender, Interrupted and strung us along just so that his feet pics could get maximum exposure with minimum heat. Are those Will's feet on the box of Lavender, Interrupted? Why does will want us to see pictures of his feet in thigh-high stockings? I'm not saying they are Will's feet on the packaging of Lavender, Interrupted. I'm just asking questions.

The Solution

Nothing really to be done about this other than be mad about discovering new about ourselves. Just accept that we're all going to love this fragrance and that the box with sexy feet on it will be in many wetshavers' dens, delighting Will that his feet pics are going to be all over the sub's mail call threads for years to come.

Conclusion

I'm not sure why you read this far. It's lot to take in, I know. I'm intentionally avoiding a few smaller topics of less import, like... Night Music having poo notes. I'm not going to critique Will/Barrister and Mann beyond that, because it's already been established that he's straight up fucking with us with some of these scents and I am 100% here for it.
I've been wracked with guilt holding onto this knowledge while wetshavers around the world continue to buy Will's wonderful products, but I realized the potential hilarity of pointing out Will's sexy feet pics the morning of the Maggard Meetup was too much to pass up. My intention is just to meme on everyone tangentially related to what I've posted here, and to get Roam a proper re-release. I will not source any of my claims, and I expect you to do your own research. Take my word for it.
After all of this though, I am convinced that Will is an absolute gigachad in the wetshaving world. Please join me in encouraging Will to re-release Roam.
TL;DR Does this sub even have mods anymore? Why is this post still up?

I am going on this trip with my wife in mid October. I've out together an itinerary and was hoping someone with experience could give their view on it and whether I have planned too much. Also, whether anything I've included is actually not worth the hassle or similar to something else.
About us... Mid 30s. I am not a fan of crowds (they bring my heart rate up) and am aware that many of the places on the itinerary are crowded but my wife really wants to go to Japan so here we are. My favourite holiday activities are things like kayaking and nature walking (moderate hikes are fine with us) - I love nature and beautiful scenary. To be honest, I've struggled to incorporate these things into the itinerary so if there's any suggestions people may have for activities close to where we are going I'd love to here them. I saw you could kayak in Okutama but all I could find is group things and we really don't like group activites.
I have one request for food suggestions which is a fancy dinner local to The Gate Hotel in Ginza on Day 13 (But not so fancy that jeans/smart shoes are needed as we won't have those).
Neither of us are into anime but the wife likes pokemon.
We are flying from the UK. Flight departs at 7.20pm so we expect to sleep on the plane.
Day 1 - Monday 16th October - Tokyo - Hotel Metropolitan Tokyo Marunouchi
Land at 5.15pm. Check in at hotel and go to Asakusa / Senso-ji / Sumida Park
Day 2 - Tuesday 17th October - Tokyo - Hotel Metropolitan Tokyo Marunouchi
Teamlabs 9am. Pokemon Cade midday. Shibuya Sky 4.30pm. Shinjuku in evening (getting all the reservation places done in one day)
Day 3 - Wednesday 18th October - Tokyo - Hotel Metropolitan Tokyo Marunouchi
If the weather is nice, we will do the Hakone Round Course recommended by Japan Guide, ending with using the onsen at Yuryo.
If it's cloudy we will do one of the following day trips: DisneySea, Nikko, Okutama, Takao (I've looked at all of these but none of them really grabbed me)
Day 4 - Thursday 19th October - Tokyo/Kyoto - Good Nature
Checkin at 3pm. Nishiki Market (right next to hotel). Walk to Kiyomizu-Dera and Yasaka Pagoda. Then Pontocho Alley for food.
Day 5 - Friday 20th October - Kyoto - Good Nature
Arashiyama bamboo at 7am. Row boat on river. Walk to Otagi. Then Sakyo-ku if not tired. In the afternoon/eve, head to Shinbashi-Dori / Shirakawa River Walk
Day 6 - Saturday 21st October - Kyoto - Good Nature
Have a lay in due to early rise yesterday. Either rent a bike and roll around or spend the day at Kibune (any suggested bike routes for a Saturday?). Another alternative is a river boat but I've struggled to find ones other than the rapid one near Arashiyama which we don't want to do. In the evening, go to Koda-ji.
Day 7 - Sunday 22nd October - Kyoto/Osaka - Swissotel or Fraser Residence
Fushimi Inari at 6.30am. Checkin 3pm, travelling via Kyo-train Garaku if we can. In Osaka - Shinsekai in the afternoon and go to Dotombori in evening.
Day 8 - Monday 23rd October - Osaka - Swissotel or Fraser Residence
Minoh Park (is this too similar to Kibune?) 10am to 1pm. Then Sumiyoshi Taisha and Dotombori in evening.
Day 9 - Tuesday 24th October - Osaka - Swissotel or Fraser Residence
Universal Studios. Umeda Sky Building in evening.
Day 10 - Wednesday 25th October - Osaka/Tokyo - Hotel Metropolitan Tokyo Marunouchi or Dai-ichi
Checkin 3pm. Tokyo Dome / Akihabara
Day 11 - Thursday 26th October - Tokyo - Hotel Metropolitan Tokyo Marunouchi or Dai-ichi
If we didn't do Hakone on Day 3, we'll do it here regardless of weather.
Otherwise, one of the day trips mentioned in Day 3: DisneySea, Nikko, Okutama, Takao
Day 12 - Friday 27th October - Tokyo - Hotel Metropolitan Tokyo Marunouchi or Dai-ichi
Another one of the day trips: DisneySea, Nikko, Okutama, Takao
Day 13 - Saturday 28th October - Tokyo - Gate Hotel
Checkin 1pm. We are switching hotels as this one has a cool, big room and a hot tub on a terrace high up. Plan is to chill during the day and go for a fancy local dinner in the evening (suggestions for dinner would be great) then chill in the hot tub with the city lights.
Day 14 - Sunday 29th October - Tokyo - Gate Hotel
This is technically the final day as we will be checking out at 11pm to travel to the airport for a flight that leaves at 2.45am on Day 15. Plan is Harajuku and Yoyogi Park during the day.
The only bits I have listed on my spreadsheet that I've not included in the above are going to Hamarikyu Gardens and going to the tea house and getting a ferry, plus seeing Rainbow Bridge. I've struggled to fit these in.
Thanks for reading!

Honestly I don't miss the 2000s much at all, not really nostalgic for that time period, I didn't have a horrible childhood but I just don't miss being a kid, and when I look back at the 2000s I still see mostly crappy movies and crappy music with the good thing to me being the shows which I still don't rewatch outside of Last Airbender and Naruto
But the 2010s? God I miss it so fucking much, to me the 2010s encapsulates my favorite time of day, late morning. It was like the springtime of youth, a magical time period where the most heart-rending struggles I faced, outside of losing my grandmother in the middle of the decade and grandfather later, were mostly adolescent problems like moderate social ostracization and not getting laid/laid as much as I wanted. And I hated the fact that I was a teen in 2012 to 2018 instead of 1982 to 1988 (younger zoomers may not know it but the 80s were fucking HUGE when I was a kid and teenager)
But outside things that mostly seem so small years later, it truly was a fucking magical time I wish I could have back. I remember so much music I loved at the time but barely realized it since I idolized 70s and 80s music. Got to see so many awesome movies as they were coming out. Got to see a Star Wars trilogy in theaters, got to see the absolute peak for the MCU. I remember being 16 and reading through chapter after chapter as the Naruto Manga was ending and me and my friends holding our breath to discuss what's going on after every chapter release. Remember being peeved that everyone liked Breaking Bad in 2013 which I didn't watch bc it was a "white people show" only to check it out years later and be like "Damn this shit pops".
I remember a world that seemed so much more joyous, so much more hopeful. I remember the terrible Great Recession, but also remember people in my city taking to the streets to protest the wealthy down at Wall Street. I remember watching the news with my mom in 2011 to watch while dictatorial regimes were toppled, I remember discussing how terrifying and evil ISIS was with my friends, remember when smartphones proliferated and when Obama mocked Romney for his Cold War mentality in thinking Russia was still a US enemy (ironic 10 years later). I remember listening to Thrift Shop and laughing along with my dad and my dad telling me about Weird AL Yankovich and all the funny parodies he made when my dad was young.
I remember the world before COVID-19 ever happened, playing smash bros and smoking weed with my best friends. All the dates I went on in college, my first girlfriends. The small streets packed by green plants and crappy frat houses in the springtime in my college town. Walking through the mall with my best friend around Christmas time when I was 19, doing acid and walking along a frozen lake with that same friend earlier that same year. The first kiss I ever had at the end of high school when I finally gave the cute girl that always had a crush on me the chance she deserved, and then ruining it by not taking her to prom. Back then it felt like my life was nothing but sadness, longing, loneliness, and self-hatred; but now, looking back what I remember most is the joy I felt, the hope I once had deep down, the faces of my friends that pushed away the loneliness, and the love I felt for the ones around me and was given in return. So many memories that come together spiraling in my head, bringing tears to my eyes, a world that felt so much brighter, and a self with so much more potential than what I have now, and so much more freedom as well. I truly miss those days, and I never thought I would. I truly miss the 2010s.
So I just wanna say to the younger zoomers on this sub, honestly, I'm begging you, cherish your youth, cherish every memory, cherish your friends, remember the faces of those around you, remember their hearts, remember the bonds you share, hold it to your hearts and cherish it now and forever.

https://www.cityofrochester.gov/article.aspx?id=21474852307
City of Rochester News Release
(Friday, June 2, 2023) – Mayor Malik D. Evans and County Executive Adam Bello proclaimed today through Sunday as Gun Violence Awareness Day and Wear Orange Weekend in Rochester and Monroe County, joining a national movement to associate gun violence with the color hunters wear to protect human life.
City and County leaders joined dozens of orange-clad members of the Rochester Peace Collective and the Roc Against Gun Violence Coalition Friday to read the joint proclamation and announce activities taking place throughout the month of June to enhance community collaboration in the fight against gun violence.
“The City of Rochester and County of Monroe are committed to ending gun violence with the support of law enforcement agencies at the local, state and federal levels; and a host of community partners, including the ROC Against Gun Violence Coalition and the Rochester Peace Collective,” the Mayor and County Executive stated in the joint City-County Proclamation. “We call on the people of Rochester and Monroe County to Wear Orange and come together as one community to heal, offer comfort and support, and join the movement to make gun violence a thing of the past.”
The wear-orange movement was initially conceived by the classmates of 15-year-old Hadiya Pendelton of Chicago, who was shot and killed on a school playground one week after marching in President Barack Obama’s inauguration parade.
Moms Demand Action for Gun Sense in America, a national grass-roots advocacy agency with a chapter in Monroe County has since played a leading role to promote the message across the country. Hadiya would have been 26 today. Now, Gun Violence Awareness Day and Wear Orange Weekend takes place on the first Friday and weekend of June.
Members of the ROC Against Gun Violence Coalition and the Rochester Peace Collective are hosting a series of events throughout the month of June.
They include: • Cameron Community 9th Annual Peace Walk: Friday, June 2 from 5 to 6:30 p.m. Meet at the Cameron Teen Center, 48 Cameron St. • Center for Youth Fashion Week: Friday, June 2 at 7 p.m., City of Rochester Public Market, 280 N. Union St. • In-Person Faith Leaders Summit on Gun Violence: Tuesday, June 13 from 8:30 a.m. to 4 p.m. • Pathways to Peace BBQs: Friday, June 16, 5 to 8 p.m., corner of Jefferson Avenue and Iceland Park; Friday June 30, 5 to 8 p.m., corner of Joseph Avenue and Wilkins Terrace. • Fatherhood Connection Father’s Day Breakfast: Sunday, June 18, 10 a.m. to noon, Ark of Jesus Ministries, 63 Hebard St. • Hope Initiatives Workforce Trainee: Friday, June 23, 9 to 5 p.m., 506 W. Broad St.
The ROC Against Gun Violence Coalition seeks to end gun violence in Rochester by bringing attention to the causes and effects of gun violence and promoting quality of life in Rochester's neighborhoods. The Coalition is made up of community partners and stakeholders who are already working to end gun violence using three unified tools: to educate, advocate and eradicate.
The Rochester Peace Collective guides investments in innovative and proven programs that work to prevent violent crime by collaborating with community-based organizations and agencies working in the fields of re-entry and violence prevention.
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News Media: For more information, contact Communications Director Barbara Pierce at [email protected].

Julia Holdom New Zealand Tertiary College

Practitioner Research： Vol 5, No 3 - May 2018

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A personal reflection

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Figure 1: Children at Little Einstein’s Educare in Cambridge lead the design, planning, and execution of the construction of a hut made out of tree branches after recent stormy weather.
When introduced to the acronym STEM (which stood for science, technology, engineering and mathematics) learning in early childhood education (ECE), I was immediately intrigued. Having been a kaiako (teacher) in rural New Zealand and growing up on a dairy farm, natural, hands-on, child-lead, and inquiry-based learning was my passion. It always sat well with me that Te Whāriki: He Whāriki Mātauranga mō ngā Mokopuna o Aotearoa: Early Childhood Curriculum (Te Whāriki) (Ministry of Education [MoE], 2017) backed by decades of research and literature supports a play-based approach to learning in the early years in New Zealand. It did not come as a surprise to me then that STEM learning, a term for the learning areas of science, technology, engineering and mathematics, a buzz phrase making its way around the international academic world, was something I recognised as intrinsically woven throughout early childhood curriculum and programs in Aotearoa/New Zealand. As a result, I presented on STEM learning in ECE with Fiona Woodgate, at the 2017 New Zealand Tertiary College symposium and have since been speaking with kaiako from different regions in New Zealand to get a broader idea of how STEM learning is integrated into their ECE programs.
Due to a rapidly evolving, complex and technologically advancing society, it is now well recognised that future societies are going to need to be equipped with a range of problem solving and creative thinking dispositions, rather than specific skill sets (Allen, 2016; Smith, 2016; Rodriguez, 2016; Wise Lindeman & McKendry Anderson, 2015). The young children of today need to be involved in real world, contextually relevant learning, in order to support their communities, preparing them for educational opportunities in the future, as well as a wide range of careers that may not currently exist (Allen, 2016; Draper & Wood, 2017). This realisation has resulted in a strong international focus on the concept of STEM learning in today’s varying education settings. Science, technology, engineering and mathematics (STEM), whilst a relatively new term in the early childhood education sector in New Zealand, is not a new concept. Its focus is to support children in learning problem solving, creative thinking, investigation skills and design, through multi-content curricula (Sharapan, 2012; Boston Children’s Museum, n.d.; Gartrell, 2016).
This reflective article begins to explore the concept of STEM through the lens of Te Whāriki (MoE, 2017). The world renowned curriculum document is well known for its focus on dispositional, play-based learning, and the weaving of multiple curriculum content areas throughout daily and ongoing learning experiences. Te Whāriki (MoE, 2017) not only focuses on skill acquisition, but on dispositions and attitudes that support learning throughout a lifetime. This article presents an explanation of how teachers can support STEM concepts and experiences from ECE settings inAotearoa/New Zealand are shared to provoke thinking and reflection.

Science, technology, engineering and mathematics – An introduction

In ECE, recognising individual aspects of STEM learning can be relatively simple. Children are naturally curious, and begin to explore the world around them from infancy, developing their own working theories about how the world works through the people, places and things that they interact with (MoE, 2017). In this sense, they are natural born scientists, investigating, questioning, exploring, and experimenting. As they explore, they are often confronted with simple scientific and mathematical concepts, such as learning about gravity, force and motion, quantity, number, weight, space, and time through play (Boston Children’s Museum, n.d.; Sharapan, 2012; Hamlin & Wisneski, 2012; Bosse, Jacobs & Anderson, 2009).
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Figure 2: Building a relationship with Papatūānuku (Mother Earth) is seen as an essential aspect of early childhood in Aotearoa/New Zealand, which can lead to increased environmentalism and sustainability in years to come. Children are encouraged to be involved in the care of the natural environment, and here, they are engaged with centre family members in exploring the garden, utilising and leaning valuable STEM concepts in the process.
Working theories are the evolving ideas and understandings that children develop as they use their existing knowledge to try to make sense of new experiences. Children are most likely to generate and refine working theories in learning environments where uncertainty is valued, inquiry is modelled, and making meaning is the goal” (MoE, 2017, p. 23).
Often within children’s play arises the opportunity to use varying tools to support their learning. Utilising tools with a purpose for design or problem solving can be understood as technology (Dietze & Kashin, 2012; Young & Elliot, 2003). Technology in ECE is often viewed by kaiako as digital technology, and the use of information communication technology (ICT) (Wise Lindeman & McKendry Anderson, 2015), however it is imperative to recognise that technology is anything that has been designed for and is used for a purpose, generally being to make a task easier, quicker, or more productive (Young & Elliot, 2003; Fleer & Jane, 2011). In my experience, engineering is perhaps the more challenging notion to identify as part of young children’s learning and development, in part due to some teachers’ lack of content knowledge in this area, but also the complexities of this concept for children in the early years. Much of the literature on STEM learning focuses on engineering for children from preschool age onwards (3+) without mentioning the infant and toddler years. Perhaps this is due to the perception of what design and engineering is for differing ages. Is a toddler not engineering when they are constructing with sand in the sandpit? Is an infant not designing when creating art with finger paints or food on different surfaces during experiences every day?
“The day-to-day programme and environment are organised in such a way that children can initiate purposeful, problem-solving activities and devise and solve problems to their own satisfaction using a variety of materials and equipment” (MoE, 2017, p. 49).
Science is a way of investigating, understanding, and explaining our natural, physical world and the wider universe. It involves generating and testing ideas, gathering evidence – including by making observations, carrying out investigations and modelling, and communicating and debating with others – in order to develop scientific knowledge, understanding, and explanations (MoE, 2007, p. 26).Technology is intervention by design: the use of practical and intellectual resources to develop products and systems (technological outcomes) that expand human possibilities by addressing needs and realising opportunities. Adaptation and innovation are at the heart of technological practice. Quality outcomes result from thinking and practices that are informed, critical, and creative.... Technology is never static. It is influenced by and in turn impacts on the cultural, ethical, environmental, political, and economic conditions of the day (MoE, 2007, p. 26).Engineers design technology using a combination of science and math (Pantoya, Aguirre-Munoz & Hunt, 2015, p. 61). Engineering is solving problems, using a variety of materials, designing and creating, and building things that work (Boston Children’s Museum, 2013, p. 3).Mathematics is the exploration and use of patterns and relationships in quantities, space, and time. Statistics is the exploration and use of patterns and relationships in data. These two disciplines are related but different ways of thinking and of solving problems. Both equip students with effective means for investigating, interpreting, explaining, and making sense of the world in which they live (MoE, 2007, p. 26).
Whilst internationally, the concept of STEM focuses on inquiry and project-based learning, often planned for, facilitated and led by adults, I see this concept being represented in a range of educational settings, woven through a range of pedagogical approaches and philosophies of teaching in New Zealand. In line with the vision of Te Whāriki (MoE, 2017), STEM learning occurs naturally in children’s play, need not be teacher-led or project focused (Gartrell, 2016; Draper & Wood, 2017) and can effectively be supported in a socioculturally relevant context for individual learners and their learning communities (Hamlin & Wisneski, 2012; Moomaw & Davis, 2010; Neill, 2009).
Science, technology, engineering and mathematics learning is important for all children, individually, and within social groups of learners. The common theme within the four STEM concepts, is that they are all content areas that occur naturally through play. When children are natural learners, curious in nature, they do not require adults to give them answers to questions, and do not benefit greatly from this method of teaching (Allen, 2016; Sharapan, 2012). Instead, children develop life-long dispositions of inquiry, curiosity and independent thinking by having inquiry skills scaffolded or modelled to them. Often children embrace the opportunity to investigate for themselves, experimenting, exploring, making mistakes, and using trial and error. In this sense, STEM learning is a way of being, a way of playing and a way of learning (Boston Children’s Museum, n.d.). So where do kaiako fit into STEM learning?
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Figure 3: Through their natural urges, infants and toddlers explore mathematic and scientific concepts through play with the support of their kaiako, as well as through environmental prompts, provocations and play invitations.

The science, technology, engineering and mathematics environment

There are a number of areas worth considering when planning for and facilitating learning in diverse and unique education settings. One of the most obvious in play-based, child-led settings is the physical environment. Those familiar with the Reggio Emilio approach will have heard of the notion of the environment as the third teacher (Delany, 2011) and providing opportunities for child-led learning through the design of and resources available in the child’s physical learning environment. It is imperative that the environment supports STEM learning so that children may engage in STEM learning experiences both independently, as well as with peers and kaiako (Hamlin & Wisneski, 2012). Long gone are the days of including a science, mathematics or technology corner in your classroom or setting (Neill, 2009; Delany, 2011), instead the emphasis is on saturating the environment in resources that encourage authentic, real-world, familiar and culturally relevant ways of exploring. These resources do not need to be expensive and single purpose, and can easily be found in our natural environments. As New Zealand makes more of a move towards environmental sustainability, and eco-schools become more popular (Vincent-Snow, 2017; Enviroschools, n.d.), reusing and recycling materials becomes an exciting way to make the most of what we have available to us, and supports children’s creativity.
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Figure 4: Uninterrupted play allows these tamariki time to work together to create, design, problem solve, and imagine. Here, children in the Tui room of Little Einstein’s Educare have created a structure to protect themselves from the ‘Lava’ beneath.
Another popular move in recent years appears to be the inclination to get out into nature to support real life, hands on learning. Emphasis has been made on preventing a generation of children with Nature Deficit Disorder, a term coined by Richard Louv (2005) in his book Last Child in the Woods. Kaiako and children are venturing out into whatever natural environments they have available to them, such as local parks, reserves or forests to make the most of natural learning that occurs when children are empowered to explore, question, and discover. science, technology, engineering and mathematics learning could not be more evident in these opportunities to explore and build a relationship with Papatūānuku.
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Figure 5: Nature Days are becoming increasingly popular in ECE settings that can accommodate such expeditions. Children are empowered to use a variety of tools to explore, create and design, and developing working theories through the relationship they are building with the natural world around them.

Reflective Prompts

Consider the ECE settings and environments you are familiar with.Does your environment invite exploration? Are there spaces, in which children can taste, touch, smell, listen and look?Are there gardens and natural spaces for children to independently explore nature science, earth science and opportunities for children to play with different matter to build working theories about the natural and physical world?Are there loose parts provided both inside and out for children to construct, build, design, create and begin to develop theories around science and mathematics through size, weight, height, gravity, momentum, trajectory and more?Do you have pen, paper, clipboards, scissors, cameras and other technological tools available to children in different areas that they can easily access and use to document, plan, take notes and draw about their learning and discoveries – inviting engagement in the concept of engineering?
“Children have opportunities to explore how things move and how they can be moved by, for example, blowing, throwing, pushing, pulling, rolling, swinging and sinking. Children have access to technology that enables them to explore movement, for example, wheels, pulleys, magnets and swings. Children have opportunities to develop spatial understandings by fitting things together and taking things apart, rearranging and reshaping objects and materials, seeing things from different spatial viewpoints and using a magnifying glass” (MoE, 2017, p. 49).

Science, technology, engineering and mathematics books

Books are an essential resource for any STEM learning environment (Bosse, Jacobs & Anderson, 2009; Boston Children’s Museum, n.d.). Not only is it important for children to access reference books with correct images and names of items, something Fred Rogers found instrumental in supporting children’s language acquisition and development (Sharapan, 2012), but also fictional and non-fiction story books about people and characters whom are investigators, explorers, inventors, designers and problem solvers themselves (Pantoya, Aguirre-Munoz & Hunt, 2015). Children’s scientific and engineering identities are supported as they explore literature that introduces concepts, dispositions and attitudes children recognise within themselves, and they are able to develop deeper understanding of STEM concepts as they explore these in context through stories, characters and the arts (McLean, Jones & Schaper, 2015; Sackes, Trundle & Flevares, 2009).
In addition to this, Kathy Trundle’s work on inquiry-based learning emphasises the opportunities that arise through purposeful interactions between kaiako, children and books to scaffold children’s inquiry skills.
Fictional children’s books to support STEM learning and identity in the early years:Inventor McGregor by Kathleen T. PelleyThe Grandma McGarvey series by Jenny HessellOh the Things they Invented by Dr SeussRosie Revere, Engineer; and Iggy Peck, Architect by Andrea Beatty and David RobertsAnything is Possible by Giulia Belloni

Risk taking

Wise Lindeman and McKendry Anderson (2015) emphasise that children need real-world experience and real-world problems in order to have a chance at developing solutions to these. Pawlina and Stanford ( as cited in Wise Lindeman & McKendry Anderson, 2015) add that educators must view mistakes as opportunities to grow children’s brains. Here, teachers must consider both physical risk taking, as well as emotional and mental risk taking. In today’s society, maintaining the physical health and safety of the children in our care settings seems to have counterbalanced the human need to take risks in order to learn. Kaiako are finding themselves challenged beyond comfort when it comes to children’s safety, and the balance between safe and calculated risks, children learning from experience, and adults protecting children from physical injury is out of sync. However, research shows that children need these experiences to learn for themselves, and that without these risk-taking experiences, children will not be adequately prepared for challenges they will face in the future, both physically and mentally (Brynes-Swiatek, 2017; Curtis, 2010; Gramling, 2010; Warden, 2010). When it comes to emotional and mental risk taking, we must consider how we are supporting children to try new things, supporting them to push themselves out of their comfort zones, and risk making mistakes and being wrong, all whilst remaining confident that their holistic wellbeing needs are being met to maintain a safe learning environment.
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Figure 6: When the tolerance for risk is zero, children don’t really risk loss of life or limb, but more often than not, they risk losing valuable experiences with the world they inhabit. (Gramling, 2010, p. 51).
Te Whāriki (MoE, 2017) supports this through its sociocultural approach to learning, outlining the need for children to learn in culturally and socially relevant contexts. In addition to this, aspects of dispositional learning such as perseverance, persisting with difficulty, and facing challenges or uncertainty (MoE, 2017), are outlined as important for life-long learning. Risk taking is highlighted as a desirable learning outcome throughout the Exploration strand of Te Whāriki (MoE, 2017), particularly for toddlers and young children. Risk taking, mistakes, failure, trial and error are all significantly important in STEM learning and developing perseverance, inquiry skills, attitudes towards exploration and creative thinking.

Reflective Questions

Does your learning environment, both material and otherwise, provide opportunities for children to take risks physically, cognitively and emotionally?Are children encouraged and supported to experiment, to trial, to make mistakes, to fail or succeed, and to revisit their learning?Do your environments allow for independent and group creative thinking and problem solving?

Time

Providing children with not only the space and resources needed for exploration and enquiry learning, but the time to discover at their own pace, and the opportunity to document or revisit their learning is crucial. Gifting children the time to figure things out for themselves, without interrupting their learning with a quick answer, supports an attitude and disposition towards creative thinking and problem solving. Dr. Emmi Pikler (as cited in Christie, 2012) emphasised the importance of slowing down one’s practice and interactions to deeply engage with the children during interactions. Toni Christie (2012) states that the practice of taking adequate time deepens teachers’ awareness and knowledge of each child. The same concept can be applied to children’s interactions with the world around them. Can giving children the time to explore, think and discover deepen their awareness and knowledge of the world around them, teaching them more about science, mathematics, engineering and technology in real-world, contextually relevant and authentic ways?
“The learning outcomes in each strand are broad statements that encompass valued knowledge, skills, attitudes and dispositions that children develop over time” (MoE, 2017, p. 22).
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Figure 7: Hands on Science in action! Many New Zealand ECE settings are making a move to embrace children’s natural inclination to get messy during their exploratory play. Science occurs in many forms, why not through mud and water play?
In addition to giving children the time needed to learn, do teachers support children to stay on task and be focused on the interest they have taken, or do they interrupt this learning with routines? In Carr and Lee’s (2011) research on children’s learning wisdom, they highlight the importance of teachers adopting strategies to support children to revisit their learning. One strategy suggested is that “Teachers can document the changes in children’s understanding” (Fleer, 2008 as cited in Hamlin & Wisneski, 2012, p. 85). This allows children to deepen their engagement, and develop an openness to experiences and a capacity to reflect, in order to make sense of their learning.
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Figure 8: Working together as a team to solve problems, think creatively and develop theories about how things work. Science, technology, engineering and mathematics all evident through child initiated play experiences.
Reflective Questions:Are children gifted the time needed to explore, design, create and learn in uninterrupted environments?Do the routines of the day disrupt this learning or do they support busy learners to continue their work?Are children given the tools and strategies required to support them to document and revisit their learning? Are kaiako skilled in the art of observation, knowing when to step in, and when to step back?Are kaiako gifted the time to support children’s learning in this way, or are they too busy with the organisational tasks of the day?Do teacher - child ratios support quality STEM interactions?

Purposeful, intentional teaching

Once we have decided as kaiako whether we should step back to observe, or step in to add value to the child’s learning experience, the responses we provide must consist of high quality, purposeful, thoughtful interactions with children (MoE, 2017). In these moments, teachers need to be highly sensitive and aware of what the child needs from them – more often than not, it is not an answer they need, but stimulating investigation habits and behaviours being modelled to them (Sharapan, 2012). Kaiako must embrace opportunities to model moments of wonder, using questions that may prompt curiosity within children, and the opportunity to co-construct ideas and working theories in collaborative settings (Allen, 2016; Boston Children’s Museum, n.d.; Sharapan, 2012).
The key to these experiences is not to make the mistake of answering children’s questions with an answer, but to provide intentional, open-ended questions and comments that get the children thinking (Boston Children’s Museum, n.d.; Sharapan, 2012). Equally as important, is the need to model and introduce the use of varying tools to support their enquiry, so that they may seek their own answers independently in future.
Modelling STEM language is crucial to a child’s ability to learn STEM enquiry and thinking themselves. In addition to questions, modelling scientific, mathematical and investigative language is important to support children’s inclination to develop their own working theories. Supporting children by modelling language, describing using scientific, mathematical and technological words will give them the tools to use to do the same in future experiences. This will also normalise STEM concepts and learning for children (Sharapan, 2012).
It is important to support children’s scientific enquiry in new ways too – perhaps in ways they had not thought of themselves. This is where we are scaffolding their learning, in that they are learning new ideas and knowledge in a social situation from others. Part of STEM learning is how children understand investigative thinking and processes. Imperative to science, engineering and design are STEM process skills (Neill, 2009). The Ministry of Education supports this by adding that children should have opportunities to demonstrate “curiosity and the ability to enquire into, research, explore, generate and modify working theories about the natural, social, physical, spiritual and man-made worlds… [and the] ability to represent [these] discoveries using expressive media, including digital media” (2017, p. 47).
“Kaiako are the key resource in any ECE service. Their primary responsibility is to facilitate children’s learning and development through thoughtful and intentional pedagogy. This means they require a wide range of capabilities [including being] knowledgeable about play-based curriculum and pedagogy and able to conceptualise, plan and enact curriculum that is motivating, enjoyable and accessible for all children, [and] able to integrate domain knowledge (for example science and arts knowledge) into the curriculum” (MoE, 2017, p. 59).

Conclusion

The rapidly changing world that we live in, is providing us with many new and exciting technologies that make our lives easier, more enjoyable, and enable quick access to new information at a rate never seen before. However, with these new and exciting changes, also come challenges for children’s natural, enquiry learning. More and more ECE centres, particularly in city environments are designing spaces with little-to-no large open natural spaces for children in the outdoors, and are resorting to man-made environments of turf, concrete and other year-round, all-weather materials to support indoooutdoor play. Does this mean that these children miss out on the opportunity to learn natural science? Or can nature be woven through the environment and program in other ways? Children are also more inclined to want to be engaged with digital media, as their parents and society are modelling the use of these in everyday interactions. Is this cause for concern in the ECE setting, or can children be empowered to use technology in constructive ways? Are kaiako equipped with the understanding of STEM learning and child development that they need to support life-long learning dispositions of enquiry, problem solving, risk taking and perseverance, or are current pedagogies failing tamariki (children)? As learning and information consumption grows exponentially to the highest it has even been, it is now more than ever that children need teachers to be the facilitators of learning, the models of curiosity, the inspiration to learn, explore, discover, think, design and to be leaders of the future. Dispositions, rather than skills, are what tamariki need to succeed in the future. A final question for reflection therefore asks are educators preparing tamariki adequately for life-long success?

Acknowledgement

Special thanks to Jo, Jade and the entire learning community at Little Einstein’s Educare Ltd in Cambridge for giving permission to publish their inspirational photographs, and shared understanding of STEM learning in action. Special thanks also to Catherine at Hobsonville Point ELC, and Jen at Changepoint ELC, Tauranga for your wisdom and input on STEM learning in your ECE learning communities.

I’m going to Disney World in a few days. Staying at the Swan and Dolphin. I’m wondering if there’s anywhere I could get a decent view of Cinderella’s Castle from outside of the park? Is there a view from the grounds of the Grand Floridian? Thanks!

I've been teaching my girlfriend how to drive for the past couple months and two weeks ago my girlfriend hit the side of a sidewalk when we went to an empty parking lot at a local park and I told her to practice how to park the car. She went forward a little too fast and she hit the side really hard. We laughed about it and that was that. Two days later I heard a rattling sound on the car and I took it to my mechanic. He told me the car needed new shock absorbers. After he replaced them I still hear the sound. Any ideas on what it could be? I drive a 2011 Honda CRV. Many many thanks.

I hope--I really REALLY hope--our senior dog (11 y/o) crosses the bridge peacefully, sa tulog niya, instead of dying from a disease 😞
We've had 3 doggos pass away (2 of them last year, before the election and the day before Christmas eve) from kidney problems. We realized that there must be something wrong with the food we're giving them so we switched things up.
Thankfully, our remaining dogs are healthy and active, prro si senior dog has problems standing up na and his eyes are getting milkier and milkier and he looks the other direction whenever I call him 😞
Ever since he entered his 10th year I've been preparing myself for his farewell; he's been our dog since 2012, nasa HS pako nun. He's also a favorite in the village, during his peak goldie days sobrang favorite siya ng mga bata at tita around the park. Nakikita din nila siya ngayon and nalulungkot din na lolo na yung dog namin :(
Hindi siya nagka-anak---ito mali namin, pero kasi nung sinusubukan namin with other dogs ayaw naman niya. Huhu
I jus had to get this off my chest kasi I'm about to work and do not want sadness to take over today. lol

My stepdad (46M) passed away peacefully this past Sunday morning after a 4 month battle with this terrible disease. I miss him terribly, but I am more so relieved that he is no longer suffering.
He was diagnosed in late January with two inoperable connected grape sized tumors on each side of his brain. The original symptom was that he had a seizure just as he pulled into his parking lot at work. Looking back, he had randomly developed symptoms of anxiety and paranoia a few weeks prior to the seizure. I find myself wondering how long ago the disease really started taking shape.
He was in hospital rehab for about a month before coming home and he had strengthened himself to the point where he could even walk again! He was discharged in late February and came home awaiting treatment which started a few weeks later. For a time it was almost normal. We made sure he laughed a lot.
He was uninsured, and the hospital social workers botched the Medicare application, but somehow we still managed to get care for him. After his first radiation treatment, within hours of it, he lost use of his legs. No strength to move or stand. This was our first sign that things were about to get bad.
On top of the obvious struggles with the disease, the things that came along with it were sometimes harder to watch. He was a victim of the Florida opioid epidemic. He was so proud of getting clean in 2011. He had quit smoking 6 months before getting diagnosed. The doctors did what they do and got him on pain killers. I understand why they prescribed them, it was just so hard to know that he relapsed for reasons beyond his control. I guess I’m glad he went out feeling as high as he wanted to be.
By mid March, his personality had completely changed. He was borderline catatonic, only asking for Wellington rolls (pain killers) or to start the car (a cigarette). Who were we to deny him of these things? It was the only way he could cope. His short term memory loss and aphasia were brutal.
My grandma had GBM. We thought we knew what were in for but this was so much worse. By April he had lost full arm strength. He was incontinent. He started declining treatment. I almost wish he had gone for palliative care right away instead, but we couldn’t bring ourselves to argue against his will to fight even if we knew it was a losing battle. If I could go back, I would have pleaded with him to pick quality of life over quantity.
Early May, we could tell it was getting close. He stopped eating for a time and eventually tried to get my mom to stop cleaning and changing him. We sent him to the hospital, they pumped him full of fluids and his personality returned! He was himself for Mother’s Day after his discharge but rapidly slipped again.
He developed a cold that put him back in the hospital. Somehow, after being pumped with fluids, he talked his way into full time hospice care at home. By the time he got home, he was in such a fog that he accused my brother of sending him home against will.
Last Monday, I went by his house. The family he truly loved was there and he actually popped in to say hello. We laughed with him and told him we loved him. He told us he was hungry and when we told him he had to have pudding or soft food because he couldn’t swallow, he called our bluff and slammed down a Burger King cheeseburger. He loved Burger King. I’m so glad he made one more appearance.
By Wednesday, he was unresponsive. I think he could still hear us though. On Saturday, I stopped by and held his hand and told him how lucky I was to have known him and how much of an impact he made on me. His eyes were fluttering and his mouth was somewhat moving. I told him I loved him and said it was okay.
I’m still struggling with how quickly and severely he deteriorated, but I am so glad he is at peace now. I don’t know what else to say. Thank you for being a safe space.

2011 - Cat Food Press - Naarm (Melbourne), Australia (no recordings found)
2017 - Field Day, Victoria Park - London, England (no recordings found)
2022 - Primavera Sound, Parc del Fòrum - Barcelona, Spain ( Magenta Mountain / various clips / more clips )
2023 - The Caverns Above Ground Amphitheater - Pelham, TN, USA
Today we have few clips from night 1 of 5 in Barcelona a year ago as part of Primavera Sound festival. King Gizz played all 5 nights in Barcelona with no repeats.
- recordings are found at King Gizzard Live Spreadsheet and KGLW.net

This is a question about best methods for converting rust before apply a Direct To Meal Primer.
Background: I am restoring a 2011 GMC Sierra Cab Roof. The clear coat was eroded and base coat and factory primer was down to the metal in some sections. Over time, entire flakes of paint and factory primer began to peel up exposing the metal cab roof to rust...In some areas, just surface rust, but in other some of the metal was deeply rusted, and pitted. Not holes, but about .2 mm of metal material corrosion.
Here is what I have done so far: I completely removed all clear, base and primer for the entire cab roof. Using 80 grit on a sander and wire wheels in the water channels and by hand down to bare metal. I then went back over the entire surface with 120 grit to remove sanding swirls in the metal. Then vacuumed the heavy metal and paint dust, and removed all residues of paint and primer that got sanded into the paint with acetone. I followed this up with alcohol and wiped that all down, then blasted with air. The entire cab roof is now bare metal and there are no holes and no cracks. I have to deal with a few deeper sanding marks where my sander had "skipped" along the metal. No big deal. I got those areas back to a flat surface with 120 grit....And again followed the acetone and alcohol wipe down.
Then I use a Phosphate etching product called KLEAN-STRIP Concrete & Metal. I applied it with a chip brush with a light layer to the entire cab roof. I left it on over night. I removed the excess with a wet damp clean rag with a 50/50 mixture of KLEAN-STRIP Concrete & Metal and distilled water. (My city water has a high mineral content). This removed alot of really dark residue from the cab roof and I had to use about 10 clean rags to get all of old black residue up and off the cab roof. I let that set for about an hour, then went back over the entire cab roof with more clean rags and a plastic bristle brush to mechanically remove as much of the residue that former on top. I noticed this was white grayish dust like residue. There is no surface rust forming and it's been three days now since doing this while the truck's been parked outside in heavy humidity in the sun. I think the surface is ready for prime now, but I have a few questions:

1. Is there anything I should do to the cab roof with this iron phosphate surface I have created? I know about cleaning with acetone again before priming...and following by an alcohol wipe down. I just do not want to wash it with water, and I don't want to involve any cleaners that might react with the iron phosphate coating.
2. I am considering hand rolling or tip painting an epoxy. Simply because the paint booth is not available to me...(long story).

I am looking for an epoxy 2K paint that can be rolled and tip painted, that can be sanded AS A PRIMER, that will not have problems with an iron phosphate coating? (when the paint booth has been repaired, I plan to spray the base and the clear later..but it will be weeks from now before the booth will be ready...I need to get a durable primer on this cab truck asap to protect it while It waits up to another 3 weeks.
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Any suggestions are appreciated.

I really think Paramount and Cruise made a mistake when they decided to schedule MI7 in July 2023 just one week before Oppenheimer when they already knew Nolan is known for his relationship with IMAX and he has a contract with them that entitles his films to run exclusively for three weeks straight after release.
Also the fact Oppenheimer was entirely shot specifically with original IMAX film cameras with 70 mm and black and white reel for the first time in the history in cinema as opposed to MI7 which was shot on digital with only specific scenes filmed with IMAX certified cameras in fact Nolan is virtually known to be an unofficial ambassador for IMAX bringing them back into prominence when all the rage a decade ago with 3D so no way IMAX are going to turn their backs who has been the frontrunner spokesman for them championing their cause.
Cruise is known to love the July spot as the last big film of the summer schedule allows the films to leg out into August with all competition already out of the way before.
Both the last two MI films did well in the late July spot so for all intents and purposes it was only logical to do the same for MI7 as well.
But due to the Covid backlog 2023 summer is especially proving to be excessively cramped with tentpoles coming week after week with no relief with this MI7 is proving to face tough competition with Oppenheimer & Barbie already duking it out. Now with MI7 also in the mix it will be especially tough only God knows what would have happened if The Marvels was also thrown into the middle as previously scheduled.
The USP of Mission Impossible is the premium large format specifically IMAX with the practical stunts in actual locations all over the globe and gigantic and elaborate set-pieces and authentic action with Cruise diving and running around making for an exhilarating experience rarely seen in cinemas.
Which is why I think MI7 would have done well in December 2023 with the prime holiday season in Christmas season allowing the film to leg out in January the same way Paramount did back in 2011 with MI4 taking the movie away the crowded summer schedule to finally debut in during the holiday season and the gamble paid off with MI4 almost doubling the box office gross from MI3.
They were inclined to do the same with MI5 with it originally releasing in December 2015 before Paramount decided to prepone the movie by six months to July due to it clashing with Star Wars and Spectre and they have stuck there ever since.
But this time they should rescheduled there film back to December 2023 the moment a spot opened up when both Disney and Paramount decided to remove their Star Wars and Star Trek movie off the calender before Aquaman fell and swooped in.
This move would also have been great because MI8 would also then drop six months later in June 2024 and considering both MI7 and MI8 are Parts 1 and 2 releasing within the space of half a year of each other it would have been great for building hype and anticipation.

I really think Paramount and Cruise made a mistake when they decided to schedule MI7 in July 2023 just one week before Oppenheimer when they already knew Nolan is known for his relationship with IMAX and he has a contract with them that entitles his films to run exclusively for three weeks straight after release.
Also the fact Oppenheimer was entirely shot specifically with original IMAX film cameras with 70 mm and black and white reel for the first time in the history in cinema as opposed to MI7 which was shot on digital with only specific scenes filmed with IMAX certified cameras in fact Nolan is virtually known to be an unofficial ambassador for IMAX bringing them back into prominence when all the rage a decade ago with 3D so no way IMAX are going to turn their backs who has been the frontrunner spokesman for them championing their cause.
Cruise is known to love the July spot as the last big film of the summer schedule allows the films to leg out into August with all competition already out of the way before.
Both the last two MI films did well in the late July spot so for all intents and purposes it was only logical to do the same for MI7 as well.
But due to the Covid backlog 2023 summer is especially proving to be excessively cramped with tentpoles coming week after week with no relief with this MI7 is proving to face tough competition with Oppenheimer & Barbie already duking it out. Now with MI7 also in the mix it will be especially tough only God knows what would have happened if The Marvels was also thrown into the middle as previously scheduled.
The USP of Mission Impossible is the premium large format specifically IMAX with the practical stunts in actual locations all over the globe and gigantic and elaborate set-pieces and authentic action with Cruise diving and running around making for an exhilarating experience rarely seen in cinemas.
Which is why I think MI7 would have done well in December 2023 with the prime holiday season in Christmas season allowing the film to leg out in January the same way Paramount did back in 2011 with MI4 taking the movie away the crowded summer schedule to finally debut in during the holiday season and the gamble paid off with MI4 almost doubling the box office gross from MI3.
They were inclined to do the same with MI5 with it originally releasing in December 2015 before Paramount decided to prepone the movie by six months to July due to it clashing with Star Wars and Spectre and they have stuck there ever since.
But this time they should rescheduled there film back to December 2023 the moment a spot opened up when both Disney and Paramount decided to remove their Star Wars and Star Trek movie off the calender before Aquaman fell and swooped in.
This move would also have been great because MI8 would also then drop six months later in June 2024 and considering both MI7 and MI8 are Parts 1 and 2 releasing within the space of half a year of each other it would have been great for building hype and anticipation.

ISO/WANT:

• 65 4K
• 80 for Brady HD
• Alice, Darling HD
• Avatar: The Way of Water 4K
• Bones and All HD
• Breaking Bad: S2, S3, S4
• Champions HD
• Devotion HD
• Don't Worry Darling 4K
• Dungeons & Dragons 4K
• John Wick: Chapter 4 4K
• Knock at the Cabin 4K
• Marcel the Shell With Shoes On 4K
• Missing HD
• Operation Fortune: Ruse de Guerre 4K
• The Outfit HD
• Plane HD
• Puss in Boots: The Last Wish 4K
• Shazam! Fury of the Gods 4K
• The Super Mario Bros. 4K
• Three Thousand Years of Longing 4K
• Women Talking 4K/HD
• The Whale HD
• Vudu Credits
• New, old, or rare titles
• Lists
• NOT CURRENTLY LOOKING FOR UNIVERSAL REWARDS, SONY BUFF PASS, BOURNE, DISNEY, MARVEL, FAST AND FURIOUS, HUNGER GAMES, JACK RYAN, JURASSIC PARK, MISSION IMPOSSIBLE, STAR TREK, STAR WARS, OR TRANSFORMERS MOVIES, UNLESS LISTED UNDER MY ISO LIST

 
 
FOR TRADE/OFFERING:
Newly added movies are in bold.
 
MA

• 8 Mile HD (MA Split)
• All My Life HD
• Bad Times at the El Royale 4K
• Batman and Superman: Battle of the Super Sons 4K
• Batman Year One 4K
• Bram Stoker's Dracula 4K
• The Breakfast Club HD
• Bridge of Spies HD (MA Split)
• Captain Fantastic HD (iTunes or Vudu)
• Chef HD (iTunes Only)
• The Devil Wears Prada HD
• Edward Scissorhands HD
• Elf 4K
• The Finest Hours HD (MA Split)
• Garfield (2004) HD
• Ghostbusters 4K
• Ghostbusters 2 4K
• Ghostbusters: Afterlife 4K
• Ghostbusters: Answer The Call 4K
• Good Boys HD
• Heat 4K
• The Incredible Hulk HD
• Iron Man: Rise of Technovore HD
• To Kill A Mockingbird 4K
• King Kong 4K
• Kingsglaive Final Fantasy XV 4K
• Kingsman: The Golden Circle HD (Redeem in iTunes for 4K)
• Last Night in Soho 4K
• Lyle, Lyle, Crocodile HD
• Mortal Engines 4K
• Need for Speed HD (Redeems in GP)
• Nightmare Alley 4K (Full Code)
• The Northman 4K
• The Prestige 4K (Full Code)
• Spider-Man: Homecoming HD
• Spider-Man: Far From Home HD
• Spider-Man: No Way Home HD
• Training Day 4K
• Underwater HD
• Underworld: Blood Wars 4K

Vudu

• 80 For Brady HD (or iTunes 4K)
• The Adventures of Tintin HD (Vudu or iTunes Split)
• Annihilation 4K (Vudu or iTunes Split)
• American Psycho (Uncut) 4K
• American Underdog 4K (or iTunes 4K)
• Anomalisa HD (Vudu or iTunes Split)
• Beverly Hills Cop 2 4K (or iTunes 4K)
• Boyhood HD (Vudu or iTunes Split)
• Chaos Walking 4K (or iTunes 4K)
• Collateral 4K (or iTunes 4K)
• The Evil Dead Double Feature 4K
• G.I. Joe Origins: Snake Eyes 4K (or iTunes 4K)
• Glengarry Glen Ross HD
• The Godfather 4K (or iTunes 4K)
• Highlander 4K
• House of the Dragon 4K
• Indiana Jones and the Last Crusade 4K (or iTunes 4K)
• Infinite HD (or iTunes 4K)
• Jason Statham 4-Film Collection - WaCrank/Crank 2/Transporter 3 HD
• Knives Out 4K (or iTunes 4K)
• L.A. Story HD
• Lion HD
• Murder on the Orient Express (1974) HD (or iTunes HD)
• Pulp Fiction HD (or iTunes 4K)
• The Punisher 4K
• The Running Man 4K (or iTunes 4K)
• Scream (1996) 4K (or iTunes 4K)
• Sicario 4K (Vudu or iTunes Split)
• Sinister HD (Vudu Split)
• St. Vincent HD
• Titanic HD (Vudu or iTunes Split)
• Trainspotting HD (Vudu expired/US GP works)
• Under the Skin HD (A24)
• The Warriors HD (or iTunes HD)
• Wayne's World HD (or iTunes 4K)
• Woman in Gold HD
• World War Z HD (Vudu Split)

Disney/Marvel (All are split codes unless otherwise indicated. Assume there are no points.)

• 101 Dalmations HD (Full Code)
• The Adventures of Ichabod and Mr. Toad HD (MA)
• Aladdin (1992) HD (GP)
• Ant-Man and the Wasp 4K (Full Code)
• Black Panther: Wakanda Forever HD (GP)
• Cars 2 HD (GP)
• The Incredibles 4K (Full Code)
• Lightyear HD (GP)
• McFarland HD (GP)
• Monsters University 4K (Full Code)
• Mulan (1998) HD (GP)
• Sword in the Stone HD (GP)
• Thor: The Dark World 4K (Full Code)
• Toy Story HD (GP)
• Toy Story 4 HD (GP)
• Wall-E HD (GP)
• West Side Story 4K (Full Code)
• Winnie the Pooh: A Very Merry Pooh Year HD (Full Code)

Bold New Entries
Disney/Marvel

• The Aristocats - GP Split
• Beauty And The Beast (Live) - GP Split
• DR. Strange - gp split
• Finding Dory - gp split
• Frozen - gp split
• Lion King Animated -GP Split
• Maleficent - Mistress of Evil - GP Split
• Saving Mr Banks - 4K
• Star Wars: The Force Awakens gp split
• Toy Story 1 - GP Split

Non Disney Codes

• iAlex Cross - AppleTv/Vudu/ - HD
• Aloha -sony HD
• Amazing Spider - Man 2 - Sony -HD
• American Reunion unrated HD
• American Girl McKenna Shoots For The Stars - UV HD
• Anchorman 2 - HD -Vudu/ AppleTv
• Assassination Nation - HD - Vudu/AppleTV/GP
• Bad Grampa - HD Vudu / Itunes
• Battleship -UV- Hd
• Best Man Holiday - HD - UV
• The Big Wedding -UV- HD
• Boyhood - HD- UV/ Itunes
• The Bourne Legacy - UniversalDigitalCopy.com -HD
• The Call - UV - HD
• Case For Christ - HD UPHE.com /Redeem
• Clifford The Big Red Dog -Vudu HD - Itunes 4K
• Danny Collins - HD - Universal/**itunes
• The Dark Tower - UV HD
• Despicable Me 2 - HD Vudu/4K Itunes - Ports to MA - split
• Dirty Grandpa - Apple/Vudu/ GP
• Divergent - HD Apple/Vudu// GP
• Divergent: Allegiant Vudu HD or Sd
• Dracula Untold - HD- universalredeem.com
• Draft Day - Apple/Vudu GP
• Dredd - HD - Vudu/AppleTV
• Dying of the Light - Vudu
• Emoji Movie - HD - Sony
• Epic -MA HD
• Expendables 2 - movieredeem.com - HD
• Expendables 3 HD Itunes
• Exposed HD lionsgate Vudu
• The Fault In Our Stars - FoxRedeem.com HD
• Fast and Furious 1 -HD - UV / Apple
• Fast and Furious 6 -UV or Itunes HD
• Florence Foster Jenkins - HD - AppleTv /Vudu
• Furious 7 - UV or Itunes HD
• Fate of Furious - F8 - Vudu / MA - HD
• Fifty Shades Of Grey Hd Or ITunes
• Fury - Sony - HD
• Ghostbusters - HD UV
• Ghost Team One - HD - Vudu/ AppleTV
• Girls Trip - Hd Vudu/ Hd Itunes - Ports To MA split
• Hacksaw Ridge - HD Apple/Vudu/Gp
• Hansel & Gretel Witch Hunters- HD -Vudu/AppleTV
• Hercules (The Rock) -HD - Vudu / AppleTV
• Hillsong - Let Hope Rise - UV/ AppleTV
• How To Train Your Dragon 2 - FoxRedeem.com - HD
• Hugo - HD Vudu/AppleTv
• The Hunger Games - Catching Fire - UV or ITunes - HD
• The Hunger Games - Mockingjay Pt 1- redeemmovie.com SD
• The Hunger Games - Mockingjay Pt 2 - redeemmovie.com SD
• Ice Age Continental Drift HD MA
• The Internship - HD - UV or Itunes
• The Interview Sony - HD
• Jack Reacher Never Go Back - HD UV or ITunes
• Jack Ryan:Shadow Recruit - HD-Vudu/4K Itunes - Does Not Port to MA
• John Wick - AppleTv / Vudu / GP / - HD
• John Wick 3 - Apple Tv - HD
• Jurrassic World - HD Vudu/4K Itunes - Ports to MA
• Jurassic World 4K
• Killer Elite - HD - ITunes
• La La Land -HD -4K AppleTv / Vudu /GP- does not port
• Last Stand - HD / ITunes-
• The Last Witch Hunter -HD movieredeem
• Les Miserables -HD Vudu/4K Itunes - Ports to MA
• Logan -HD - FoxRedeem
• The Longest Ride FoxRedeem- HD
• Lone Survivor -UV HD
• Lucy - HD Itunes or MA
• Magic Mike MA- HD
• Maze Runner - Scorch Trials - HD Foxredeem
• Megan Leavey - UV/ITunesMinions -Universaldigitalcopy - HD
• Minions - UV or Itunes
• MI Fallout -HD Vudu/4K Itunes - Does Not Port to MA
• MI Rogue Nation - HD Vudu / 4K Itunes - Does Not Port to MA
• Noah - HD Vudu/HD Itunes -Does Not Port to MA - split
• Now You See Me -Vudu HD
• One Direction - This Is Us -UV - Reg. and Extended -sony- HD
• Paranormal Activity 3 -HD - AppleTV / Vudu
• The Peanuts Movie - FoRedeem - HD
• Percy Jackson Sea of Monsters - HD -UV or Itunes
• Pitch Perfect - HD Vudu/4K Itunes - Ports to MA - split
• Pitch Perfect 2 - HD Vudu/4K Itunes - Ports to MA - split
• Poltergeist 2015 - HD -FoxRedeem.com
• Prometheus -UV - HD
• The Protector 2 - Vudu - HD
• The Pyramid - FoxRedeem HD
• Quantum Of Solace - 4K - FoxRedeem
• Rio 2 -FoxRedeem -HD MA
• Rise Of The Planet Of The Ape - HD - FoxRedeem
• Rocketman - HD Vudu/4K Itunes - Does Not Port
• Russell Madness - HD - FoxRedeem.com
• Same Kind Different As Me - HD Itunes
• Secret Life of Pets -HD - Uv or Itunes
• The Secret Life Of Walter Mitty - FoxRedeem.com HD
• Skyfall- Vudu
• Smurfs 2 HD-Sony
• Snitch - UV/ITunes
• Snow White and the Huntsman - ITunes/HD
• Son Of God - FoxRedeem -HD
• Star Trek - Beyond HD Vudu/ 4K ITunes - Does Not Port To MA
• Star Trek - Into The Darkness - HD Vudu/4K Itunes - Does Not Port to MA
• Step Up All In - Redeemmovie.com -HD
• Teenage Mutant Ninja Turtles - HD
• Transformers The Last Knight - HD Vudu/4K Itunes - Does Not Port to MA
• Trolls - MA - HD
• Tyler Perry's Temtation -redeemmovie - HD
• Twilight - Vudu
• Twilight Breaking Dawn Pt.2 - movieredeem.com -HD
• Unbroken - UniversalDigitalCopy.com - HD
• Warcraft -UPHE.com HD
• The Wolf Of Wall Street - AppleTv/Vudu/ - HD
• What To Expect When You're Expecting - HD - AppleTV -Vudu -GP
• Winter's Bone - HD - Vudu
• Wonder - UV or Itunes HD
• Wonder Park -paramount - HD
• World War Z - Itunes or Vudu - Hd
• X-Men Apocalypse - HD - UV - Apple
• X-Men Days Of Future Past - FoxRedeem.com
• Your Highness -Universal HD

SD Codes

• E.T. - SD
• Goosebumps 2 -SD
• The Homesman - SD
• Maggie-SD
• Possession of Hanna Grace - MA-SD

ITune Codes ( I will send first since I have no way to check )

• Angels and Demons SD or HD
• Captain America The First Avenger Sd or HD
• City Island - SD
• Countdown Sd or HD
• Fast Five - Sd
• Fighter - SD or HD
• The Gambler - SD or HD
• The Hangover Hd
• Hercules HD
• Inception - SD or HD
• Love And Other Drugs - HD or SD
• Night At The Museum - Smithsonian- SD
• Star Trek - HD
• The Three Stooges The Movie Doesn't Port -SD
• Transformers Age Of Extinction - SD or HD
• X-Men First Class -HD /Sd

TV Seasons

• True Blood - Season 2 HD - Itunes/GP
• True Blood -Season 4 HD- Vudu/Itunes/GP

DMR pts only

• Captain Marvel
• Avengers Endgame

Request

• Elvis
• The Fabelmans
• Infinite
• The Kings Daughter
• The Protege
• Open Season 2 & 3
• Puss & Boots 2022
• Gotham Season 3 & 4

LIST

I did not have the best relationship with my parents during my teenage years but now as I’m almost 30 I have gotten a lot closer with my mom since I moved away. I felt bad for leaving my brother behind because I was basically the only adult figure in his life he would respect and listen to. Whenever my parents needed him to do something they would call me to call him, I had to help him with Job interview prep, help cook meals that he would be able to eat because he’s picky. At the time I didn’t think anything of it because he’s my little brother. My brother is only 1 year younger than me. Present day, he has a lot of anger issues, depression, and possibly undiagnosed bipolar disorder. The first year I left home I felt so guilty for leaving him, he’d call me saying he’s sad and has no motivation to do anything. We came up with a plan for him to get his act together: start making his own meals, going to the gym, applying for jobs, etc. Things were good. I talked to my mom everyday and my dad once a week and my brother every once in a while. Whenever I would come home to visit, my brother and I would spend a lot of time together. Flash forward 3 years later, my brother was visiting to get lasik eye surgery done because it’s cheaper here and he booked his flight on his own (which he usually doesn’t do) and he sent me his itinerary and it was for 2 months… I called immediately saying 2 months is way too long for just us two in my house. We bicker quite a lot when it’s just us and we both have tempers but he assured me it’d be okay, he’ll keep to himself a lot.
Over the 2 months we did have little tiffs here and there because I was trying to use this time to help him be an independent adult who would be able to live on his own. On his last night here, he got very very drunk and we got into a verbal altercation which led into a physical one. My brother beat me and I had to call the cops on him. He broke my bedroom door trying to get into my room when I locked him out. Meanwhile my boyfriend was on FaceTime with me the whole time having to witness and hear everything without being able to do anything to help. The cops came and asked if I wanted to press charges, obviously I said no because I would’ve had to bail him out since he knows no one here. He calmed down after the cops left. I didn’t realize he had called my dad and told him that I called the cops on him for nothing and told him some twisted version of the story. the next morning, my brother and I walked by each other in my living room and he didn’t say a word to me. I finished work that day and immediately drove to my bfs (3 hours away) I felt guilty for leaving my brother because I took the only car and he would’ve had to Uber to the airport so before I left I bought him fast food to last the night. My dad had called me asking what happened, I briefly told him I was still very shaken up so I didn’t go into too much detail. My dads only fcking comment was “you called the cops?! That’s going to bring down your property value” LOL right. So I immediately hung up the phone and didn’t talk to my parents for a week or two because I knew I needed time to cool off in order to handle a convo with them and I didn’t want to hate them. Meanwhile the next day my brother sent me a text “I’m sorry” to that I replied for what? And he said for hitting you. Fcking pathetic ass excuse for an apology.
A couple weeks later I talk to my parents and they understand what happened and swore to me they’d never give another dime to my brother and they really yelled at him. That summer I came home and didn’t speak a word to my brother, I just couldn’t and didn’t feel safe around him. It made me feel sad and guilty but I couldn’t bring myself to do it. Then when I came home for thanksgiving and christmas, my mom was trying to force and guilt trip me into talking to my brother. I told her if she keeps pushing me it’ll make me never want to talk to him. My parents said I should help my brother find a job while I’m home (he’s been unemployed for 2 years); I told them to F off he’s an adult and I have a full time job I need to do while I’m visiting, maybe in your free time they said. Some nights when my parents were asleep and my brother would come into the living room I’d slowly make small talk then eventually it led into me asking if he wants to watch a movie with me and into me inviting him to the gym with me. First gym interaction was him screaming at me for parking too close to a car, normally I’d retaliate but I just didn’t let him get to me so I just ignored him. Our relationship will never be the same but I was still able to talk to him occasionally.
Fast forward to February of this year. My Cousin had a huge Asian wedding. We all got very drunk and in the Uber home it was my mom, dad, brother, uncle, my bf, and me. Not sure how the conversation happened but my brother started talking about how he respects women and that triggered my bf who’s very productive of me. This led into a screaming match in the Uber, my parents and I both trying to calm my bf and brother down. When we arrived at the hotel and got out, my bf punched my brother in the nose and he was bleeding and the whole Asian family started screaming and crying. Everyone found out my brother beat me and my bf was trying to defend me. My bf and I immediately left the hotel and took an Uber back to the air bnb where we packed our things and got a hotel room for the rest of the weekend.
I received calls and texts from my parents and brother saying it’s my brother or my bf, I had to choose and if I chose my bf my brother would never talk to me again and my parents will never want to be In the same room as my bf ever again. My parents both said they loved my bf and could’ve loved him more than my brother but now they can never look at him again. They also said they thought him and I were going to take care of my brother after they passed away. My bf and I completely agree that it should’ve never gotten physical. I was sad to see my brother hurt but in a way he did kind of deserve it? I mean he had punched me in the face and legs and arms when he had beat me and I was unable to fight back? So is it payback idk?
My dad and I still talk from time to time but he still despises my bf and will send me texts from time to time saying he doesn’t trust him. My mom and brother have not once called me. I sent my mom a bouquet of flowers on Mother’s Day, I get a text “I’ll always love you”. I had texted my brother apologizing for what happened and that my bf and I truly do care about him but we just want him to get better. I told him if he starts seeing a therapist to help resolve the anger issues I’d be open to trying to rebuild our relationship- no response.
My bf and I have been together for 3 years, we have 3 dogs and a home together. He is my person. It’s been really hard for me because I used to be so close to my family. I’ve thought about being the bigger person and giving my mom and brother a call but part of me thinks what’s the point? Why do I have to be the bigger person? Shouldn’t my mom want to talk to me? Shouldn’t she call me? I just feel like they’re choosing my brother over me.

Heart Signal 4 (하트시그널4) is finally here after 3 years.
Episode 3 Discussion for Heart Signal 4 over in /koreanvariety subreddit: https://www.reddit.com/koreanvariety/comments/13y551s/heart_signal_4_episode_3_230602/
Synopsis:

Cupid returns for a fresh assault on the hearts of a new group of romance-ready singletons. The group has never met before, but must live together in Signal House. The house rules encourage flirty behavior, but forbid housemates from directly telling anyone that they like them. Instead, they must express their feelings via text message. But there’s a twist: All texts to housemates are anonymous – meaning recipients have to guess who is trying to make a love connection with them.
Watching events unfurl in the house is a celebrity panel of love experts. These include returning romance fans Yoon Jong Shin, Kim Ea Na, and Lee Sang Min, all veterans of previous “Heart Signal” seasons. And joining this trio this time around is a fresh crop of star pundits, including OH MY GIRL member Mimi, Kang Seung Yoon of WINNER, and leading psychiatrist Kim Chong Gi.
This variety TV show series is the follow-up to 2017’s “Heart Signal.” A second series was released in 2018. And this was followed up with Season 3 in 2020.
“Heart Signal 4” is a 2023 South Korean reality TV/variety show that was produced by Park Cheol Hwan.

Cast

Lee Jumi (이 주미)
Kim Jiyoung (김 지영)
Kim Jimin (김 지민)
-
Shin Mingyu (신 민규)
Han Gyeore (한 겨레)
Yoo Jiwon (유 지원)
Lee Hushin (이 후신)

Panelists

Kim Eana
Lee Sangmin
Yoon Jongshin
Kang Seungyoon (from WINNER group)
Kim Mihyun or Mimi/미미 (from OMG group)
Kim Chonggi (psychiatrist)

Subtitles

Subtitles
Stream	Viki
Stream	KOCOWA
Stream	VIU Singapore
Stream	VIU Hong Kong

English subtitles are available on Viki now.
Around 9PM for English subs on Viki could be the consistent release schedule, so wait ~10-12 hours after the episode premieres (converting from Korean Standard Time, it's like 9:50AM every Friday, New York Time/Eastern Daylight Time), then the Viki volunteers should have the English/etc. subtitles available maybe before midnight or usually it's available the next day anyway, just like with other Viki shows.
Remember VIU (and KOCOWA/etc.) also has Heart Signal 4 but it seems sometimes they're delayed with the English subs or episode release.
For VIU access, you'll probably have to use VPNs set to Singapore/Southeast Asia to view their catalog.
Oh and Heart Signal 4 (and earlier seasons) is also apparently available on Amazon Prime Video, Disney Plus, et cetera, but as usual there's some region restrictions.
Accessing Kdramas, Korean variety shows, and so on (basically Viki, VIU, Disney+, Netflix, etc.): https://www.reddit.com/koreanvariety/comments/10fpzhx/overall_thoughts_on_love_catcher_in_bali/j5cmhaw/ and https://www.reddit.com/koreanvariety/comments/13bmtin/anyone_know_where_can_i_watch_the_below_korean/jjbtnuz/

Past Threads

Episode	Subreddit Thread
Episode 1	koreanvariety, heartsignal
Episode 2	koreanvariety, heartsignal
Episode 3	koreanvariety, heartsignal

Heart Signal Youtube channel or 하트시그널 라비티비 channel: https://www.youtube.com/@channelA-heartsignal/videos
Heart Signal 4 teasers and clips playlist: https://www.youtube.com/playlist?list=PLFIYUdSkjiCAuWe006VqSTFfaE7rgIHNy
Heart Signal 4 production stream: https://www.youtube.com/watch?v=46UmvFNwi9Q
Heart Signal 4 Episode 1 commentary with Heart Signal 2 Jaeho and some other people: https://www.youtube.com/watch?v=JRuQmQUKLvQ
Heart Signal 4 Episode 2 commentary with Heart Signal 2 Youngjoo and Jaeho, and some other people: https://www.youtube.com/watch?v=WAFSWmQJkhk
Heart Signal 4 Episode 3 commentary with Heart Signal 2 Youngjoo and Jaeho, and some other people: https://www.youtube.com/watch?v=zU511y8l3uw
Gaheun (Heart Signal 3 and Friends) and Jaeho with the Heart Signal 4 house: https://www.youtube.com/watch?v=86F9hZ-7nxc
Jangmi (Heart Signal 2 and Friends) and Jaeho with the Heart Signal 4 house: https://www.youtube.com/watch?v=EAcupLirqOk
Heart Signal 4 Official BGM Playlist: https://www.youtube.com/watch?v=8djlZk6ZeM0
Heart Signal 4 Official BGM Playlist 2: https://www.youtube.com/watch?v=avMPSuhEqak
The Chinese version of Heart Signal (心动的信号) has an engaged couple now, don't click this link unless you finished Heart Signal 2 (心动的信号第二季), oh and it also talks about Terrace House marriages too: https://www.reddit.com/heartsignal/comments/13p3qqheart_signal_2_心动的信号,_Chinese/중국_version_couple/
Terrace House: Aloha State marriage now has pictures: https://www.reddit.com/terracehouse/comments/13sz4qe/the_aloha_state_ogs/
For Heart Signal, the original Korean version and some seasons of the Chinese version should be on Viki.
Season 2 of both the Korean and Chinese versions are considered the best, and now some people also really like the 5th season of the Chinese version. The upcoming 6th season of the Chinese version is being prepared at the moment, it might be out later this 2023 year or so.
Heart Signal 1 (Korean Version): https://www.viki.com/tv/35675c-heart-signal
Heart Signal 2 (Korean Version): https://www.viki.com/tv/36949c-heart-signal-2
Heart Signal 3 (Korean Version): https://www.viki.com/tv/36950c-heart-signal-3
-
Heart Signal 1 (Chinese Version): https://www.viki.com/tv/36228c-heart-signal-chinese-version
Heart Signal 2 (Chinese Version): https://www.viki.com/tv/36654c-heart-signal-2-chinese-version
Heart Signal 5 (Chinese Version): https://www.viki.com/tv/38812c-heart-signal-5-chinese-version
With the Chinese version of Heart Signal, it's available on the WeTV/Tencent Video website (has English subs), and also their WeTV/Tencent Video channels on Youtube for free but without proper English subs.
Through the Tencent Video Youtube channel you'll have to use auto-translate from Chinese/Mandarin or maybe say Thai, Vietnamese, etc. So for English subs you have to check their own WeTV/Tencent Video/etc. website.
Viki has the 1st, 2nd, and 5th seasons of the Chinese version of Heart Signal, so you'll have to look for the 3rd (心动的信号S3) and 4th season (心动的信号S4) elsewhere. Like use auto-translate/etc. with the Youtube episodes, or check their actual WeTV/Tencent Video website.
Heart Signal 3 (Chinese Version), Episode 1 and playlist (has Thai and Vietnamese subtitles, use auto-translate to English/any desired language): https://www.youtube.com/watch?v=ywBixGNlkYs&list=PLMX26aiIvX5reBhNMq0rNZHoDa_aGblAs
Heart Signal 4 (Chinese Version), Episode 1 and playlist (these episodes on Youtube for the 4th season don't even have automatic captions/subtitles (no Thai/Vietnamese/Chinese/etc. subs either), so go on WeTV/Tencent Video's website or some places (like Bilibili, etc.) for other subtitles): https://www.youtube.com/watch?v=MWNF5cxAap0&list=PLb8w8KsDSK1wtxaCeyEAMXCHxsCYJLK4A
Expect English subtitles on Viki/etc. to appear after 10/12/etc. hours have passed since Heart Signal 4's initial release on the Korean TV/streaming services.
Episode 3 of Heart Signal 4 got moved to Friday (today), and it seems to be a similar schedule of being available around 11 hours later, 9PM New York Time/Eastern Daylight Time. Future episodes will probably be on Friday too unless they change it again (due to low ratings and so on), as such expect subs to be out during the weekend as IIRC it was rare for shows (on Viki) to have subs on Monday instead of Saturday or Sunday.
But actually that did happen for a while with the earlier seasons of the Chinese version of Heart Signal, as in it would be stuck at about 95% completed subtitles for a good day, like some parts or dialogue were missing subtitles. Still watchable but sometimes key/etc. parts were glossed over. Viki subtitling teams are still composed of volunteer members, so keep that in mind if the subs are delayed for a while.
For the KOCOWA and VIU subs, expect them to be earlier than Viki but right now it seems that they may be delayed or after Viki, so who knows how it'll be for the next 10 episodes or so.
If you don't want to wait for Viki/VIU/KOCOWA/etc. subtitles (and to get ahead of spoilers), you guys can watch the raw Episode 3 on this Channel A (채널에이방송영상) channel (appears like an hour or so later): https://www.youtube.com/@user-sh4gc2fu9i/videos
Wait, wtf they just regionally restricted it this past week, lol, so a VPN set to Korea will probably unlock it. This was the link to Episode 2 of Heart Signal 4: https://www.youtube.com/watch?v=h0IHJ44sQdg
That video for Episode 2 (from the Channel A (채널에이방송영상) channel) has no English/etc. subtitles, but with auto-generated Korean, you can use auto-translate to English/any desired language (it worked last week): https://www.reddit.com/koreanvariety/comments/13q991t/heart_signal_4_episode_2_230524/jlgihm0/
This is the link to Episode 3 of Heart Signal 4 from the Channel A (채널에이방송영상) channel: https://www.youtube.com/watch?v=wSS5o-ExEA8
Oh and if you want to watch it live (there's advertisements and other shows around the Heart Signal 4 episode stream), then you can also visit the Channel A website: https://www.ichannela.com/com/cmm/onair.do
Note the release schedule in Korea: like UTC+9, Korean Standard Time, 10:50PM every Friday. That just translates to around 9:50AM New York Time/Eastern Daylight Time. So make sure to tune in around that specific time as otherwise you'll miss the episode release and get like a different thing, lol.
New Japanese dating show called "Is She the Wolf" on Netflix, kinda like Love Catcher: https://www.reddit.com/terracehouse/comments/13y0vbp/new_netflix_series_is_she_the_wolf_looks_like_it/jmkhyea/

Prices FIRM - CashApp/Venmo/PayPal Friends & Family
Disney/Marvel titles are split codes. Only redeem what you pay for. Thank you.
10 Cloverfield Lane (2016) (Vudu/4K) (iTunes/4K) $6
12 Monkeys (1995) (MA/4K) $4
1917 (2019) (MA/4K) $6 (MA/HD) $3.50
2012 (2009) (MA/4K) $6.50
21 Bridges (2019) (iTunes/4K) $3
21 Jump Street (2012) (MA/4K) $6.75 (MA/HD) $2.75
3 From Hell (Vudu/4K) (iTunes/4K) $3.50
31 (2016) (Vudu/HD) $2.50
355, The (2022) (MA/HD) $5.75
47 Ronin (2013) (MA/4K) $5.75 (iTunes/4K) $4 (MA/HD) $3.50
80 for Brady (2023) (iTunes/4K) $6.50
A Clockwork Orange (1972) (MA/4K) $6.50
A Cure for Wellness (2017) (MA/HD) $4
A Dog's Way Home (2019) (MA/HD) $3.75
A Man Called Otto (2022) (MA/HD) $7.25
A Most Wanted Man (2014) (Vudu/HD) $3.50
A Quiet Place (2018) (Vudu/4K) $4.50 (iTunes/4K) (Vudu/HD) $1.50
A Quiet Place Part II (2020) (Vudu/4K) $6.50 (iTunes/4K) (Vudu/HD) $4.25
Abominable (2019) (MA/4K) $7.50 (MA/HD) $6.25
About Time (2013) (MA/HD) (iTunes/HD) $5.25
Addams Family 2 (2021) (iTunes/4K) $5.50
Adrift (2018) (iTunes/HD) $2.50
Adventures of Ichabod and Mr. Toad (1949) (MA/HD) $5.75 (GP/HD) $4.25
Aladdin (1992) (MA/4K) $6.75 (MA/HD) $3.25 (GP/HD) $2.25
Aladdin (2019) (MA/4K) $6 (iTunes/4K) (MA/HD) $4.25 (GP/HD) $1.50
Alexander and the Terrible, Horrible, No Good, Very Bad Day (2014) (MA/HD) $4.75
Alice Through the Looking Glass (2016) (MA/HD) $5.50 (GP/HD) $4
Alien (1979) (MA/4K) $7.25 (iTunes/4K) (MA/HD) $5
Alien Collection 1-6 (MA/HD) $19.50 1-4 (MA/SD) $9
Alita: Battle Angel (2019) (MA/4K) $5.50 (MA/HD) $4
All is Lost (2013) (Vudu/HD) $4
Allied (2016) (iTunes/4K) $4.50 (Vudu/HD) $3.75
Almost Famous (2000) (Vudu/4K) (iTunes/4K) $6.25
Alpha (2018) (MA/HD) $4.25
Amazing Spider-Man (2012) (MA/4K) $6.50 (MA/HD) $4.50
Amazing Spider-Man 2 (2014) (MA/4K) $6.50 (MA/HD) $5.50
Ambulance (2022) (MA/4K) $6.75 (MA/HD) $4
American Assassin (2017) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $3
American Gangster (Extended Edition) (2007) (MA/4K) $7.25 (iTunes/4K) (MA/HD) $6.25
American Made (2017) (MA/4K) $7.25 (MA/HD) $4.25
American Sniper (2014) (MA/4K) $6.50
Amsterdam (2022) (MA/HD) $5 (GP/HD) $3.75
Amy (2015) (Vudu/HD) $6
Anastasia (1997) (MA/HD) $6.25
Angel Has Fallen (2019) (Vudu/4K) (iTunes/4K) $5.25
Angel Heart (1987) (Vudu/4K) $6
Anna (2019) (Vudu/4K) (iTunes/4K) $4.50
Annihilation (2018) (Vudu/HD) (iTunes/4K) $2.50
Antebellum (2020) (Vudu/4K) (iTunes/4K) $5.50
Ant-Man (2015) (MA/4K) $6.25 (iTunes/4K) $5 (MA/HD) $4.50 (GP/HD) $2.25
Ant-Man and the Wasp (2018) (MA/4K) $8 (iTunes/4K) $6.25 (GP/HD) $3.25
Antz (1998) (MA/HD) $5.75
Apocalypse Now (3 Versions) (Vudu/4K) $6.50
Apollo 13 (1995) (MA/4K) $6 (MA/HD) $4.75
Aqua Teen Forever: Plantasm (2022) (MA/HD) $4.75
Arctic (2019) (MA/HD) $5.75
Arnold Schwarzenegger 6-Movie (Vudu/HD) $13.50
Arrival (2016) (Vudu/4K) $6.75 (Vudu/HD) $2.25 (iTunes/4K) $4
Assassination Nation (2018) (MA/HD) $4.75
Assassin's Creed (2016) (iTunes/4K) (MA/HD) $2
Atomic Blonde (2017) (MA/4K) $5 (iTunes/4K) $3.25 (MA/HD) $2.25
Avengers Collection 1-4 (MA/4K) $25 (iTunes/4K) $20 (GP/HD) $7.75
Baby Driver (2017) (MA/HD) $3.75
Babylon (2022) (Vudu/HD) (iTunes/4K) $6.25
Back to the Future Collection 1-3 (MA/4K) $15 (MA/HD) $7.50
Bad Boys Collection 1-3 (MA/HD) $12
Bad Boys for Life (2020) (MA/4K) $5.75 (MA/HD) $3.50
Bad Guys, The (2022) (MA/4K) $8 (MA/HD) $4.25
Bad Times at The El Royale (2018) (MA/4K) $7.75 (MA/HD) $5.75
Band of Brothers (2001) (GP/HD) $3.75 No Port
Banshees of Inisherin (2022) (GP/HD) $4.50
Barb and Star Go to Vista Del Mar (2021) (iTunes/4K) (Vudu/HD) $5
Batman and Superman: Battle of the Super Sons (2022) (MA/4K) $6 (MA/HD) $4.50
Batman Year One (2011) (MA/4K) $5
Batman, The (2022) (MA/4K) $5.25 (MA/HD) $2.50
Batman: The Doom That Came to Gotham (2022) (MA/4K) $7.50
Batman: The Long Halloween Deluxe Edition (2022) (MA/HD) $6
Battle: Los Angeles (2011) (MA/4K) $6.50
Battleship (2012) (MA/4K) $4.50 (MA/HD) $1.75 (iTunes/4K) $3
Baywatch (2017) (Vudu/4K) $5.75 (iTunes/4K) $2 (Vudu/HD) $1.50
Beast (2022) (MA/HD) $5.75
Being John Malkovich (1999) (MA/HD) $4
Belly (1998) (Vudu/4K) $4.75
Beverly Hills Cop (1984) (Vudu/4K) (iTunes/4K) $4.50
Big Hero 6 (2014) (iTunes/4K) (MA/HD) $4.50 (GP/HD) $1.50
Big Short (2015) (Vudu/HD) (iTunes/HD) $3.25
Birdman (2014) (MA/HD) $4.75
Birth of the Dragon (2017) (MA/HD) (iTunes/HD) $4.25
Black Adam (2022) (MA/4K) $7 (MA/HD) $4.25
Black Panther (2018) (MA/4K) $6 (iTunes/4K) $4.25 (GP/HD) $1.75
Black Panther: Wakanda Forever (2022) (MA/4K) $6.50 (MA/HD) $3.75 (GP/HD) $2.50
Black Widow (2021) (MA/4K) $6.50 (MA/HD) $4.75 (GP/HD) $3.25
Blacklight (2022) (MA/HD) $4.25
Blindspotting (2018) (Vudu/4K) $5.25 (iTunes/4K) (Vudu/HD) $4.75
Blues Brothers + Unrated (1980) (MA/4K) $7
Bob's Burgers Movie (2022) (MA/HD) $3.25 (GP/HD) $2.25
Bodies Bodies Bodies (2022) (Vudu/4K) $6.75
Bodyguard, The (1992) (MA/HD) $5
Bohemian Rhapsody (2018) (MA/4K) $5 (MA/HD) $3.25
Bond: Skyfall (2012) (Vudu/4K) $5.75 (Vudu/HD) $1
Book Club (2018) (Vudu/HD) $2 (iTunes/4K) $1
Born a Champion (2021) (Vudu/4K) (iTunes/4K) $5.50
Boss Baby (2017) & Family Business (2021) (MA/HD) $5.75
Boss Baby (2017) (MA/HD) $1.50
Bourne Collection 1-5 (MA/4K) $25 (iTunes/4K) $19 (MA/HD) $15
Boxtrolls, The (2014) (iTunes/HD) $4.75
Brave (2012) (iTunes/4K) $6.25 (GP/HD) $4.50
Braveheart (1995) (Vudu/4K) (iTunes/4K) $6.25 (Vudu/HD) $5
Breakfast Club (1985) (MA/HD) (iTunes/HD) $5.25
Breakfast Club (1985), Weird Science (2008), Sixteen Candles (1984) (MA/HD) $11.50
Breakthrough (2019) (MA/4K) $6.50
Bridesmaids (2011) (iTunes/HD) Ports to MA $3.50
Brightburn (2019) (MA/HD) $6.75
Bullet to the Head (2013) (MA/HD) $3
Bullet Train (2022) (MA/4K) $5.75 (MA/HD) $4.25
Bumblebee (2018) (Vudu/4K) $4.75 (Vudu/HD) $1.75 (iTunes/4K) $2
Cabin in the Woods (2012) (iTunes/4K) $2.75 (Vudu/HD) $2
Call of the Wild (2020) (MA/4K) $7 (MA/HD) $1.50 (GP/HD) $1.25
Candyman (2020) (MA/HD) $4.50
Captain Fantastic (2016) (iTunes/HD) Ports to MA $4
Captain Marvel (2019) (MA/4K) $5 (iTunes/4K) $4 (GP/HD) $1.75
Card Counter, The (2021) (MA/HD) $5
Casablanca (1943) (MA/4K) $6.25
Case for Christ, The (2017) (MA/HD) (iTunes/HD) $4.50
Celebrating Mickey (2018) (MA/HD) $5.50
Chaos Walking (2021) (Vudu/4K) (iTunes/4K) $5
Chappie (2015) (MA/4K) $6.50 (MA/HD) $3.75
Charlie's Angels (2000) (MA/4K) $7.75
Charlie's Angels (2019) (MA/4K) $6.50 (MA/HD) $5.50
Chasing Amy (1997) (Vudu/HD) (iTunes/HD) $3.75
Chicago (2002) (Vudu/HD) (iTunes/HD) $5
Choice, The (2016) (Vudu/HD) (iTunes/HD) $3.25
Christopher Robin (2018) (MA/HD) $5.25 (GP/HD) $4
Chronicle (2012) (MA/HD) $4.50
Chronicles of Narnia: The Voyage of the Dawn Treader (2010) (MA/HD) $7
Cinderella III: A Twist in Time (2007) (MA/HD) $6.50 (GP/HD) $5
Clerks III (2022) (Vudu/4K) (iTunes/4K) $5.50
Cloverfield (2008) (Vudu/4K) (iTunes/4K) $6.75
Coco (2017) (MA/4K) $6.50 (iTunes/4K) $5.25 (GP/HD) $2.25
Cold Pursuit (2019) (Vudu/4K) $6.50 (iTunes/4K) (Vudu/HD) $3
Coming to America (1988) (Vudu/4K) $4.75 (iTunes/4K) (Vudu/HD) $3.25
Commuter (2018) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $2.50
Conan The Barbarian (2011) (Vudu/4K) $5
Constantine: The House of Mystery (2022) (MA/HD) $3.50
Contractor (2022) (Vudu/4K) $7 (iTunes/4K) (Vudu/HD) $4.50
Courier, The (2020) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $4.50
Crash (2004) (Vudu/HD) $5.25
Crawl (2019) (Vudu/HD) $3 (iTunes/4K) $2
Creed Collection 1-3 (Vudu/HD) $13
Creed III (2023) (Vudu/4K) $10
Croods (2013) & A New Age (2020) (MA/HD) $6.75
Crouching Tiger, Hidden Dragon (2001) (MA/4K) $7.75
Cruella (2021) (MA/4K) $5.75 (MA/HD) $3.50 (GP/HD) $2.50
Daddy's Home 1-2 (iTunes/4K) (Vudu/HD) $5.25
Dances With Wolves (1990) (Vudu/HD) $6
Daniel Craig Collection 5-Movie (Vudu/4K) $20
Dark Tower (2017) (MA/HD) $3
Dark Waters (2019) (MA/HD) $5.75
Darkest Hour (2017) (MA/HD) $3
Dawn of The Planet of The Apes (2014) (iTunes/4K) (MA/HD) $4
Day After Tomorrow (2004) (MA/HD) $6.75
DC League of Super-Pets (2022) (MA/4K) $8 (MA/HD) $5
Deadpool (2016) (MA/4K) $6 (iTunes/4K) (MA/HD) $2
Deadpool 2 (2018) (MA/4K) $6.25 (MA/HD) $3.25
Death on the Nile (2022) (MA/HD) $5 (GP/HD) $3.50
Deepwater Horizon (2016) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $2.50
Dentist Collection 1-2 (1996-1998) (Vudu/HD) $5.25
Detective Knight Collection 1-3 (iTunes/4K) (Vudu/HD) $15 $5.75 Each
Devotion (2022) (iTunes/4K) $6.50
Diary of a Wimpy Kid (2010) (MA/HD) $4.50
Die Hard (1988) (MA/4K) $7 (MA/HD) $4
Die Hard 1-5 (MA/HD) $16 $4.75 Each
Dirty Dancing (1987) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $4.50
Dirty Grandpa (2016) (Vudu/4K) (iTunes/4K) $6
District 9 (2009) (MA/4K) $6.50
Django Unchained (2012) (Vudu/HD) $2.50
Do the Right Thing (1989) (MA/4K) $6
Doctor Strange (2016) (MA/4K) $6.50 (iTunes/4K) $4 (MA/HD) $3.50 (GP/HD) $1.75
Doctor Strange in the Multiverse of Madness (2022) (MA/4K) $6 (MA/HD) $2.75 (GP/HD) $2
Dog (2022) (Vudu/HD) $3
Dolittle (2020) (MA/4K) $6 (MA/HD) $3.50
Don't Worry Darling (2022) (MA/HD) $5.50
Doors (1991) (Vudu/4K) (iTunes/4K) $4.50
Dora and the Lost City of Gold (2019) (Vudu/HD) $5.25 (iTunes/4K) $4.25
Downsizing (2017) (iTunes/4K) (Vudu/HD) $1.25
Downton Abbey (2019) (MA/HD) $5.50
Downton Abbey: A New Era (2022) (MA/HD) $3.75
Dr. Seuss' How The Grinch Stole Christmas (2000) (iTunes/4K) $5.50 (MA/HD) $5
Dracula 2000 (2000), II: Ascension (2003) (Vudu/HD) (iTunes/HD) $10.50
Dracula Untold (2014) (MA/4K) $7 (MA/HD) $2.75 (iTunes/4K) $4
Draft Day (2014) (Vudu/HD) $3.25 (iTunes/HD) $2.50
Dragged Across Concrete (2019) (iTunes/4K) (Vudu/HD) $3.25
Dragonheart 5-Movie (MA/HD) $15
Drive (2011) (MA/HD) $4.25
Dumbo (2019) (MA/4K) $6 (iTunes/4K) $5.25 (GP/HD) $2.50
Dune (2021) (MA/4K) $5.50
Dungeons & Dragons: Honor Among Thieves (2023) (Vudu/HD) (iTunes/4K) $8
Dunkirk (2017) (MA/4K) $6.50
Dying of the Light (2014) (Vudu/HD) $2.25
E.T. the Extra-Terrestrial (1982) (MA/4K) $6 (iTunes/4K) $5 (MA/HD) $3
Earth Girls Are Easy (1988) (Vudu/HD) $5.75
Edward Scissorhands (1990) (MA/HD) $3
Eighth Grade (2018) (Vudu/HD) $5.75
Elvis (2022) (MA/4K) $6.75 (MA/HD) $4
Elysium (2013) & District 9 (2009) (MA/HD) $7.75
Elysium (2013) (MA/4K) $6.50 (MA/HD) $3.25
Emoji Movie (2017) (MA/HD) $2.25
Encanto (2021) (MA/4K) $6.50 (MA/HD) (GP/4K) $3.50
Epic (2013) (MA/HD) $1.75 (iTunes/SD) $1.25
Equalizer 2 (2018) (MA/4K) $7.25 (MA/HD) $2.75
Escape from L.A (1996) (Vudu/4K) (iTunes/4K) $6
Eternals (2021) (MA/4K) $6.75 (MA/HD) $4.50 (GP/HD) $3
Everest (2015) (MA/4K) $6.50 (MA/HD) $3 (iTunes/4K) $4
Everything Everywhere All at Once (2022) (Vudu/4K) $7.50
Ex Machina (2015) (Vudu/4K) $6.50 (Vudu/HD) $4
Exodus: Gods and Kings (2014) (iTunes/4K) (MA/HD) $3
Expendables 1-3 (Vudu/HD) $4.50
Eyes of Tammy Faye (2021) (GP/HD) $4.25
F9: The Fast Saga + Director's Cut (2021) (MA/4K) $5.25 (MA/HD) $3.25
Fabelmans (2022) (MA/HD) $6.50
Fahrenheit 451 (2018) (Vudu/HD) (iTunes/HD) $4.50 (GP/HD) $3
Fantastic Beasts Collection 1-3 (MA/HD) $7.75
Fantastic Beasts: The Secrets of Dumbledore (2022) (MA/4K) $5.25 (MA/HD) $3
Fantastic Four (2015) (iTunes/4K) (MA/HD) $4.50
Farewell, The (2019) (Vudu/HD) $5.50
Fast & Furious Collection 1-9 (MA/HD) $10
Fatale (2020) (Vudu/4K) (iTunes/4K) $3.75
Father Stu (2022) (MA/HD) $5.50
Fatherhood (2021) (MA/HD) $3.75
Fault in Our Stars (2014) (MA/HD) $1.75
Fences (2016) (iTunes/4K) (Vudu/HD) $1.75
Ferris Bueller's Day Off (1986) (Vudu/HD) (iTunes/HD) $6
Field of Dreams (1989) (MA/4K) $7.50 (iTunes/4K) (MA/HD) $6
Fifth Element (1997) (MA/4K) $6.50 (MA/HD) $6
Fifty Shades of Grey 3-Movie + Unrated (MA/HD) $9.75
Finding Dory (2016) (MA/4K) $5.75 (iTunes/4K) $3.50 (GP/HD) $1.25
Finding Nemo (2003) (MA/4K) $6.75 (iTunes/4K) $5.25 (GP/HD) $3
Finest Hours, The (2016) (MA/HD) $6.25 (GP/HD) $3.75
First Cow (2019) (Vudu/HD) $6.50
First Man (2018) (MA/4K) $6.75 (MA/HD) $4.25
Flashdance (1983) (Vudu/4K) $6.75
Flatliners (2017) (MA/HD) $4.25
Footloose (2011) (Vudu/HD) $5 (iTunes/HD) $3.50
Ford v Ferrari (2019) (MA/4K) $7.75 (MA/HD) $4.75
Forever My Girl (2018) (Vudu/HD) (iTunes/HD) $3.75
Forrest Gump (1994) (iTunes/4K) (Vudu/HD) $5.50
Fox and the Hound (1981) (MA/HD) $6.50 (GP/HD) $5
Frankenstein (1931) (MA/4K) $6.50 (MA/HD) (iTunes/HD) $4.50
Free Guy (2021) (MA/4K) $7.50 (MA/HD) $4.75 (GP/HD) $3.25
Fruitvale Station (2014) (Vudu/HD) $4
Full Metal Jacket (1987) (MA/4K) $6.50
Fury (2014) (MA/4K) $6.50 (MA/HD) $4.50
G.I. Joe: Retaliation (2013) (iTunes/4K) (Vudu/HD) $3.75
Gamer (2009) (iTunes/4K) (Vudu/HD) $5.50
Gemini Man (2019) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $2.25
Ghost Rider: Spirit of Vengeance (2012) (MA/HD) $6.75
Ghostbusters: Afterlife (2021) (MA/4K) $7.50 (MA/HD) $3.50
Girl on the Train (2016) (iTunes/4K) $2.25 (MA/HD) $2.50
Gladiator (2000) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $5
Glass (2019) (MA/4K) $6.50 (MA/HD) $4.50
Glory (1989) (MA/4K) $7.75
Godfather Trilogy (iTunes/4K) (Vudu/HD) $14
Gods of Egypt (2016) (Vudu/4K) $5.25 (Vudu/HD) $2 (iTunes/4K) $1.50
Godzilla (1998) (MA/4K) $6.50
Good Will Hunting (1997) (Vudu/HD) $5.25
Goosebumps 2 (2018) (MA/4K) $7.50 (MA/HD) $6.50
Gotti (2018) (Vudu/HD) $2
Grand Budapest Hotel (2014) (MA/HD) $3.75
Grease (1978), 2 (1982), Live! (2016) (Vudu/HD) (iTunes/HD) $14
Greatest Showman (2017) (MA/HD) $2.25
Green Book (2018) (MA/4K) $7.25 (MA/HD) $5
Green Hornet (2011) (MA/HD) $6.50
Green Knight (2021) (Vudu/4K) $5.50
Green Lantern: Beware My Power (2022) (MA/HD) $3
Green Mile, The (1999) (MA/4K) $6
Greta (2019) (MA/HD) $5.25
Grey, The (2012) (MA/HD) (iTunes/HD) $2.75
Groundhog Day (1993) (MA/4K) $8
Guardians of the Galaxy (2014) (MA/4K) $7.25 (iTunes/4K) $4.75 (MA/HD) $4 (GP/HD) $1.75
Guardians of the Galaxy Vol. 2 (2017) (MA/4K) $6.75 (iTunes/4K) $4.25 (GP/HD) $1.25
Hacksaw Ridge (2016) (Vudu/4K) $4.50 (iTunes/4K) $3.50 (Vudu/HD) $2.25
Halloween (2018) (MA/4K) $6.25 (MA/HD) $4.25
Halloween Ends (2022) (MA/4K) $6.25 (MA/HD) $4.50
Halloween Kills (2021) (MA/4K) $6 (MA/HD) $4.25
Hancock (2008) (MA/4K) $6.50
Hansel and Gretel: Witch Hunters (2013) (Vudu/HD) (iTunes/HD) $2.50
Hardcore Henry (2016) (MA/HD) (iTunes/HD) $3.50
Harriet (2019) (MA/HD) $4.25
Hate U Give (2018) (MA/4K) $7.75 (MA/HD) $4.50
Haunting in Connecticut (2009) (Vudu/HD) $6.50
Heat, The (2013) (MA/HD) $2.25 (iTunes/SD) $1
Heat: Director's Definitive Edition (1995) (MA/4K) $6 (MA/HD) $5.25
Heaven is for Real (2014) (MA/HD) $2.75
Heavy Metal (1981) (MA/4K) $6.50
Hell Fest (2018) (Vudu/4K) (iTunes/4K) $3.75
Hell or High Water (2016) (Vudu/4K) $5.25 (Vudu/HD) $2.25 (iTunes/4K) $3.75
Hellboy (2019) (Vudu/4K) (iTunes/4K) $4.25
Hellboy (Director's Cut) (2004) (MA/4K) $6.50
Hercules (2014) (iTunes/4K) (Vudu/HD) $1.50
Hereditary (2018) (Vudu/HD) $3.75
Highlander (1986) (Vudu/4K) $5
Hitman's Bodyguard (2017) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $4.25
Hitman's Wife's Bodyguard (2021) (Vudu/4K) (iTunes/4K) $4.75
Hobbs & Shaw (2019) (MA/4K) $5.75 (MA/HD) $3.75
Hocus Pocus (1993) (MA/4K) $6.75 (iTunes/4K) (MA/HD) $4.75 (GP/HD) $2.25
Holmes And Watson (2018) (MA/HD) $3.75
Home (2015) (MA/HD) $2
Home Alone 1-2 (MA/HD) $7.50
Hope Springs (2012) (MA/HD) $2.50
Hostiles (2017) (Vudu/4K) $4.75 (iTunes/4K) (Vudu/HD) $3.25
Hotel Mumbai (2019) (MA/HD) $5.25
Hotel Transylvania 3: Summer Vacation (2018) (MA/4K) $6.75 (MA/HD) $4.50
House of 1,000 Corpses (2003), Devil's Rejects (2005), 3 From Hell (2019) (Vudu/HD) $6
House of the Dragon: Season 1 (2022) (Vudu/4K) $9 (Vudu/HD) $5.50
House with a Clock in Its Walls (2018) (MA/4K) $6 (MA/HD) $3.75
How to Train Your Dragon (2010) (MA/4K) $6.50
How to Train Your Dragon Collection 1-3 (MA/HD) $7.50 $4.75 Each
How to Train Your Dragon: The Hidden World (2019) (MA/4K) $6 (MA/HD) $4.25
Howard the Duck (1986) (MA/4K) $7
Hunger Games Collection 1-4 (Vudu/HD) $6 (iTunes/4K) $12
Hunt for Red October (1990) (Vudu/4K) (iTunes/4K) $4.50
Hunter Killer (2018) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $2.75
Hurt Locker (2008) (Vudu/4K) (iTunes/4K) $6.25
Hustle, The (2019) (iTunes/4K) $2.75
Hustlers (2019) (iTunes/4K) $3
I Feel Pretty (2018) (iTunes/HD) $1
I Now Pronounce You Chuck & Larry (2007) (MA/HD) $4
I See You (2019) (iTunes/HD) $2.50
I, Frankenstein (2014) (Vudu/HD) (iTunes/HD) $1.75
I, Tonya (2017) (MA/HD) $5.75
If I Stay (2014) (iTunes/4K) (Vudu/HD) $5.75
Imitation Game, The (2014) (Vudu/HD) $3.25
Immortal Life Of Henrietta Lacks (2017) (iTunes/HD) $3.50
In the Heights (2021) (MA/4K) $5
Incredible Hulk (2008) (MA/4K) $7 (MA/HD) $5.25
Incredibles (2004) (MA/4K) $7.75 (iTunes/4K) $6.25 (GP/HD) $4.75
Incredibles 2 (2018) (MA/4K) $6.25 (iTunes/4K) $4.50 (GP/HD) $2
Independence Day (1996) (MA/4K) $7.75 (iTunes/4K) (MA/HD) $5.50
Indiana Jones 1-4 (iTunes/4K) (Vudu/HD) $20
Infinite (2021) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $5
Inglorious Bastards (2009) (MA/4K) $7
Inside Out (2015) (MA/4K) $5.75 (iTunes/4K) $4.25 (GP/HD) $1.50
Instant Family (2018) (Vudu/HD) $2 (iTunes/4K) $1.50
Insurgent (2015) (Vudu/4K) (iTunes/4K) $4.25 (Vudu/HD) $3.50
Interstellar (2014) (Vudu/4K) $6 (iTunes/4K) $5.75 (Vudu/HD) $4
Invisible Man (2020) (MA/4K) $6.50 (MA/HD) $3.75
Iron Man (2008) (MA/4K) $7.25 (iTunes/4K) $7 (GP/HD) $3
Iron Man 1-3 (MA/4K) $21 (iTunes/4K) $16 (GP/HD) $7.50
Iron Man 2 (2010) (MA/4K) $7.25 (iTunes/4K) $6.50 (GP/HD) $3
Iron Man 3 (2013) (MA/4K) $7.25 (iTunes/4K) $3 (MA/HD) $2.25 (GP/HD) $1.50
Iron Man and Hulk: Heroes United (2013) (MA/HD) $5.50
It's a Mad, Mad, Mad, Mad World (1963) (Vudu/HD) $6.75
It's a Wonderful Life (1946) (Vudu/4K) $5.25 (iTunes/4K) (Vudu/HD) $5
Jack and Jill (2011), Just Go with IT (2011) & That's My Boy (2012) (MA/SD) $9
Jack Reacher Collection 1-2 (iTunes/4K) (Vudu/HD) $7
Jack Reacher: Never Go Back (2016) (Vudu/4K) $5.50 (iTunes/4K) (Vudu/HD) $2.75
Jack Ryan: Shadow Recruit (2014) (iTunes/4K) (Vudu/HD) $3.25
Jackass Forever (2022) (iTunes/4K) (Vudu/HD) $4
Jaws (1975) (MA/4K) $6.25 (iTunes/4K) (MA/HD) $4.75
Jaws (1975) Jaws 2 (1978) Jaws 3 (1983) Jaws: The Revenge (1987) (MA/HD) $15.50
Jexi (2019) (Vudu/4K) (iTunes/4K) $4.50
Jigsaw (2017) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $2
JOBS (2013) (MA/HD) (iTunes/HD) $3.75
John Wick Collection 1-3 (Vudu/4K) $16.50 (iTunes/4K) $14.50 (Vudu/HD) $8
John Wick: Chapter 3 - Parabellum (2019) (Vudu/4K) (iTunes/4K) $4
Judy (2019) (Vudu/4K) (iTunes/4K) $3.75
Juice (1992) (Vudu/4K) (iTunes/4K) $6.50
Jumanji (1995) (MA/4K) $6.50 (MA/HD) $6
Jumanji: Next Level (2019) & Welcome to the Jungle (2017) (MA/HD) $7.50
Jumanji: The Next Level (2019) (MA/4K) $7.75 (MA/HD) $5.50
Jumanji: Welcome To The Jungle (2017) (MA/4K) $5.50 (MA/HD) $2 (MA/SD) $1
Jungle Book (1967) (MA/HD) $6 (GP/HD) $4
Jungle Book (2016) (iTunes/4K) (MA/HD) $5.25 (GP/HD) $2.75
Jungle Book 2 (2003) (MA/HD) $6.50 (GP/HD) $5.50
Jungle Cruise (2021) (MA/4K) $6 (MA/HD) $3.75 (GP/HD) $3
Jurassic Park (1993) (MA/4K) $5.25 (iTunes/4K) $3.75 (MA/HD) $3
Jurassic Park III (2001) (MA/4K) $6.50 (iTunes/4K) $3.75 (MA/HD) $3.50
Jurassic Park: The Lost World (1997) (MA/4K) $6.50 (iTunes/4K) $3.75 (MA/HD) $3
Jurassic World (2015) (MA/4K) $5.25 (iTunes/4K) $3.75 (MA/HD) $2.75
Jurassic World Collection 1-5 (MA/4K) $20 (iTunes/4K) $17.50 (MA/HD) $10
Jurassic World Collection 1-6 (MA/4K) $23.50 (MA/HD) $11.50
Jurassic World: Dominion + Extended Cut (2022) (MA/4K) $6.50 (MA/HD) $4.25
Jurassic World: Fallen Kingdom (2018) (MA/4K) $5.75 (MA/HD) $1.75
Justice League x RWBY Super Heroes and Huntsmen Part One (2023) (MA/HD) $4
Justice Society: World War II (2021) (MA/4K) $5.50
Kick-Ass (2010) (Vudu/4K) $5.75 (Vudu/HD) (iTunes/HD) $4.50
Kid Who Would Be King (2019) (MA/4K) $5.75 (MA/HD) $4.75
Kid, The (2019) (Vudu/4K) (iTunes/4K) $5.25
Killing Kennedy (2013) (MA/HD) $6.50
Kin (2018) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $3
King Kong (2005) (MA/4K) $5.75 (iTunes/4K) $3.75 (MA/HD) $3.50
Kingsman: The Golden Circle (2017) (iTunes/4K) (MA/HD) $2.75
Kingsman: The Secret Service (2015) (iTunes/4K) (MA/HD) $4.25
Knight and Day (2010) (MA/HD) $6.50
Knives Out (2019) (Vudu/4K) (iTunes/4K) $5.25
Kung Fu Panda Collection 1-3 (MA/HD) $12.50
La La Land (2016) (Vudu/HD) $2.25 (iTunes/4K) $3.75
Lady and the Tramp (1955) (MA/HD) $5.75 (GP/HD) $3.75
Last Duel, The (2021) (MA/HD) $5.25 (GP/HD) $4
Last Night in Soho (2021) (MA/4K) $7 (MA/HD) $5.75
Last Witch Hunter (2015) (iTunes/4K) (Vudu/HD) $1.50
Last Word (2017) (iTunes/HD) Ports to MA $4.75
Law Abiding Citizen (2009) (Vudu/4K) $7
Legion of Super Heroes (2023) (MA/HD) $5.50
Leprechaun Collection 1-7 (Vudu/HD) $14
Les Miserables (1998) (MA/HD) $7
Life of Pi (2012) (MA/HD) $2.50
Lightyear (2022) (MA/4K) $5 (MA/HD) $2.75 (GP/HD) $2
Lilo & Stitch (2002) & Stitch Has a Glitch (2005) (MA/HD) $10.50 (GP/HD) $6
Lincoln Lawyer (2011) (Vudu/4K) $5.25 (iTunes/4K) (Vudu/HD) $4.50
Little (2019) (MA/HD) $4.50
Little Mermaid (1989) (MA/4K) $7.25 (iTunes/4K) (MA/HD) $5.75 (GP/HD) $3.75
Live Die Repeat: Edge Of Tomorrow (2014) (MA/4K) $6.50
Lock Up (1989) (Vudu/4K) $5
Logan (2017) (iTunes/4K) (MA/HD) $2.75
Lone Ranger (2013) (MA/HD) $4.50 (GP/HD) $2.50
Lone Survivor (2013) (MA/4K) $6.75 (iTunes/4K) $2 (MA/HD) $1.50
Looper (2012) (MA/4K) $5.75 (MA/HD) $3
Lord of War (2005) (Vudu/4K) (iTunes/4K) $5.50
Lost City, The (2022) (Vudu/4K) (iTunes/4K) $6
Love and Monsters (2020) (Vudu/4K) (iTunes/4K) $7
Luca (2021) (MA/4K) $6.50 (MA/HD) $3.75 (GP/HD) $3.25
Lyle, Lyle, Crocodile (2022) (MA/HD) $5.50
Mad Max Collection 1-4 (Vudu/4K) $20
Madagascar Collection 1-4 (MA/HD) $14
Magnificent Seven (2016) (Vudu/4K) $6 (Vudu/HD) $2.50
Maleficent (2014) (MA/4K) $5.75 (iTunes/4K) (MA/HD) $3 (GP/HD) $1.25
Maleficent: Mistress of Evil (2019) (MA/4K) $6 (iTunes/4K) $3.75 (GP/HD) $1.75
Mamma Mia! Here We Go Again (2018) (MA/4K) $6.50 (MA/HD) $1.75
Man on a Ledge (2012) (Vudu/4K) (iTunes/4K) $6.50
Marry Me (2022) (MA/HD) $6.50
Marshall (2017) (MA/HD) $4.75
Martian - Extended Cut (2015) (MA/4K) $7.75 (MA/HD) $5.25
Martian (Theatrical) (2015) (MA/4K) $7.25 (MA/HD) $3.25
Mary Poppins Returns (2018) (MA/4K) $6.50 (iTunes/4K) (MA/HD) $4.50 (GP/HD) $2
Matrix: Resurrections (2021) (MA/4K) $5
Maze Runner (2014) (iTunes/4K) (MA/HD) $5.50
Maze Runner: The Scorch Trials (2015) (iTunes/4K) (MA/HD) $6
Mechanic: Resurrection (2016) (iTunes/4K) (Vudu/HD) $3
Megan Leavey (2017) (MA/HD) (iTunes/HD) $1.75
Memory (2022) (MA/HD) $3.50
Men (2022) (Vudu/HD) $3.75
Men in Black (1997) (MA/HD) $6.50
Men in Black 3 (2012) (MA/HD) $2.50
Men in Black Collection 1-3 (MA/HD) $15.50
Men in Black II (2002) (MA/HD) $6.75
Menu (2022) (MA/HD) $5.50 (GP/HD) $4
MIB: International (2019) (MA/4K) $5.75 (MA/HD) $4.75
Mickey & Minnie 10 Classic Shorts - Volume 1 (2023) (MA/HD) $5.75 (GP/HD) $4
Midway (2019) (Vudu/4K) (iTunes/4K) $4
Mile 22 (2018) (iTunes/4K) $1.75
Minions: The Rise of Gru (2022) & Minions (2015) (MA/HD) $8
Minions: The Rise of Gru (2022) (MA/4K) $6.75 (MA/HD) $5.25
Miss Bala (2019) (MA/HD) $3.75
Miss Peregrine’s Home for Peculiar Children (2015) (iTunes/4K) (MA/HD) $2
Mission: Impossible Collection 1-6 (Vudu/4K) $25 (iTunes/4K) (Vudu/HD) $20
Mission: Impossible Fallout (2018) (Vudu/4K) $2.75 (iTunes/4K) (Vudu/HD) $2.50
Moana (2016) (MA/4K) $7 (iTunes/4K) (MA/HD) $4.75 (GP/HD) $2
Moneyball (2011) (MA/HD) $2.75
Monster Hunter (2020) (MA/4K) $6.75 (MA/HD) $4.25
Monsters University (2013) (MA/4K) $6.75 (iTunes/4K) $5.75 (GP/HD) $3.50
Monty Python's The Meaning of Life (1983) (MA/4K) $7.25
Moonfall (2022) (Vudu/4K) (iTunes/4K) $5
Moonlight (2016) (Vudu/HD) $4
Moonrise Kingdom (2012) (MA/HD) $4.75
Morbius (2022) (MA/4K) $5.25 (MA/HD) $3.25 (MA/SD) $2.25
Mortal Engines (2018) (MA/4K) $7 (MA/HD) $3.25
Mortal Kombat Legends: Snow Blind (2022) (MA/HD) $5.50
Mother's Day (2016) (MA/HD) (iTunes/HD) $5
Mr. Peabody & Sherman (2014) (MA/HD) $3.25
Mulan (1998) (MA/4K) $6.75 (iTunes/4K) $5.75 (GP/HD) $3
Mulan (2020) (MA/4K) $6.25 (MA/HD) $4 (GP/HD) $2.25
Mulan 2 (2005) (MA/HD) $3.75 (GP/HD) $2.75
Mummy, The (2017) (iTunes/4K) (MA/HD) $2.75
Muppets Most Wanted (2014) (MA/HD) $6.25 (GP/HD) $4.50
Murder on The Orient Express (2017) (MA/HD) $2.75
My Boss's Daughter (2003) (Vudu/HD) $6
My Little Pony: The Movie (2017) (Vudu/HD) (iTunes/HD) $3.25
National Lampoon's Animal House (1978) (MA/4K) $6.25 (MA/HD) $5.25
Natural, The (1984) (MA/4K) $5
New Mutants (2020) (MA/4K) $6.75 (MA/HD) $5.25 (GP/HD) $2.75
News of the World (2020) (MA/4K) $6.25 (MA/HD) $3.75
Night at the Museum 3-Movie (MA/HD) $13.50 $6 Each (MA/SD) $9
Night School (Extended) (2018) (MA/4K) $7 (MA/HD) $3.75
Nightmare Alley (2021) (MA/HD) $4.50 (GP/HD) $3.50
Noah (2014) (Vudu/HD) $1.75 (iTunes/HD) $1.50
Nope (2022) (MA/4K) $8 (MA/HD) $5.75
Nope (2022), Get Out (2017) & Us (2019) (MA/HD) $10
Northman (2022) (MA/4K) $7.25 (MA/HD) $4.50
Notting Hill (1999) (MA/HD) (iTunes/HD) $3.75
Now You See Me 1-2 (Vudu/HD) $4 (iTunes/HD) $6.50
Nut Job (2014) (iTunes/HD) Ports to MA $1.75
Nutcracker and the Four Realms (2018) (MA/4K) $6 (MA/HD) $3 (GP/HD) $2.50
Oblivion (2013) (MA/4K) $7 (iTunes/4K) $3.50 (MA/HD) $2.25
Office Space (1999) (MA/HD) $7
Once Upon A Time... In Hollywood (2019) (MA/4K) $6.75 (MA/HD) $5
One Direction: This is Us + Extended Fan Edition (2013) (MA/HD) $3.25
Only The Brave (2017) (MA/HD) $5.50
Onward (2020) (MA/4K) $5.50 (MA/HD) $4 (GP/HD) $2.25
Operation Finale (2018) (iTunes/4K) $2.75
Ouija (2014) (MA/HD) (iTunes/HD) $2.50
Our Kind of Traitor (2016) (Vudu/HD) $3.25
Overlord (2018) (Vudu/4K) $5 (Vudu/HD) $2.75 (iTunes/4K) $4
Oz the Great and Powerful (2013) (MA/HD) $2 (GP/HD) $1
Pacific Rim Uprising (2018) (MA/4K) $7.75 (MA/HD) $4.50
Parasite (2019) (MA/HD) $4.75
Passengers (2016) (MA/4K) $6.50 (MA/HD) $2.75
Paterno (2018) (Vudu/HD) (iTunes/HD) $4.25 (GP/HD) $2.75
Patriot Games (1992) (Vudu/4K) (iTunes/4K) $5.50
Patriots Day (2017) (iTunes/4K) (Vudu/HD) $2.50
Paul, Apostle Of Christ (2018) (MA/HD) $4.50
Paws of Fury: The Legend of Hank (2022) (iTunes/4K) (Vudu/HD) $6
Peanuts Movie (2015) (iTunes/4K) (MA/HD) $2.25
Pearl (2022) (Vudu/HD) $5.50
Penguins of Madagascar (2014) (MA/HD) $2.75
Pet Sematary (1989) (Vudu/4K) $6 (iTunes/4K) $4 (Vudu/HD) $3.75
Pet Sematary (2019) (Vudu/4K) $4.25 (iTunes/4K) (Vudu/HD) $2.50
Pete’s Dragon (2016) (MA/HD) $6.25 (GP/HD) $4.25
Peter Pan (1953) (MA/HD) $6.25 (GP/HD) $4.75
Peter Pan: Return to Neverland (2002) (MA/HD) $6 (GP/HD) $4.50
Peter Rabbit (2018) & 2 (2021) (MA/HD) $8.50 $4.75 Each
Peter Rabbit (2018) (MA/4K) $5.75 (MA/HD) $4.75
Philadelphia (1993) (MA/4K) $7.75
Pineapple Express (Unrated Edition) (2008) (MA/HD) $6.50
Pitch Black - Unrated Director's Cut (2000) (MA/HD) $6
Pitch Perfect (2012) (MA/4K) $5.75 (MA/HD) $2.75 (iTunes/4K) $3.75
Pitch Perfect Collection 1-3 (MA/HD) $11.50
Pixels (2015) (MA/4K) $6.50 (MA/HD) $5.50
Planet of the Apes 1-3 (Newer) (iTunes/4K) (MA/HD) $12
Power Rangers (2017) (Vudu/4K) $5.50 (iTunes/4K) $3.25 (Vudu/HD) $2.75
Precious (2009) (Vudu/HD) (iTunes/HD) $6.25
Predator (1987), 2 (1990), Predators (2009), Predator (2018) (MA/HD) $11
Predator (2018) (MA/4K) $6.25 (MA/HD) $3.50
Pretty in Pink (1986) (iTunes/4K) (Vudu/HD) $4.75
Prey for the Devil (2022) (Vudu/4K) (iTunes/4K) $6
Priceless (2016) (iTunes/HD) Ports to MA $5
Pride and Prejudice and Zombies (2016) (MA/HD) $6.50
Prophecy Collection 1-5 (Vudu/HD) (iTunes/HD) $14.50
Protege, The (2021) (Vudu/4K) (iTunes/4K) $5.75
Proud Mary (2018) (MA/HD) $4.25
Psycho (1960), Rear Window (1954), The Birds (1963), Vertigo (1958) (MA/4K) $17
Pulp Fiction (1994) (Vudu/4K) $5.50 (Vudu/HD) $4.25 (iTunes/HD) $5.25
Punisher, The (2004) (Vudu/4K) $5.75 (Vudu/HD) $5.25
Punisher: War Zone (2008) (Vudu/4K) $5.75
Purge, The (2013) (MA/4K) $6.50 (iTunes/4K) (MA/HD) $3
Purge: Anarchy (2014) (MA/4K) $5.75 (iTunes/4K) (MA/HD) $4.75
Puss in Boots (2011) (MA/4K) $6.75
Queen of Katwe (2016) (MA/HD) $3.50 (GP/HD) $2.50
Raid 2 (2014) (MA/HD) $5.75
Raid: Redemption + Unrated (2012) (MA/HD) $5.75
Rambo Collection 1-5 (Vudu/HD) $12.50
Raya and the Last Dragon (2021) (MA/4K) $6.25 (MA/HD) $4.50 (GP/HD) $2.50
Ready or Not (2019) (MA/HD) $6.25
Red (2010) (Vudu/4K) $6.25
Red 2 (2013) (Vudu/4K) (iTunes/4K) $6.25 (iTunes/4K) (Vudu/HD) $1.50
Red Sparrow (2018) (MA/HD) $4.50
Replicas (2019) (Vudu/4K) $5.50
Requiem for a Dream - Director's Cut (2000) (Vudu/4K) (iTunes/4K) $6.25
Rescuers, The (1977) (MA/HD) $6.50
Resident Evil: The Final Chapter (2017) (MA/4K) $7.25 (MA/HD) $3.25
Resident Evil: Welcome to Raccoon City (2021) (MA/4K) $6.50 (MA/HD) $4.50
Revenant, The (2015) (MA/4K) $5.25 (iTunes/4K) (MA/HD) $3.25
Rhythm Section (2020) (iTunes/4K) (Vudu/HD) $4.25
Richard Jewell (2019) (MA/4K) $6.50
Riddick Collection 1-3 (Unrated) (MA/HD) $14
Ride Along 1-2 (MA/HD) (iTunes/HD) $5 $2.75 Each
Rings (2017) (Vudu/HD) $2.75 (iTunes/HD) $1.50
Rise of the Guardians (2012) (MA/HD) $3.25
Robin Hood (2010) (MA/4K) $6.25
Robin Hood (2018) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $3.25
RoboCop (2014) (Vudu/HD) $2
Rocketman (2019) (Vudu/4K) $4.75 (iTunes/4K) $2.50 (Vudu/HD) $2.25
Rocky Horror Picture Show (1975) (MA/HD) $5.25
Rogue (2020) (Vudu/4K) (iTunes/4K) $3.50
Roman J. Israel, Esq. (2017) (MA/HD) $3.50
Ron's Gone Wrong (2021) (MA/4K) $7 (MA/HD) $5.25 (GP/HD) $3.50
Rookie of the Year (1993) (MA/HD) $7.50
Room (2015) (Vudu/HD) $5
Rough Night (2017) (MA/HD) $4.25
Rumble (2022) (iTunes/4K) (Vudu/HD) $5.75
Run Lola Run (1998) (MA/HD) $6.50
Same Kind of Different as Me (2017) (Vudu/HD) (iTunes/HD) $2
Sandlot, The (1993) (iTunes/4K) (MA/HD) $5
Saturday Night Fever (1977) (Vudu/4K) (iTunes/4K) $6.25
Sausage Party (2016) (MA/HD) $4.75
Savages (2012) (iTunes/HD) Ports to MA $2.25
Saving Private Ryan (1998) (Vudu/4K) (iTunes/4K) $6.50
Saw (2004) (Vudu/4K) (iTunes/4K) $5.50
Saw Collection 1-7 (Vudu/HD) $10
Scarface (1983) (iTunes/4K) (MA/HD) $5.25
Scary Movie 3 (2003) (Vudu/HD) (iTunes/HD) $4
Scary Stories to Tell in the Dark (2019) (Vudu/4K) (iTunes/4K) $3
Schindler's List (1993) (MA/HD) $4.75
Scott Pilgrim vs. The World (2010) (MA/4K) (iTunes/4K) $5.75 (MA/HD) $5.25
Scouts Guide to the Zombie Apocalypse (2015) (Vudu/HD) $3.75 (iTunes/HD) $2.75
Scream (1996) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $3.75
Scream 5 (2022) (iTunes/4K) (Vudu/HD) $5.50
Scream Collection 1-3 (Vudu/HD) (iTunes/HD) $13.50
Secret Headquarters (2022) (Vudu/HD) (iTunes/4K) $6
Secret in Their Eyes (2015) (MA/HD) (iTunes/HD) $2.25
Secret Life of Pets 2 (2019) (MA/4K) $6.25 (MA/HD) $5
Selma (2015) (Vudu/HD) $3 (iTunes/HD) $2.25
Serenity (2005) (MA/HD) $3.50
Seriously Red (2022) (Vudu/HD) $6.75
Shack (2017) (Vudu/HD) (iTunes/HD) $1.50
Shallows, The (2016) (MA/4K) $6.75 (MA/HD $4
Shang-Chi (2021) (MA/4K) $6.25 (MA/HD) $4.75 (GP/HD) $3
Shape of Water (2017) (MA/HD) $3.25
Shaun of the Dead (2004), Hot Fuzz (2007), World's End (2013) (MA/HD) $10
Shawshank Redemption (1994) (MA/4K) $6
Shazam! Fury of the Gods (2023) (MA/4K) $10
Sherlock Gnomes (2018) (Vudu/HD) $2.75 (iTunes/4K) $2.25
She's the Man (2006) (Vudu/HD) (iTunes/HD) $3.25
Shutter Island (2010) (Vudu/4K) (iTunes/4K) $6.50
Sicario (2015) (Vudu/4K) $6 (Vudu/HD) $1.75 (iTunes/4K) $3
Sicario: Day of the Soldado (2018) (MA/4K) $7.75 (MA/HD) $3.75
Silent Night, Deadly Night: 3-Film Collection (1989-1991) (Vudu/HD) $6
Sin City (2005) (Vudu/HD) $5.75
Sing (2016) (iTunes/4K) (MA/HD) $2.75
Sing 2 (2021) (MA/4K) $6.50 (MA/HD) $3.50
Sing Collection 1-2 (MA/HD) $6
Singin' in the Rain (1952) (MA/4K) $6.50
Skyscraper (2018) (MA/4K) $5.25 (MA/HD) $1.75
Sleeping Beauty (1959) (MA/HD) $3.50 (GP/HD) $2.50
Slender Man (2018) (MA/HD) $5.25
Smile (2022) (Vudu/HD) (iTunes/4K) $6.75
Smokey and the Bandit (1977) (MA/4K) $6.50 (MA/HD) $3.75
Smokin' Aces (2007) (iTunes/4K) $5.75
Snow White and The Seven Dwarfs (1937) (MA/HD) $6 (GP/HD) $3.75
Snowden (2016) (MA/HD) $3.50 (iTunes/HD) $4
Snowman (2017) (MA/HD) $2.75
Sonic the Hedgehog (2020) (Vudu/4K) $6.25 (iTunes/4K) (Vudu/HD) $4.25
Sonic the Hedgehog 2 (2022) (Vudu/4K) $6.50 (iTunes/4K) (Vudu/HD) $4.50
Sorry to Bother You (2018) (MA/HD) $4.75
Soul (2020) (MA/4K) $6.25 (MA/HD) $3.75 (GP/HD) $2.25
Source Code (2011) (Vudu/4K) (iTunes/4K) $6
Space Jam (1996) (MA/4K) $5
Space Jam: A New Legacy (2021) (MA/4K) $5
Sparkle (2012) (MA/HD) $3.50 (MA/SD) $2.25
Speed (1994) (MA/4K) $5.25
Spider-Man (2002) (MA/4K) $6.50 (MA/HD) $5.50
Spider-Man 2 (2004) (MA/4K) $6.50 (MA/HD) $5.50
Spider-Man 3 (2007) (MA/4K) $6.50 (MA/HD) $5.50
Spider-Man Collection 1-8 (MA/HD) $26
Spider-Man: Far From Home (2019) (MA/4K) $8 (MA/HD) $4
Spider-Man: Homecoming (2017) (MA/4K) $8 (MA/HD) $1.75
Spider-Man: Into The Spider-Verse (2018) (MA/HD) $5.25
Spider-Man: No Way Home (2021) (MA/4K) $6.75 (MA/HD) $3.75
Spiral (Vudu/4K) (iTunes/4K) $5.50
Spirit Untamed: The Movie (2021) (MA/HD) $4.25
Split (2017) (MA/4K) $6.75 (iTunes/4K) (MA/HD) $2.75
SpongeBob Movie: Sponge Out of Water (2015) (Vudu/HD) $4.75 (iTunes/HD) $3.50
Spotlight (2015) (MA/HD) $5 (iTunes/HD) $3
Spy Who Dumped Me (2018) (iTunes/4K) (Vudu/HD) $4.25
Star Trek 1-3 (Vudu/4K) $18 (Vudu/HD) $9.50 (iTunes/4K) $13.50
Starship Troopers (1997) (MA/4K) $6.50
Stir of Echoes (1999) (Vudu/HD) $4.75
Straight Outta Compton (Unrated Director’s Cut) (2015) (MA/4K) $7.50 (MA/HD) (iTunes/HD) $2.50
Strange World (2022) (GP/HD) Ports to MA $4.25
Studio 666 (2022) (MA/HD) $6.75
Suburbicon (2017) (iTunes/4K) (Vudu/HD) $3.25
Suffragette (2015) (iTunes/HD) Ports to MA $3
Suicide Squad, The (2021) (MA/4K) $5
Sully (2016) (MA/4K) $6.50
Sum of All Fears, The (2002) (Vudu/4K) (iTunes/4K) $5.75
Super 8 (2011) (Vudu/4K) $5.75 (Vudu/HD) $3.25 (iTunes/4K) $5
Super Buddies (2013) (MA/HD) $5 (GP/HD) $3.50
Super Troopers 2 (2018) (MA/HD) $3
Survive the Night (2020) (Vudu/4K) $4 (iTunes/4K) (Vudu/HD) $3
SW: A New Hope (1977) (MA/4K) $7 (iTunes/4K) $6.25 (GP/HD) $3.50
SW: Empire Strikes Back (1980) (MA/4K) $7 (iTunes/4K) $6.50 (GP/HD) $3.50
SW: Force Awakens (2015) (MA/4K) $5.25 (iTunes/4K) $3.50 (GP/HD) $1
SW: Last Jedi (2017) (MA/4K) $5.75 (iTunes/4K) $3.75 (GP/HD) $1
SW: Phantom Menace (1999) (MA/4K) $7.50 (iTunes/4K) $6.50 (GP/HD) $3.50
SW: Return of the Jedi (1983) (MA/4K) $7.25 (iTunes/4K) $6.50 (GP/HD) $3.50
SW: Revenge of the Sith (2005) (MA/4K) $7.50 (GP/HD) $3.50
Taken Collection 1-3 (MA/HD) $9
Tangled (2010) (MA/4K) $8 (MA/HD) $5 (GP/HD) $3.75
Teen Titans Go! & DC Super Hero Girls: Mayhem in the Multiverse (2022) (MA/HD) $4.75
Teenage Mutant Ninja Turtles (2014) (iTunes/4K) (Vudu/HD) $3.25
Ten Commandments (1956) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $5.75
Terminator 2: Judgment Day (1991) (Vudu/4K) (iTunes/4K) $4.25
Terminator: Dark Fate (2019) (Vudu/4K) $6.50 (Vudu/HD) $3 (iTunes/4K) $2.50
Terms of Endearment (1983) (Vudu/HD) (iTunes/HD) $5
Think Like a Man (2012) & Two (2014) (MA/HD) $9
This Is The End (2013) (MA/HD) $5
Thor: Love and Thunder (2022) (MA/4K) $6.75 (MA/HD) $3.25 (GP/HD) $2
Thor: Ragnarok (2017) (iTunes/4K) (MA/HD) $3.50 (GP/HD) $1.75
Thor: The Dark World (2013) (MA/4K) $7 (iTunes/4K) $4.50 (GP/HD) $2.25
Three Billboards Outside Ebbing, Missouri (2017) (MA/HD) $3.50
Till (2022) (iTunes/4K) $6.50
To Kill a Mockingbird (1962) (MA/4K) $6.25 (iTunes/HD) $4.50
Top Five (2014) (Vudu/HD) $4.75 (iTunes/HD) $3.50
Top Gun (1986) (Vudu/4K) $5 (iTunes/4K) (Vudu/HD) $4.25
Top Gun: Maverick (2022) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $5.75
Total Recall (1990) (Vudu/4K) (iTunes/4K) $5.25
Tower Heist (2011) (iTunes/HD) Ports to MA $3.75
Toy Story 1-4 (MA/4K) $23 (iTunes/4K) $21 (GP/HD) $11.50
Training Day (2001) (MA/4K) $6.50
Transformers 1-5 (Vudu/4K) $30 (Vudu/HD) $23
Transformers: Last Knight (2017) (Vudu/4K) $4.75 (iTunes/4K) $2.25 (Vudu/HD) $2
Transporter, The (2002) (MA/HD) $6.25
Trolls Collection 1-2 (MA/HD) $6
Trolls World Tour (MA/HD) $5.50
Turbo (2013) (MA/HD) $2.25 (iTunes/SD) $1.25
Turning Red (2022) (MA/4K) $6.25 (MA/HD) $4 (GP/HD) $2.75
Umma (2022) (MA/HD) $4.75
Unbearable Weight of Massive Talent (2022) (Vudu/4K) (iTunes/4K) $6.75
Unbreakable (2000) (MA/4K) $6 (GP/HD) $3.75
Uncharted (2022) (MA/4K) $5.50 (MA/HD) $3.25
Uncle Drew (2018) (Vudu/4K) $6.25 (Vudu/HD) (iTunes/HD) $3
Uncut Gems (2019) (Vudu/HD) $4.25
Underworld: Awakening (2012) (MA/HD) $1.75
Underworld: Blood Wars (2016) (MA/4K) $5.75 (MA/HD) $2.25
Unforgiven (1992) (MA/4K) $6.50
Untouchables, The (1987) (Vudu/4K) (iTunes/4K) $6
Us (2019) (MA/4K) $6.75 (MA/HD) $5.25
Van Helsing (2004) (MA/4K) $6 (iTunes/4K) (MA/HD) $4.75
Venom (2005) (Vudu/HD) (iTunes/HD) $4.50
Venom (2018) (MA/4K) $6.75 (MA/HD) $3.25
Venom: Let There Be Carnage (2021) (MA/4K) $7 (MA/HD) $3.50
Vertigo (1958) (MA/HD) $4.75
Vice (2018) 'Christian Bale' (MA/HD) $4.25
Victor Frankenstein (2015) (MA/HD) $5.75
Vivo (2021) (MA/HD) $4
Vow, The (2012) (MA/HD) $3.50
Voyagers (2021) (Vudu/4K) (iTunes/4K) $6.50
Walk, The (2015) (MA/HD) $4.75
Walking Dead: Season 11 (2021) (Vudu/HD) $6
Walking with Dinosaurs (2013) (MA/HD) (iTunes/HD) $2.50
Wallace & Gromit in the Curse of the Were-Rabbit (2005) (MA/HD) $6.75
Wanted (2008) (iTunes/HD) Ports to MA $6
War Dogs (2016) (MA/4K) $6.50
War for the Planet of the Apes (2017) (iTunes/4K) (MA/HD) $3
War of the Worlds (1953) (Vudu/4K) (iTunes/4K) $6.75
Warcraft (2016) (MA/4K) $5 (iTunes/4K) (MA/HD) $2.25
Warm Bodies (2013) (iTunes/4K) (Vudu/HD) $2
Warrior (2011) (Vudu/4K) (iTunes/HD) $4
Waterworld (1995) (MA/4K) $6.75 (MA/HD) $6
Wayne's World (1992) (Vudu/4K) (iTunes/4K) $6.25
Welcome to Marwen (2018) (MA/4K) $4
West Side Story (2021) (MA/4K) $5.75 (MA/HD) (GP/HD) $2.50
When the Bough Breaks (2016) (MA/HD) $4.50
Where the Crawdads Sing (2022) (MA/HD) $4.50
Where'd You Go Bernadette (2019) (MA/HD) $5.50
Whiskey Tango Foxtrot (2016) (Vudu/HD) $2.75 (iTunes/HD) $2
White Boy Rick (2018) (MA/HD) $5.25
Whitney Houston: I Wanna Dance With Somebody (2022) (MA/HD) $5.75
Why Him? (2016) (iTunes/4K) (MA/HD) $2
Widows (2018) (MA/4K) $6.50 (MA/HD) $1.75
Wild Card (2015) (Vudu/HD) $4
Willow (1988) (MA/HD) $6.75
Willy Wonka and the Chocolate Factory (1971) (MA/4K) $5.25
Wizard of Lies (2017) (Vudu/HD) $5 (iTunes/HD) $4.25 (GP/HD) $3
Wolf Man (1941) (MA/4K) $6.50
Wolf of Wall Street (2013) (Vudu/4K) $6 (iTunes/4K) (Vudu/HD) $3.50
Woman in Gold (2015) (Vudu/HD) $2.75
Woman King (2022) (MA/4K) $6.50 (MA/HD) $5.50
Wonder (2017) (Vudu/4K) $5.75 (iTunes/4K) (Vudu/HD) $3
Wonder Park (2019) (Vudu/HD) $3 (iTunes/4K) $2.25
Wonder Woman 1984 (2020) (MA/4K) $5
Woodlawn (2015) (MA/HD) (iTunes/HD) $3.75
Wraith, The (1986) (Vudu/HD) $5
X (2022) (Vudu/HD) $6.75
X-Men (2000), X2 (2003), X-Men: The Last Stand (2006) (MA/HD) $15
X-Men Origins: Wolverine (2009) (MA/HD) $7
X-Men: Dark Phoenix (2019) (MA/HD) $6
X-Men: Days of Future Past (2004) (iTunes/4K) (MA/HD) $2.50 Rogue Cut (MA/HD) $5
X-Men: First Class (2010), Days of Future Past (2004), Apocalypse (2014) (MA/HD) $11
Zootopia (2016) (MA/4K) $7.25 (iTunes/4K) $5 (MA/HD) $4.50 (GP/HD) $3.25

I (20F) have known my friend Emi (22F) for 11 years since we were in school together. We’ve grown up together and literally been through so much and almost everything. Now we’re almost ending college/university and getting ready to start our post college lives and have a good career.
The only issue I had with Emi before was she wasn’t very consistent with things or punctual. She would flake often when she initiated plans or I did, as in she wouldn’t respond back and I see her on social media the next day.
I almost went no contact with her one time after we made plans to go to a park, I bought a park ticket and she bought her own. We live in Florida so just know Universal/Disney tickets can be expensive. We made plans, and the night before I call her she declines, texts what’s up. I ask what the plan tomorrow is she says the day of said plans she is going to brunch with her boyfriend… no apology or anything.
I’m not one to cut off a decade long friendship over one incident, so I let it go this time. I almost went no contact until she saw me in person and asked why I didn’t answer her texts or calls, and I went back on my no contact.
Then I got engaged to my now fiancé back in January on our 3rd anniversary. I had an engagement party and invited Emi, another friend, and family, and she just never responded to my text and never came. I wasn’t surprised, but I was also disappointed because I thought we had a heart felt talk.
That drew the line for me because we always talked about being each others maid of honors, and being life long friends til even our kids knew each other. Also I’m aware that she’s told me I’m her only friend since leaving high school and she’s kind of my most closest friend. I valued our friendship so much, but when something starts to hurt you I feel you have to let it go.
She used to reach out to me to spend time every once in a while, when things got bad at home with her parents or her boyfriend wasn’t treating her nice. Sometimes I do think about our good memories. I cherished the good parts of our friendship and growing up together. I feel maybe she’s outgrown me. But she still tries to reach out to me. I’m not sure what to say after everything that’s happened.
TLDR: Dropped my long time childhood friend due to her personal issue with punctuality, flakiness, and disrespect. Need advice if I made the right decision or not.

I (17M) and my crush were friends since we were grade 7 to grade 9. We talked every day, chatted with each other every day, gave gifts every Christmas, sent each other long messages during our birthdays, etc.
She became distant from me when I started being too romantic when we finished grade 8, I always write her poems and say 'I love you' to her, she said I just treat her differently. And then things escalated and she completely rejected me.
Now I still love her (I am an upcoming grade 12 student). Been so lonely, considering that I am not chatting with any woman. Then I started making fake scenarios of us (going to the park to feed the ducks, marrying each other, having kids, taking our kids to school, having a laugh, anything romantic, cute, and sweet basically.)
I am really concerned about my uncontrolled habit of making fake, romantic scenarios with her. I want to move on, I already did everything I can to move on, I unfollowed her on Instagram, I go to the gym 5 times a week, make my own money (crypto/stock trading), read stoicism books, etc.
It just created too many unrealistic expectations and an inauthentic connection you know? I really want to find another woman, I do not want her.