Posts by brightpilot6

How on earth can you possibly find it easier to catch or throw something if it isn't perfectly spherical? 🤣

I suppose if you were all just tossing things at each other from three feet away like you're playing catch with potatoes, it wouldn't really matter, but still 🤣

Robin Fox2 said:See, I can't quite agree with you there; a friend used to bring that ball to our high school all the time, long before you even started asking 😁 we used to mess around with it during lunch breaks or after school, and it was surprisingly easy to throw and catch, much easier than any standard football (which makes sense given the shape and design), and even while moving, it wasn't an issue...

We weren't exactly sprinting fifty yards or dodging tackling drills from guys trying to flatten us, but the ball itself is unexpectedly easy to handle—not that we were pros, but we could hit our marks quite nicely, even the first time we ever picked one up...😁

Maybe it would just make things a little easier to toss around and catch? 🤦

Unless you were catching that thing as a wide receiver, I'd imagine it would have been a much easier grab given its shape, wouldn't it? ☕

By the way, I’m currently on a long break, staying active and keeping things moving once school is finally out for the summer. 🤣

Walter Grant5 said:What’s a chicken supposed to mean? 🤣

What kind of emoji is 🤣

Everything. It’s just one of those emoticons where you can project whatever specific meaning you happen to be looking for onto it, isn't it?

Walter Grant5 said:Beauty doesn't exist, guys. It’s just chasing some weird fetish you developed when you were a kid. Or maybe you picked it up later. Sometimes it's just whatever the current trend says is hot. Look at how "perfect" models used to look versus how they look now. Just different flavors of the same nonsense.

anyway, what's up

🐔

Matthew Anderson4 said:Chess is beautiful. Football isn't. I think everyone finds beauty where they want to find it. You can't force it.

You can't really describe the specific beauty of a thing. Beauty is a feeling. You can talk about the feeling itself, or the skill used to create the object, but skill isn't beauty. Beauty lives in the space between me and the thing. Same goes for my dreams. My dream doesn't mean anything to you, just like catching an egg isn't beautiful to me.

That's a strange claim to make if I know you actually enjoy soccer, but fair enough.

I struggle to see where the massive aesthetic gap—in terms of pure human skill—really lies between Messi weaving through defenders and a running back cutting through a line. At their core, aren't they essentially the same display of talent? One requires dribbling a ball through legs while navigating defenders who have certain rules they have to follow, whereas the other involves clutching a ball in your hands while trying to avoid 250-pound monsters who are legally allowed to flatten you into the turf.

Or consider the difference between one of Iniesta's delicate passes and a quarterback, under heavy pressure from a swarm of giants, launching a ball forty or fifty yards downfield toward a target sprinting at nine meters per second, knowing that being off by even half a yard usually means failure.

It isn't as if we're trying to compare soccer to weightlifting.

Amanda Evans2 said:http://espn.go.com/video/clip?id=11946184&ex_cid=espnfb

I mean, I could probably dribble from one end of the field to the other with perfect technique and slot the ball home during a practice session too.

It isn't as if anyone is actually claiming that making the save is an impossibility; rather, they are just suggesting that it would be quite a beautiful thing to see.

Matthew Anderson4 said:I wouldn't even try to explain what Ronaldinho did, because that kills the magic ☕ if you saw it, you saw it. And honestly, I don't think people will see the beauty in this catch either, because according to some imaginary scale, football isn't even a "beautiful" sport where you can pull off anything spectacular. Which is why they treat this catch like it's some massive, life-changing moment. As if it were "beautiful."

(When I say "beautiful," I mean stuff that’s just pure genius, both how it looks and how it hits you.)

You make a fair point. Some people can find beauty in almost anything, while others only recognize it in specific instances. There is really no sense in trying to walk someone through the elegance of Magnus Carlsen's combinations if they don't already possess the capacity to grasp them.

Beauty is meant to be described and analyzed, after all; surely half of all art and the endless debates surrounding it exist for that very purpose.

Matthew Anderson4 said:sounds more like describing something basic in an extra weird way just to make it seem like a huge deal. like, writing a whole dissertation just to say a guy caught an egg 🤣 man, watch out, he fell on his back, damn.

come to a high school scrimmage in Jersey and see real athleticism, body control, and ball skills. that's all I got for you. ☕

Most legendary plays in sports could serve as the subject of a dissertation. Think about a brand-name goal against the US national team; the actual strike takes half a second, yet you could spend minutes analyzing the mechanics behind it.

On the flip side, everything can be reduced to something trivial, much like you're doing here. Remember when Ronaldinho sent an air-filled bladder into a metal frame? 🤣get this, he did it with a header, man.

Matthew Anderson4 said:sounds more like describing something basic in an extra weird way just to make it seem like a huge deal. like, writing a whole dissertation just to say a guy caught an egg 🤣 man, watch out, he fell on his back, damn.

come to a high school scrimmage in Jersey and see real athleticism, body control, and ball skills. that's all I got for you. ☕

Why not? Even if it's a non-contact sport—which arguably makes it easier—and lacks the strict boundary constraints of other games, there is still plenty of depth in the elements you mentioned.

Matthew Anderson4 said:🤣

Man, catching that ball while falling flat on his back... honestly one of the greatest plays in sports history. For real. You ever just hang out at some random park or field tossing a ball around?

The only two decent football plays I’ve actually seen are when some guy with absolute balls leaps right over his defender—nearly landing on his back too—and the other is when someone just strolls through a defense that's totally caught sleeping.

I’ve played with balls like that plenty of times, which is why I know what I'm talking about. If you had ever tried to catch a football thrown fifty yards downfield with both hands, you might actually understand ☕

And if you factor in being at full sprint, having to pivot backward mid-run, getting leveled by a guy weighing two hundred pounds, and then having to manage that total loss of balance by throwing yourself backward—all while trying to snag a spinning object using basically three fingers instead of a full grip, only to ensure you land precisely where you intended—well, that requires a level of athleticism, body control, spatial awareness, and, above all, an intuition for the ball that deserves nothing less than profound respect.

Perhaps this whole sequence is just too complex for you guys over in the amateur leagues; I suppose it's much easier when the quarterback delivers a pass just a few inches behind you.

I finally sat down to catch up on last weekend's football highlights.

I mean, just look at Odell Beckham Jr. 🙏🙏

First, you have this warm-up sequence, set to some pretty fitting music:

http://sports.yahoo.com/video/york-g...052926111.html

And then, a mere two minutes later, he pulls this off:



Is it possible that this might be one of the greatest individual plays I've ever witnessed in all of sports? 🙏🙏

I'll jump in and join the congratulations; we're just over here enjoying some good old-fashioned American football.

Matthew Young35 said:

well, then 🤣

restlesssurfer97 said:I'm basically the Queen of this whole scene.

And I’m just Walter Grant5. Is anyone actually missing? 🐔

It looks like Queen has officially joined the ranks of those who have gone missing, alongside restlesssurfer97 and Walter Grant5.

So, I finally sat down and watched Interstellar... and honestly, I’m still trying to wrap my head around it. Don't get me wrong, the human element is perfectly fine, and Matthew McConaughey gives an absolutely stellar performance, but while the visuals are gorgeous enough to make you feel like you actually need to be sitting in a theater to appreciate them, the actual science? It's a bit of a joke, isn't it? It feels more like they took complex physics and watered it down to a level a high schooler could grasp. To me, it felt less like hard sci-fi and more like pure fantasy.

Maybe we can find some time soon to dive into the logical headaches regarding time loops and causality, because unless I somehow missed a major plot point, it seems to me they really played fast and loose with those concepts here.

Dennis Evans6 said:Haha, his voice is a bit grating, I'll give you that, but I look past it because I’ve noticed our tastes are pretty much aligned. I checked out his top movies from last year, and he’s basically picking the same flicks as everyone else. Plus, there are a few things I probably would have skipped entirely if he hadn't reviewed them. For instance, I’m waiting for Birdman and Whiplash to drop—though, honestly, I’d probably end up watching Birdman even without his stamp of approval. Whatever.

What exactly is bothering me? Take this specific point he made: when they get that serum from the General, instead of Tom using it to actually kick some ass, he gets some weird vision and just resets the day. Meanwhile, we’re just wandering around the city aimlessly while everything falls apart. At that point, Tom loses his ability to reset because he gets a blood transfusion—which is equally nonsensical, but hey, that's just how movie logic works, I guess—and suddenly they have to head to Paris without being able to loop the day a thousand times to get it right. But that trip to Paris... that’s what really threw me off. It makes zero sense that these aliens could conquer all of Europe except for the UK and somehow not need any land defenses. Like, they're smart enough to know people will only invade through Normandy, right? Come on. Yet, they have these random, pathetic outposts buried near places like Helix or some abandoned houses? And once the Cruise spacecraft crashes in Paris, the aliens don't even attack; they just sit there waiting for Cruise to figure out his next move.
There’s plenty more where that came from, but I can't be bothered... unless you're dying to hear it?

urbanhawk17 said:To be honest, what really bugs me is that she didn't just finish him off and bring him back once she drove that thing into his leg. By playing it that way, they basically invited the exact disaster that actually happened—the risk of losing him for good before Omega was even taken out. I guess they just rolled the dice and lost.

He knew Omega was in Paris. He could have ended him right then and there, which would've let them head over there with the option to respawn. I guess he just didn't. Maybe.

I see Dennis Evans6 weighed in too. 🤣

Also, when they head over there, Cage (Cruise) tells J—was it J?—to leave Alfie alone. He argues that if their blood gets into them, they might be able to loop that day forever. I guess. Maybe. 😕 Since those five were up against the Omega core itself—and actually managed to pull off a win in the end—I guess it changes the math a bit. Maybe. 🙄 I guess they were just trying to find a way to hit the reset button on the day. Maybe. 🤷

That move might seem like a smart play if you’re looking at it through the eyes of someone who already knows how a desperate escape attempt ends. But then again, you have to consider that these characters are just trying to survive—to stay alive and sane for one more day. Suppose he had just pulled the bullet out of her leg right there in front of the General? He gets his vision, the wound is treated, and they both walk away unscathed. Why on earth would he commit suicide then, or why would she take him out? At that specific moment, such an outcome wouldn't make any sense, whether you're following the internal logic of their lives or the narrative rules of a Hollywood script.

Dennis Evans6 said:Haha, his voice is a bit grating, I'll give you that, but I look past it because I’ve noticed our tastes are pretty much aligned. I checked out his top movies from last year, and he’s basically picking the same flicks as everyone else. Plus, there are a few things I probably would have skipped entirely if he hadn't reviewed them. For instance, I’m waiting for Birdman and Whiplash to drop—though, honestly, I’d probably end up watching Birdman even without his stamp of approval. Whatever.

What exactly is bothering me? Take this specific point he made: when they get that serum from the General, instead of Tom using it to actually kick some ass, he gets some weird vision and just resets the day. Meanwhile, we’re just wandering around the city aimlessly while everything falls apart. At that point, Tom loses his ability to reset because he gets a blood transfusion—which is equally nonsensical, but hey, that's just how movie logic works, I guess—and suddenly they have to head to Paris without being able to loop the day a thousand times to get it right. But that trip to Paris... that’s what really threw me off. It makes zero sense that these aliens could conquer all of Europe except for the UK and somehow not need any land defenses. Like, they're smart enough to know people will only invade through Normandy, right? Come on. Yet, they have these random, pathetic outposts buried near places like Helix or some abandoned houses? And once the Cruise spacecraft crashes in Paris, the aliens don't even attack; they just sit there waiting for Cruise to figure out his next move.
There’s plenty more where that came from, but I can't be bothered... unless you're dying to hear it?

I honestly don't see how you can say that lacks logic. If you look at that first attempt, it actually captures the entire internal logic of the film. The aliens didn't just swoop in and conquer three-quarters of the world in one single, decisive strike; instead, they operated through a process of trial and error. Every time an Alpha falls, it serves as a clear indicator that their current strategy was flawed or headed down the wrong path, prompting them to reset from a secure position and try again, this time armed with the knowledge needed to correct those specific mistakes.

One can't deny that an adversary equipped with such heavy weaponry would undoubtedly inflict significant damage, yet every single one of those attempts could be neutralized following a system reset. This is precisely why Omega remains buried deep within the earth, shielded by the presence of Alpha above it; if someone were to attempt an aerial strike—even with a nuclear payload—they would have to annihilate Alpha before they ever reached Omega, triggering an immediate reset. And wouldn't we then be operating with the distinct advantage of knowing exactly where that strike is coming from, allowing us to intercept it at the very first moment?

The internal logic of the film dictates that Omega needs to take out Alpha immediately, without waiting for Alpha to strike first, and ideally on that very first attempt. After all, how can Omega possibly anticipate what hasn't happened yet, especially when nothing has truly occurred in any previous loop?

Dennis Evans6 said:Haha, his voice is a bit grating, I'll give you that, but I look past it because I’ve noticed our tastes are pretty much aligned. I checked out his top movies from last year, and he’s basically picking the same flicks as everyone else. Plus, there are a few things I probably would have skipped entirely if he hadn't reviewed them. For instance, I’m waiting for Birdman and Whiplash to drop—though, honestly, I’d probably end up watching Birdman even without his stamp of approval. Whatever.

What exactly is bothering me? Take this specific point he made: when they get that serum from the General, instead of Tom using it to actually kick some ass, he gets some weird vision and just resets the day. Meanwhile, we’re just wandering around the city aimlessly while everything falls apart. At that point, Tom loses his ability to reset because he gets a blood transfusion—which is equally nonsensical, but hey, that's just how movie logic works, I guess—and suddenly they have to head to Paris without being able to loop the day a thousand times to get it right. But that trip to Paris... that’s what really threw me off. It makes zero sense that these aliens could conquer all of Europe except for the UK and somehow not need any land defenses. Like, they're smart enough to know people will only invade through Normandy, right? Come on. Yet, they have these random, pathetic outposts buried near places like Helix or some abandoned houses? And once the Cruise spacecraft crashes in Paris, the aliens don't even attack; they just sit there waiting for Cruise to figure out his next move.
There’s plenty more where that came from, but I can't be bothered... unless you're dying to hear it?

The Mimics are buried near the house because those two have been to that location a hundred times already, and Omega knows exactly how to intercept them there. But they also have Mimics buried in New York, quite a few of them actually. And if you recall when the lead and the woman were in that house, they were right near the Mimics and weren't attacked immediately, so the situation in New York doesn't actually deviate from the rules established in the film.

I’ll say it again: as Morgan Martinez5 pointed out, the strength of the aliens doesn't lie in their sheer numbers or some specific combat prowess—we see that even relatively untrained people can kill them—but rather in the blessing of being able to always restart from a saved point.

Dennis Evans6 said:Haha, his voice is a bit grating, I'll give you that, but I look past it because I’ve noticed our tastes are pretty much aligned. I checked out his top movies from last year, and he’s basically picking the same flicks as everyone else. Plus, there are a few things I probably would have skipped entirely if he hadn't reviewed them. For instance, I’m waiting for Birdman and Whiplash to drop—though, honestly, I’d probably end up watching Birdman even without his stamp of approval. Whatever.

What exactly is bothering me? Take this specific point he made: when they get that serum from the General, instead of Tom using it to actually kick some ass, he gets some weird vision and just resets the day. Meanwhile, we’re just wandering around the city aimlessly while everything falls apart. At that point, Tom loses his ability to reset because he gets a blood transfusion—which is equally nonsensical, but hey, that's just how movie logic works, I guess—and suddenly they have to head to Paris without being able to loop the day a thousand times to get it right. But that trip to Paris... that’s what really threw me off. It makes zero sense that these aliens could conquer all of Europe except for the UK and somehow not need any land defenses. Like, they're smart enough to know people will only invade through Normandy, right? Come on. Yet, they have these random, pathetic outposts buried near places like Helix or some abandoned houses? And once the Cruise spacecraft crashes in Paris, the aliens don't even attack; they just sit there waiting for Cruise to figure out his next move.
There’s plenty more where that came from, but I can't be bothered... unless you're dying to hear it?

Well, please do share if you have anything else, because you've given us very little ☕

urbanhawk17 said:To be honest, what really bugs me is that she didn't just finish him off and bring him back once she drove that thing into his leg. By playing it that way, they basically invited the exact disaster that actually happened—the risk of losing him for good before Omega was even taken out. I guess they just rolled the dice and lost.

He knew Omega was in Paris. He could have ended him right then and there, which would've let them head over there with the option to respawn. I guess he just didn't. Maybe.

I see Dennis Evans6 weighed in too. 🤣

Also, when they head over there, Cage (Cruise) tells J—was it J?—to leave Alfie alone. He argues that if their blood gets into them, they might be able to loop that day forever. I guess. Maybe. 😕 Since those five were up against the Omega core itself—and actually managed to pull off a win in the end—I guess it changes the math a bit. Maybe. 🙄 I guess they were just trying to find a way to hit the reset button on the day. Maybe. 🤷

That isn't accurate; he doesn't tell them not to kill the Alpha because of blood contamination, but precisely because doing so would allow Omega to reset the day, effectively letting it know they are coming.

Evidence:

''So, this Omega controls time?''
''Let's just smash him and send him back to wherever he came from. Then we go home.''
''Maybe the "Alpha" protects him.''
''Just kill him. Got it?''
''No! You heard what Cage said: Don't kill the Alpha.''
''If we kill the Alpha, Omega will reset this entire day. We won't even remember having this conversation. He'll know we're coming.''
''What if one of those "Alphas" tries to kill me?''
''Sacrifice yourself then.''

The film possesses a completely rounded and consistent internal logic. I don't agree with the idea that you need to turn your brain off for this movie; in fact, you really have to engage it so you can shift from our linear perception of time into the film's logic, observing both the action and the characters' choices through that lens.

So, what exactly is it about him that gets under your skin? Just tell me plainly, so I don't have to spend half an hour listening to that idiot's nasally, grating voice again. ☕

Personally, I thought it was excellent. I enjoyed both the Cruise and Blunt performances, and I actually appreciated his attempt given the circumstances—it was entirely logical for him to try, considering everything we knew was coming. There’s a certain charm in how he gradually gets sucked into her orbit when they've really only known each other for a single day (which is exactly what she experienced with that Hendrix guy). It isn't as if the motive wasn't visible from the start, though the stakes certainly feel more visceral here since every day ends in a fatal encounter, but I genuinely liked the execution. My only gripe was that one glaring inconsistency toward the end, which cast a bit of a shadow over the whole experience, so I'm quite happy with any explanation that provides even a shred of coherence. There might still be minor hiccups here and there, but honestly, if anyone manages to craft a time-loop movie without a single flaw, someone should probably award them a Nobel Prize in Physics. ☕

And who knows, maybe Hollywood's standards have slipped so low lately that even a merely competent little flick feels like a masterpiece to us.

Gregory Parker 😢

It’s almost poetic, isn't it? Just when those of us over in District A and the folks in District B finally find some common ground and a way to actually work together, the forum mods step in to shut it down.

It honestly makes you wonder if they’re actively trying to keep us from getting along. ☕

I just sat through *Edge of Tomorrow* for a second time, mostly because that illogical ending was driving me absolutely crazy, even though everything leading up to it is genuinely fantastic. Every explanation I’ve stumbled upon online feels incredibly shallow, usually reducing the whole thing to the vague idea that he somehow slips back into the past while carrying over certain memories and leaving others behind 🙏
.
But isn't there a more coherent way to look at it? You could argue that just before the final creature—the true original Omega—perished, and right before Cruise's character met his end, he was struck by that specific Omega plasma, which logically ought to be distinct from whatever the Alphas are using. Once that plasma hit him, he essentially became an Omega himself, allowing him to outlast the original organism. Because he survived longer than the initial entity, the timeline didn't reset while that first Omega was still alive; instead, the reset only triggered once he, too, passed away. So, when he finally wakes up, he finds himself at the exact same temporal "restore point" established by that previous Omega, except this time the circumstances have shifted so much that the Normandy landing and all that chaotic maneuvering with the General aren't even necessary. In this version of events, the Omega wasn't dead—the Omega was him. It explains why the Mimics remained passive, since he no longer acted as a catalyst for war, and why his squad and the woman were still alive, just as they had been during every other loop.