Faerie Tales
I am in full Fate/Grand Order mode right now and it's paying off nicely. I think. It's an odd thing to juggle three mobile titles (FGO, Azur Lane, and Ever Crisis), Baldur's gate 3, Persona 3 Reload, and my millionth run at Mass Effect Legendary. I got too many games on my plate right now. I feel like i should pull back on something but, at the same time, nah? Like, P3R is my sh*t and i am absolutely in love with BG3. I dunno, maybe I'll reassess eventually but my crippling gaming addiction has only a nebulous effect on my choice to continue grinding through the admittedly frustrating and horrifically pay-walled world of the Grand Orders. I do it because i shill hard for Nasu and have for actual decades. Plus, some of the stories are really cool. F*cking Avalon le Fae was peak Type Moon and i cannot wait until the Dragon Slayer money runs out so they have UFOtable animate that sh*t. Interestingly enough, the Faeries are kind of why I'm even writing this update.
Yo, i popped Barghest! Tam Lin Gawain is easily my favorite of the Faerie Knights. I mean, Melusine is but Barghest is definitely right there with her. Of the newer Servants released since i lost my first account, She ranks right up there in the top ten. Actually, i think she was number nine. Albion was number one, but making it into that top ten is a feat in of itself. Dozens of dope ass servants were added in my years long hiatus and the Black Dog made it to the top of the top. It just kind of blows she's a Saber. I'm lousy with Sabers. A good portion of my Five-Stars are Sabers. Like, i already have Mordred, she will NEVER leave my party, and Artoria. They are powerhouses in their own right but i also have Okita and Altera as back up. That's four Five-Star Sabers. Where the f*ck does my Hellhound even fit? Still, i am mad hype to pop her off the Artoria Caster Banner, because i did it with some bullsh*t Summon Tickets! Pretty sure i got Artoria doing that, too, but that's not why I'm happy.
You see, that Caster Banner is part of the Twenty Million Downloads campaign. Also [art of that, are two special summon tickets, one for a Four-Star Craft Essence and the other for a Four-Star Servant. I was going to use that ticket on Barghest, even though i already have a ton of Sabers. That's how much i like the character. Popping her off that banner allows me to choose a different Servant now, one that i actually need. I have one Avenger and it's Hessian Lobo. That guy sucks. I mean, it's fine, but it ain't Demon Nobu. However, there is another Four-Star Avenger who i had on my old account. An Avenger that happens to be a Medusaface, and we all know how much of a sucker i am for Medusa. Not only did i get a Barghest on one of the most improbable ways possible, but i was able to outright choose Gorgon! I was able to secure a much need Avenger option AND the Black Dog I've wanted since Avalon was released! Honestly, I wish I had one more of those free tickets. I'm set on Gorgon, for sure, but Lancer Artoria Alter is an option, too, and she's kind of my favorite Artoria. There's just something about an Alter which really does it for me.
I'm actually really very pleased with this account right now. Sucks I'm still missing a ton of Servants that i want, but progress is being made. I mentioned in my last update i was able to finally acquire Anastasia but, since then, I've also added Ivan the Terrible, Anne Bonny and Marie Reed, Assassin Okita, and Lakshmibai. These are all solid additions, even though they aren't necessarily Servants i would personally choose for myself. I mean, Ivan is, that gigantic motherf*cker is a powerhouse, but considering i don't run at FGO Banners like i do Azur Lane ones, the fact that i have any Five-Stars is kind of a blessing. Obviously, my Mordred is coming along nicely. I've been able to both unlock and max out her second Append Skill, while grinding away at the monumental task of getting that eleventh Bond Level. Right now, that's the current quest. Oh, somehow, i was able to naturally roll a second Mordred so she's got a level two Noble Phantasm now. Just three to go! I'm just chipping away, man. Slowly but surely, I'll have my max Mordred.
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Riding the Eye of the Storm
I am an unapologetic shill for Transformers, specifically Generation One. It was a pillar of my childhood. Iâve spoken about this at length because, like Spider-Man and Godzilla, this franchise shaped my taste in media for years to come. It was my love for transforming robots which lead me to Voltron, which spring boarded me to Robotech, that caused me to stumble down the cyberpunk rabbit hole and come to rest at the foot of Evangelion. Without Transformers, I wouldnât have given Voltron a second look and probably missed out on my all-time favorite anime. Obviously, thatâs hyperbole, kind of. I would have found EVA eventually, especially how saturated that franchise has become, but I would like to think my openness to it stemmed from my love for Optimus and his rag-tag bunch of freedom fighters. Iâve defended my little long form toy commercial for years, knowing that, as an Eighties product to move re-branded Diaclone and Micro Man content here in the States, there was no lore or cohesive story content to be had. I mean, there was, broad strokes of a eons long war, dead planets, Unicron, and whatever else, but not enough to really sink your teeth into. This was a kids show. No one needs character development or world building. Kids are dumb and wonât appreciate any of that. And then BtaS happened and all that sh*t changed. Transformers saw the value of narrative and gave us Beast Wars. From that point on, story and character finally took precedence. Every US developed Transformers show going forward, made it a point to build a lore around their core characters and, for a time, it was glorious. Animated and Prime gave us something really special. The War for Cybertron, with all of their faults, really put in the effort to build out that world. Even Cyberverse and Earthspark are out here, shining way more bright than they have any right to be. Hasbro has finally given proper due to the Transformers on the small screen and I am living for it. That said, theatrically? Theatrically, itâs been rough.
I hate Bayformers. Hate. Viscerally. Michael Bay is a terrible director. Heâs great at action set pieces and has a brilliant eye for visual effects, but the man has no idea how to develop a character to save his life. He makes movies from the effects out. The spectacle is the point of his films, not the narrative content. So, for me, as a fan of this franchise for almost four goddamn decades, it was rough seeing the stark decline from the first to the last. Letâs be real right now, the Marky Mark Bayformers films are absolute nonsense. One of them didnât even have the f*cking Decepticons transform, just explode into amorphous squares and sh*t. Bro, how you have a Transformers film without and transforming? Plus, they replaced the only actual character with an arc in the entire franchise, because Spielberg was offended she likened working for Mike Bay to serving under Hitler. Yo, if you knew how Megan Fox was treated on those sets, youâd know exactly why she said what she said. Ma got stories of the sexist bullsh*t she had to suffer through, going back to Bad Boys 2, when she was an extra on set at sixteen years old. The f*ck? And the way they wrote her out is just lazy. That chick Carly in the third? That was Mikaela, all day. Legitimately thatâs the resolution to HER arc. After Fox got released in the off-season, Bay and his braintrust of writers just did a search-and-replace for anything that said Mikaela with Carly, and printed ârevisedâ scripts. Lazy. Just f*cking lazy. I hate the Bayformers films so much, especially because they started with so much potential.
After The Last Knight deservedly flopped (Knights? In my Transformers movie? Really?), we got Bumblebee, which was basically the Iron Giant with our adorable, slug bug, mascot. And it was good. Travis Knight got a shot at this one and you can tell he wanted to do right by G1 and he did. I loved Bumblebee. Obviously, it wasnât perfect. The aforementioned Iron Giant narrative is a thing but is that terrible? I loved the Iron Giant. It was dope. If youâre going to crib notes from something, make it a proven narrative, right? Avatar stole itâs entire goddamn identity from Dances with Wolves. Skyfall, my favorite Bond film, is just The Dark Knight. I can forgive Bumblebee basically lifting its entire vibe from The Iron Giant, especially with those opening scene on Cybertron. Believe me when I tell you, seeing my G1 inspired designs, mixed with the photo realism of that Bayformers aesthetic, I shrieked aloud. That one scene, was everything I wanted in my Transformers film. That was more than enough to satiate my very bias, very nostalgic, Millennial heart. I saw that sh*t three times in theaters and loved every second. I thought Bumblebee was a strong step forward in the right direction. That is until Rise of the Beasts dropped. Believe me when I say, RotB, was such a letdown after the high of Bumblebee. That sh*t was basically just a Bayformers entry without the goddamn Bayhem. The Bayhem is the point! You canât make Bayformers with the Bayhem. Trying to imitate that sh*t halfheartedly, especially trying your best to bring in the Beast Wars fans and not alienate the goodwill you garnered from the excellent Bumblebee, was a goddamn mistake. I hate Bayformers because itâs a loud, disjointed, mess of admittedly beautiful visuals. The stories sucked, the Transformers designs are the worst in the franchise, and there story is so f*cking convoluted, it makes X-Men comics look like Emerson, but I was never bored watching them. Rise of the Beasts is boring. It takes the worst aspects of Bayformers and Bumblebee, mashes them together, and sh*ts out a very corpo curated product, with an eye toward a future cinematic universe. You canât do that. You have to make sure your first entry is strong enough to stand on its own. Thatâs how the MCU did it. Thatâs how the Monsterverse did. Thatâs how itâs done. Which brings me to the point of this essay, Transformers One looks like that entry point.
When I heard we were getting an origin story for Transformers, roughly following the IDW and Prime origin of the Megs-Prime conflict, I was hesitant. That story is so good, and has been told excellently several times, but never in the theater, never in âseriousâ media. Then the cast was announced. Chris Hemsworth as Orion Pax? Bryan Tyree Hill as pre-despot Megatron? Word? The only one that made any sense to me was Scarlett Johansson as Elite-1 because of course. I figured Hasbro f*ckded up again but then something happened. I saw the character designs. They reminded me of that first five minutes from Bumblebee. Then a trailer dropped. It WAS the first five minutes of Bumblebee, mixed with a little bit of Beast Machines, and a whole lot of Transformers Prime. There was humor. There was levity. There was pathos and characterization. You can tell there is strong chemistry within the cast, something that wasnât necessarily a thing in Bayformers, RotB, but was definitely there in Bumblebee. There was color, life, enthusiasm, and genuine warmth. That short three minutes, sold me immediately on this film and I need so much more. It felt authentic to Transforms, an extension of the very best the franchise has to offer, and really hammered home how this theatrical franchise should have been full CG from the very beginning. I mean, the theatrical continuity for Transformers is an absolute mess now, but this origin film has the potential to clean that up. As long as itâs good. So far, I am loving what Iâve seen. So far, I have hope. Itâs weird to say, but I have optimism for a good theatrical Transformers film again.
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Risky Business
Buckle up, because this is going to be a long one. In my boundless dead time at my job because I am way too efficient at what I do, I came across an article about how Hollywood just doesnât understand the popularity of anime and manga. Putting that sentiment through the capitalist filter of corporate Hollywood, it basically translates to US executives do not understand how to monetize the fervor anime has across the younger generations. For me, as a fan of the genre going on three and a half decades, itâs a no-brainer for me. Of course the Old Guard canât wrap their heads around anime, they think itâs for âkidsâ because they see us, the Millennials and younger, as kids. Bro, Iâm forty this year. I have friends with whole ass teenage children. We are not âkidsâ, just very nostalgia driven and the Zoomers are just now entering âreal adult age.â Iâm talking graduating from college, entering the workforce, and renting cars without a co-signer. We are not children. We are adults who are shaping, and have been shaping, pop culture for decades. Considering we, as Millennials, have raised our younger Zoomer siblings (or children in some cases), they grew up with anime and video games as a household mainstay, not some niche, geek, fetish to be enjoyed in the dark. Now ask yourself, how many mid-Forties movie executives are there in the industry? Now ask yourself how man mid-Sixties Execs there are? Thatâs your answer. Try selling the allure of, say, a proper, live action, Dragon Ball Z adaption to Bob Iger and heâll scoff at the budget necessities. Thereâs no way something like Reincarnated as a Slime get made here, let alone the likes of the immediately controversial EVA with all of the biblical imagery. Thereâs no way you can adapt the vast amount of anime based strictly on the fact that the US was founded by closed minded prudes, and that sentimentality has carried over into present day Middle America.
My beef with Conservatism has long been documented on this blog. I donât understand why so many people in this country, look back with rose colored glasses on an America that was staunched in hate and cruelty. I mean, I do, theyâre white, but still. Itâs insane to think that, in this, the year of our lord, two thousand and twenty-four, that cats still get their dander in a froth over something as ridiculous as being a Furry, even though bugs bunny in a dress was a sexual trigger for just SO many of these Boomers growing up. Sh*t like that speaks volumes toward the repressed mentality of people in that age range, the people basically in charge of everything. They are set in their ways and refuse to accept anything new. I see a microcosm of that with my mom. I try to introduce her to anime I believe has merit and she just scoffs at it. Ghost in the Shell, Akira, Howlâs Moving Castle (even though I donât like Ghibli films), and even Vampire Hunter D. She hated all of them. Refused to engage because they are cartoons. And that, right there, is the crux of the issue, I think: Boomers donât see the difference between Mickey Mouse and Goku, itâs all just cartoons. On the surface level. For those who actually give anime a chance, theyâre greeted with some of the most aggressively offensive content, to their very narrow, counter-culture, Reaganomics influenced, Televangelist inspired, senses.
My favorite anime is Neon Genesis Evangelion. My favorite anime character is Rei Ayanami. Or Vegeta. Theyâre basically one-A and one-B for me at this point but, for the sake of this essay, Iâm going Rei I. EVA is brilliant. Itâs extremely well written, has fantastic world building, is f*cking GORGEOUS to look at, and deals with some pretty heavy sh*t. Iâm talking borderline blasphemous, alternate biblical sh*t. How do you sell a fourteen year old, piloting a cyborg mech with the soul of his dead mom trapped inside it, punching through the Sefirot, in order to trigger the end of humanity so everyone can return to primordial goo, so his widowed father can reunite with said trapped mommy soul in eternal oblivion? How do you market that to a devoutly Mormon trad wife from Idaho or that stereotypical, god-fearing, coal mining husband from West Virginia? Thereâs no way, and thatâs not counting the overtly homosexual (I guess?) Kowru or the hyper sexualized relationship between Shinji and Asuka, or the wildly inappropriate situationship between Gendo and Rei. This sh*t will not fly with US audiences., which brings me to the main reason why anime adaptions fail here: Americanization. The bane of any foreign adaption. Hollywood has this incessant need to change sh*t when adapting anything, which is fine to an extent, but when you butcher the spirit of the source material chasing after US sensibilities, why even adapt the sh*t? To this day, my mom thinks the original Godzilla is dog sh*t but thatâs because she saw the version re-cut with Perry Mason. I showed her the original and, while she admitted it was much better than the one she saw as a kid, the damage was done. Tokusatsu was just goofy ass Japanese people., stomping on miniatures with fireworks popping off in the background. Godzilla came out in 1954. The Americanization of Japanese cinema has been poisoning entire audiences for at least that long. Guess who grew up watching those terrible f*cking adaptions? Guess who has a built-in bias because everything they saw coming out of Japan, was treated like goofy, campy, unserious, childrenâs fair? Guess whoâs making the business decisions in adapting this sh*t going forward?
Ultimately, Hollywood canât make anime adaptions because donât understand anime. They donât see the value in the source material outside the superficiality of the admittedly beautifully animated genre. No major studio is going to commit legitimate resources to any anime adaption because of the risk involved. In their minds. Look at Battle Angel Alita. That film was rather successful and stayed true to the overall source material. As an anime adaption, itâs one of the best. However, since it didnât make a billion f*cking dollars, the studio has refused to revisit it at all. Theyâve chocked that âfailureâ up to not connecting with audiences. No, it failed because you didnât market it the way you should have. You didnât believe in the franchise potential and basically just dropped the thing into the theater. Even so, Alita: Battle Angel made a profit and has garners a strong cult following which hasnât stopped their calls for a sequel to this day. On the other end, you have the disastrous ScarJo Ghost in the Shell. There are a myriad of reasons why this thing sucks but it basically boils down to how lazy the adaption turned out. The original anime film is a staple of cyberpunk existentialism. None of that heady, deep, and challenging content is found in the remake. Itâs just generic sci-fi identity thriller but pretty that usual. No substance, all flash. Now, thatâs not to say there arenât fantastic adaptions out there. Netflix has done a brilliant job, by comparison, in turning anime into live action. The Yu Yu Hakusho joint was decent. It felt culturally appropriate and didnât squander the time they had with the characters. It was definitely on the cheaper side but that was Yu Yu, all day. I think the biggest issue people had was comparing it to the absolutely perfect One Piece outing which released just a few months earlier. That show, that take, was perfect. F*cking everything, down to the last, minute, detail. Brilliance, through and through. But it also cost Netflix a pretty penny. They took on the risk and reaped the well-deserved rewards.
But, as much as they would like to be, Netflix ainât Disney or WB Discovery or Paramount or any of the major studios. All three of them. They donât have the cash to drop on a sweeping fantasy adaption of Berserk or high adrenaline, hyper stylized, run at Eyeshield 21. Do you see Disney putting in the necessary resources to make a strong adaption of One-Punch Man? How about Paramount letting Secret Base take a shot at something like Gundam? Wait, I think Netflix has itâs mitts on that already. Alright, weâll go Macross instead. Imagine if someone gave Tim Burton enough loot to adapt f*cking Big O! How dope would that be? But itâll never happen. Even though Pacific Rim did gangbusters and the Monsterverse proves thereâs an audience for Mecha/Kaiju content, no one is going to drop the sheckles to make that stuff happen. Too much loot, too much risk, not enough appreciation for the source material. It sucks because there are so many US audience friendly franchises out there which are good, can be made on the cheap, and potentially thrive here. I already mentioned One-Pinch, but f*cking Slam Dunk is right there. Overlord can definitely scratch the current DnD itch Baldur's Gate 3 has set ablaze across the nation. Chobits is another one and I think City Hunter can do well here for adults. Appleseed is right there and, if you want to go niche but full of potential, AD police and Bubblegum Crisis. The Castlevania show all but paved the way for Vampire Hunter D to get the live action treatment. There are so many franchises out there ready for adaption, ready for the gamble, almost all of which will pay off. It just takes someone in the big chair to seriously believe in that content. Someone with the foresight to commit the necessary resources to really give these adaptions justice. Believe in what is there and respect the content. Follow those rules, and you will unlock a cash cow of brand new, monetizable, media to exploit. But stay away from Akira. That sh*t is a masterpiece and doesnât need any grubby American Corpo fingers anywhere near it!
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Gecko
I live in California where our governor decided to hike the minimum wage for fast food workers from the statewide sixteen dollars an hour, to twenty. There are stipulations which need to be met, of course, the biggest of which is a chain would need more than sixty locations nationwide to qualify for this hike. That means, for the most part, only the nigger restaurants were hit with this increase. Iâ[m talking your McDonalds and your Jack in the Boxes, joints like that. Applebees and Dennys got a past because they arenât considered fast foot, even though they are all supplied by a Sysco truck. Now, Iâm not here to condemn California for making this move. To be perfectly honest, I think it doesnât go far enough. This wage increase is only for a specific section of the overall workforce. Most people still make the sixteen an hour wage. I think that twenty should be available to everyone, not just burger-flippers but, at the same time, itâs not their fault that legislation has been hobbled politically for almost a decade. My personal beef aside, Iâve been seeing a TON of vitriol for these workers finally getting enough money in their check to pay bills AND buy groceries in the same pay period, because forty of their chicken nuggies cost twenty-six dollars. That sh*t boggles my mind, man.
Seriously, youâre mad these legitimate food service workers are making a decent wage, just because youâre fetid baboon butt cheek burgers are costing more than you want? Someone showed me a price grab of a McDonaldâs Big Mac meal costing something like eighteen dollars and the outrage was palpable. Youâre telling me the value of that food you want isnât worth eighteen dollars, and youâre right. That sh*t is trash in every way possible. The aforementioned chicken nuggets arenât even made of real meat. Theyâre made from chicken slurry, which is exactly what that sh*t sounds like. No fast food is worth the money you pay for it, and you should absolutely feel some kind of way about it, but that ire is misdirected at the sixteen year old trying to save money for prom, that twenty-two year old working their way through college, or that single mother just trying to make ends meet. You should be mad at the major corporations passing on that way overdue pay increase to you, when their CEOs are making millions a year. I mean, there is a certain societal stigma when it comes to fast food worker, I literally just referred to them as burger flippers, which sees that profession as less than.
We have been conditioned to believe that these fry cooked donât deserve money to live, because they work a fryer and not a backhoe. Iâve worked at a McDonalds before. I know what goes into that sh*t. I lasted a day. Too much work, too little pay. I, personally, feel like they still donât make enough with how many hats those cats have to wear, but this new wage is a strong step in the right direction. Those cats, the people on the ground serving you, more than earn that twenty an hour and then some. You know who doesnât deserve their salaries? Corporate. Corporate doesnât deserve that loot and theyâre the reason your QPC is forty-three dollar, not that twenty an hour California is forcing them to pay their workers. McDonaldâs made fourteen and half, BILLION dollars last year. Their CEO made nineteen million last year, alone, and eight percent increase year-over-year. At twenty dollars and hour, that roughly translates thirty eight thousand a year. Letâs say that CEO takes half that nineteen, which is still nine million and change in his pocket, and divide that by said newly minted minimum wage and you get three thousand, four hundred and twenty. Let me throw those numeric in there so I can be very clear, thatâs 3,420 people HALF the McDonaldsâ CEO can fund for a year. Half of that manâs paycheck, could pay the full yearsâ worth of wages, for 3,420 of his employees. And thatâs just the CEO. Thatâs not the CFO, the COO, or any of the upper executives who are probably making six figures themselves. The reason your Filet-o-Fish is so goddamn expensive, is corporate greed and I can prove it. In-n-Out exists.
Iâve been seeing so many of these articles and sh*t on Right wing sites (the MSN at my job seems to think that Iâm some sort of MAGA cultists but whatever), and theyâre claiming the In-n-Out CEO is âstanding upâ to the draconian Gavin Newsom over his egregious, anti-business, wage increase. And, just on a personal note, f*ck yes we should be anti-business! Being anti-business is why monopolies and child labor are âillegalâ, the f*ck? Anyway, the thing is, In-n-Out has always been ahead of the curve in regards to their employee pay. Way back when I worked for McDonaldâs in the early Aughts, I was making the freshly minted sever and a quarter an hour. Animal Style was giving their guys two dollars more than what I was making back then. Right after the pandemic, there was one close to me shelling out nineteen an hour. They were paying that post-pandemic, when inflation was starting to ramp up crazy (Thanks. Trump), so I know for a fact why werenât too far off the twenty. And guess how much they increased their menu? A quarter. Twenty-five f*cking cents. Your Double-Double is a whole ass quarter more than it was in March, and that kid pounding out fresh fries in that wall mounted Veg-o-Matic, made from real potatoes, sourced right here in the good olâ US of A, can make a substantial wage to maybe impress his crush with a little movie date, followed by put-put, with a enough left over for some ice cream. All on a menu increase of actual chump change.
How is that possible, you might ask? The likes of McDonalds, by far the largest fat food conglomerate in the world with billions served. And billions made, canât do it, but lowly, California based In-n-Out can while serving actual beef and potatoes in their burgers, can? Itâs because In-n-Out is privately owned company. It helps, tremendously, that their CEO is only forty-one, my age, and took the big chair at twenty-seven after literally working her way up through the company. Ma is the legit In-n-Out heiress but made the decision to work on the ground to better understand what her workers were going through. That experience informs her decisions and, fifteen years later, sheâs able to pay her workers fairly while treating the customerâs pockets with just as much care. There are no shareholders to appease, no buybacks for and stock packages for executives. Sure, she makes millions, but itâs organic in a way that McDs, and a lot of these other places, donât. I cannot, for the life of me, find anything on what she makes, but most of her top executives only make in the mid hundred thousand. A comfortable six figures, not seven or right. SO I ask you, if In-n-Out can keep their workers happy, rein in executive pay bloat, and still pull in nearly two billion last year, all in California, why the f*ck canât anyone else do it? In-n-Out is the blueprint. The only difference is the fact that those Corpos are greedy and there isnât a check to balance them. Just ;like the In-n-Out thing, I got receipts to prove that sh*t.
You see, in Europe, where unions are strong and Labor has proper representation, workers are supported and the wage reflects that. They have contracts which put stipulations in on where, how long, and what age employees can work. There are night shift differential and increased pay for weekends. There is still traditional overtime but most companies try to avoid that as it taxes pockets hard. As it should. They are able to do all of this, while charging prices comparable to what we pay stateside, and no one complains. No one is standing against the work force, demanding cheaper prices for food that legally has to meet a certain nutritional standard that just doesnât exists here in the States. Places like McDs are basically just like In-n-Out in terms of overall food quality, because the EU makes them be. Thatâs because there is regulation over yonder. There are unions. There is basically a workerâs bill of right and all corporations must follow them or they face consequences. Just ask Elon about that when he tried to export Sweden over a Tesla plant. Sh*t did not go the way he wanted and no one cared. In fact, the neighboring countries refused to receive the material to build his cars, in their ports, out of solidarity. And their Big Macs are, like, nineteen dollars apiece. They also have universal healthcare, universal day care, can take a month of paid vacation, and drink from the holy grail whenever they feel like it. That last bit is an exaggeration but the other stuff isnât. Itâs wild seeing so many people here, across the country, licking the f*ck out of that corporate boot, advocating for a system that is telling you they do not want you to have enough money to live, that if they must pay that wage, theyâll get it back by charging you a premium for food it costs them pennies on the dollar to provide. Donât be mad at the worker for finally getting their due, be made at the corporation for making you pay for it.
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Sydney Sweeney
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Mordred
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Rose Leslie
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B.B.
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Ella Purnell
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Xuangzang
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