"Philly is at war, and it's my fault. Are all mistakes lessons?" - Egg Pascha &antagonist -- a notorious retired ensign[description:= α White male, late 60s years /// character:= heroic, a first-rate 👮🏻♂️detective of extraordinary ability with an irascible militant itch, gunslinger, country at heart, hard-headed, southpaw, claustrophobic, aged+diseased, grossly flawed and deeply insecure, oft-soliloquous, has an affinity for Greek mythology, drunk and suffering from chronic blackouts, funny, habitual yet improvisational, lucky but unfortunate (the only son of Jake and Rachel (both deceased) - his paternal half-brother, Benjamin "Benny" is a lost soul), instinctive, experienced, seasoned, now at the stage where he is remorseful, relocated/switched cities (Elsewhere→Brandywine) for vocational purposes, a severely skeptical 🍀Scots-Irish Catholic, modeled partially after John McCain, Roy Rogers, 🕵♂️Sherlock Holmes, and Brett Favre]&& Conveyed with ventriloquy and allegory.
¶Easter is a tragedy told over four chords (N-O-A-H) interspersed with a ritornello commencing in gritty 1978 Brandywine. In the backdrop of geopolitics, its parallel dramas are rooted in concurrent timelines, and follows Egg Pascha as he begins his fateful series of misfortunate events that have both tagged+shaped him in the present-day. He has every intention of living out the remainder of his life quietly in Elsewhere, but there are other karmic factors/obligations that must be cleared first. Figuring that his cognitive faculties are betraying him due to his bout with Parkinson's disease and related brain disorders, our determined detective quondam is duly challenged to reconcile who he is.
¶-- A hyperrealweb series synthesizing contemporary issues/sentiments/opinions into a blended first- and third-person narrative, this soap opera is an extended play comprised of eight acts (prologue+epilogue, and a dyadic three-act structure preceded by the 'Days 0' overture) = Act 1: pillowsoft [prologue], Act 2: ballad for a thug, Act 3: hallucinating from hallucinogens leads to hallucination [crescendo], Act 4: calvary of Hades or whatever you call it, Act 5: the Four Horsemen, Act 6: Good Friday is very bad [denouement], Act 7: dirty shirt, Act 8: ready to die hard [epilogue], plus a ritornello (backstory) called 'Die, Detective!' interwoven throughout the arc via second-person perspective cutscenes (ie. interruptions for action and dialogue).
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{Notes: (1) Easter consists of direct-to-consumer downloadables. (2) Content is released under a Creative Commons License for further free distribution.}
DISCLAIMER 1: Utilized is a two-prong approach: (a) keep the focus local on website @uuelco.ME, so that its (b) offered cinematic is incorporated as a way to generate a very large concentrated amount ('whales') of cost-per-click (ie. human) versus the usual cost-per-mille "EMOJI" (an acronym for 'empirically optimized j-impressions', where 'j' is the sigma) traffic to the website (helpful in growing my revenue stream in order to pay for this). So, (b) finances (a).
DISCLAIMER 2: Per (b), this story is one of a very dark tone. The drama presented here is based on ideologies of yesteryear, and rooted in Civil Rights era(s) in the United States of America. As such, it is replete with revisional ethnographies, insinuations of gender and/or racial oppression (whether they be real or implied), manifestos of terrorism, and expressions that question established religion/politics. In short, Easter may be extremely offensive, but this is not deliberate; it is possibly due to misinformation and/or coincidence. Contemporary aspects draw on real historical events which in turn have been woven into a story largely sourced from the books 'The Detective' (Thorp, 1966), 'Nothing Lasts Forever' (Thorp, 1979), and the autobiography of H. Rap Brown (1969), whose subjects matter were highly controversial. Although certain parts are presented as historical fiction, this is not a documentary and doesn't attempt to portray events with total accuracy. We offer apologies ahead of time for any insensitivities and/or vulgarities. Remember, it's just entertainment, folks! Enjoy :)
DISCLAIMER 3: If you become infuriated with or disoriented by the pacing of this picture, just know that it is of intentional design. We want you to experience second-hand what it would be like to suffer through neurodegenerative disorders that severely affect mental, physical, and emotional health. Likewise, an artificial claustrophobia (via hyperreality, ie. intentionally induced 'hallucinations' made so that you would have difficulty discerning falsehoods from factualities) coupled with social triggers were devised specifically for the audience to feel like the world is coming to an abrupt end. This is done with the purpose of drawing awareness to 🧠brain conditions in hopes of furthering research and medical aid.
DISCLAIMER 4: As a peer production, Easter is not affiliated with any union/guild or third-party studio. Careful measures were taken to avoid potential legal ramifications when making this project by reimagining its sourced franchise via independent/third-party new/emerging media (categorized under 'web series', not 'film'), which is what this is. Though not a videogame, Easter contains gamification elements reminiscent of a MUD allowing for interaction; complementing its prompts is side paneling, a map overlay, and decision trees. Cinematic cutscenes/clips (ie. external interruptions for action and dialogue) tagged as 'Easter eggs' comprise our extended play. Because the story is told in a manner with the only goal being to bookend chords N and H, the 'eggs' are issued as 2D in-media reference points. These innovations are necessary to move the viewer along in a technique called 'horizontal storytelling'. Easter contains strong crude language, nudity+copulation, graphic violence, and disturbing imagery. It is web-based and designed for mobile at global scale.
concept artwork is bing ai-generated, not prod. images
"All things being equal, I'd rather be in Brandywine." - Egg Pascha --> more ¶---OLD HABITS... Neo-noir moving picture adaptations of detective novels - starting with various eponymous entries as a source of inspiration/speculation - is independently succeeded here. Their literary motifs of tumult, claustrum, revenge, paranoia, and distress are further incorporated into this tragedy - an honest attempt to interpret the biblical Book of Revelation, albeit in a medium that addresses the needs of our dramaturgy. As such, the central character is atavistically brought back to his roots; carefully avoiding the regular-turned-superheroic trend that has been critically panned in recent productions.
¶The storyline follows an ordinary man of law enforcement (here his name is "Egg Pascha", which is a generic substitute nomen for 'Easter[P]') who continually rises to the occasion when he finds himself in precarious situations/circumstances where he becomes the focal point for warding-off potentially grave threats where the stakes are raised throughout the progression, racking up considerable destruction in his wake while getting his clothes filthy in the process.
¶The hardnose behavior and sardonic temperament of our maverick detective is risque, to say the least, and has been valued as an asset among fans. He has been used to represent the everyman who perhaps could not say and do things that were otherwise unfashionable. His exploits and adventures have touched on sensitive topics, such as homophobia, racism, xenophobia, and large-scale domestic terrorism. The audience knows what they are getting with Egg Pascha; it revels in vicariously helping him sort through the predicaments he faces with the expected outcome of disaster being averted because he just surmounted the odds.
¶Parkinson's[m] underlies the tragedy of our eponym's neurological disorders.
¶The underlying theme here is that loops in life are purposed to resolve debt(s) at the cost of death. For even religion predicts the end of itself; all signs point to a sacrificial pawn as the inflective change agent. ..An elegiac send-off for the character (Egg Pascha) was requested, paying attention to his age+health. In that regard, this piece's content relies heavily on forensics where it is devoid of stunts. Still (for fans of the action genre), how utter chaos devolves from Helter Skelter compensates for delayed thrills.
¶As a spiritual successor to many a classic detective series, this offering considers all the prior rough-and-tumble that Egg Pascha has been through - and while structurally embracing said suggestions - envisioning he would, today, tenably be suffering from serious deterioration attributed largely to Parkinson's disease (medically, alpha-synuclein plays integral parts in PD development and regulating dopamine), probably a diabetic factor resulting from his lifestyle choices of heavy alcohol+tobacco consumption.
¶This soap opera gives an intense purview of the human spirit, touching on the finer points of mental, physical, and emotional illness. In it, Pascha's troubled past has finally caught up with him, and our tragic hero finds himself at his nadir needing all the help he can get. Given that the stakes are incredibly high here, his task is to find clues scattered about which hint at solving a larger biochemistry puzzle🧩: a vaccine for halting the spread of a latent contagion (virus) contaminating the microbiome.
¶He is not alone; in Easter the viewer experiences things isometrically, with the interface - "Stu(art)" - serving as his ⛑️medical guidance companion (an in-stream AR in the first-person perspective to provide a sense of what it would be like to have a cocktail of neurodegenerative diseases), which is central to decision-making as well as the outcome itself. And, yes, Easter still has its share of those do-or-die hard scenarios we all know and love.
¶--- ASSIGNMENT A hero to many, OR-6/PO1🪖 Pascha is sadly now sick with Parkinson's disease and in (for) the fight of his life. //The idea here is that the detective's infliction with Parkinson's disease is a research clef. The dramaturgy of Easter has Egg Pascha policing a synthetic storyline set in a hyper-modern world.
¶For the past forty-plus (40+) years, Egg Pascha has put himself out there in the line of duty and saved many lives. Now he needs your help. We're not sure how much time he has left, but this doesn't look good.
¶On a positive note, an artificial intelligence is being developed to find a cure or therapies for Parkinson's and similar pathologies (eg. Huntington's chorea, amyotrophic lateral sclerosis, etc.).
¶Our goal is huge: piece together scattered bits of information teasing a potential cure for neurodysfunction that is being held hostage in a militarized zone by the infamously mysterious 'SAINT BERNARD'. We have been warned that a few major figures are masquerading as upstanding citizens, but can see for ourselves that corruption is a local effect of relational dialects. Immediate societal turmoil and systemic pollution are symptoms of our absence and/or failure here. Remember that people are resources; taken by themselves, alliances may be more valuable than friendships or even family.
¶In bringing this gaiden to requiem (ie. concluding entire arc), proposed were a few things: (1) the exploration of a backstory for the sake of character study, and (2) the introduction of substantive dramatic elements. Logic dictates that, if either of those things is missing from a closure piece like this, an opportunity to tie up loose ends in the narrative would have been forfeited.
¶In the piece we have an overarching plot with a lot of smaller substories. And in those substories are front-facing characters with tie-ins to real-world happenings. It features a number of times where the protagonist/antagonist must revisit his past in order (for the audience) to piece together present-day clues. Take, for instance, late August 1978, where in Brandywine we find a young Pennsylvania-grown Egg Pascha, full of hope+aspirations, caught between his military friend's personal strife, and his own ambitions of perhaps someday becoming a renown comedian under his alter ego "Bruno".
¶... and that is where we find Egg Pascha today, an elderly man with one more trick up his sleeve on the brink of receiving his due pension, but genuinely unsure of whether the odds are still in his favor. Since becoming a sexagenarian, he's done plenty of self-examination, and has grown sick of the life that he has lived as an adult.
¶Losing his religion, his insecurities stem from years, decades of having rubbed people the wrong way in order to answer the calls of duty that may never add up to anything more than a thankless job. He now despises everything that the security industry stands for, and is starting to side with those who have been historically oppressed in this country, especially at the hands of what his chosen profession represents. Self-inflicted incredulity has him feeling almost ashamed to have ever been involved in the capacity that he was. At this stage, he is an über-seasoned veteran at the end of his journey anxious to tip the fedora🎩. A miserable alcoholic, he drinks away personal demons which are the result of posttraumatic stress disorder, thus becoming his own worst enemy in geriatric anger, and now, in an effort to salvage his sanity, must be the hero in his own rescue.
¶In today's current social climate, pockets of once-latent animus are manifesting+spreading across the globe - be it from shifting politics, stances on immigration, bigotry, or what have you - engendering bunches of armchair heroes and keyboard warriors; cowards in need of a figurehead they can galvanize behind until their version of order is restored or parturitated.
¶Unless things are under control, then things are out of control. What we have here is a major urban area (Brandywine) on the brink of chaos.
¶Every so often a wildcard (in this case, lnq👨🏿🦱) is drawn that comes along and turns the game on its heels; completely changing the status quo, more often than not for the better/best. This is why it's so difficult to pin labels on these characters when you can clearly see from where they are coming, and to some degree, going. However, being a mystery, the mastermind behind all of the drama won't be revealed until later (per usual).
¶To reiterate, it's impossible to point to a person and say "they are without blame" in this piece, for both sides have selfish interests. The opera explores the facets of personality disorder so well that it's futile to identify the concepts of 'good' or 'evil'; everybody is a spectrum of behaviors conducive to circumstance.
¶As we dig more into the detective's biography, we learn that perhaps because he's been working in a private capacity for most of his career that he's become used to having an air of privilege and faux immunity. Even though he may think that he is just in 'lending a helping hand', his inclination for careless destructive behavior (massive property damage, etc.) and homicidal tendencies show that he is really no better than the other side of the coin, figuratively speaking.
¶What we do get to see, though, are the real detective skills of Egg Pascha. Dramatically, his character is fully developed here. There is clear and present danger that, for the most part, only he can address, and if he does his job, he ultimately resolves his issues. If he fails, then we are left to ask what constitutes a 'good guy' anyway(?), and moreso, are task forces really necessary in today's world where cognitive technologies are so prominent?
¶In Easter, Egg Pascha faces easily his greatest test yet from a myriad of angles; he is under siege from a number of threats: lnq👨🏿🦱, the SAINT BERNARD, Theo+Gunyo, Maundy+Ember (who embody the municipality's perfidy), Bunny, his own family, past haunts, the uphill battle against substance abuse, and, sadly, the debilitating effects of senescence (specifically his deterioration from Parkinson's). This is serious.
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In the Spring/Summer of 1978, new DA Ember Libitina's overbearance on the GO movement and its leader, Aegypt, is only furthering civil turbulence in Brandywine. This triggers our hard-headed coastie, Egg Pascha, to defer his career aspirations in order to do the right thing - or the wrong thing(?). --> more
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Today, mental illness pits our aging gumshoe, Egg Pascha, against his most formidable foe - himself. Still, his friend, Alven, is there to help, while his work partner - Bunny, only makes things worse. --> more
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Sponsored by Mr. Alphabet, a high-stakes tournament for artificial intelligence development - Philadelphia Artificial Lambda Model (PALM) - is underway in Brandywine. --> more
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Pascha's daughter, Lily, and her pod cohorts - Gunyo + Ellis - contract with a foreign government, putting the nation's security at-risk after having sidestepped advisory from their boss. --> more
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Maundy Lindros' bet on 'Meroë' has paid dividends, however, its maturity came with a clash of social residuals, including the reactions from the kingpin, Theo, on whom a dragnet has been placed. --> more
-------- "I've never killed anyone. But, killers respect killers, and you have my respect." - lnq👨🏿🦱 monody[description:= Δ Black male, mid-40s years, this guy's physical resemblance to Link Starbureiy is uncanny😉 /// character:= leader of the 'Four Horsemen' (the "🦍silverback" of his troop), a volunteer firefighter👨🏿🚒 who is anti-heroic, anti-hype, wise🦉, provocative, retaliatory, raw, 💊red pilled + seething, extreme, gone, schizophrenic/crazed, ruthless+lawless, a vicious misfit, karma personified, militant, genocidal and careless of internecine, wrathful, has a big dick🍆 and wields big dick energy, bellicose and on his bully wanting others to 'feel his pain', no joke, 'that motherfucker!', not easily fooled, merciless, bold and hardcore, fearless+🦁lionhearted, believes himself to be the 🐑sheep/goat/ram🐏 on a crusade for freedom] --> more
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jobs
people helping people Easter is a peer production. Be involved.
-//production -- audition for a role🎭 ¶Unless otherwise noted, we useBACKSTAGE in addition to local film commissions (eg. Greater Philadelphia Film Office) to make casting/crew choices. Submit your stuff there. Tag your reel with #EasterMUD on YouTube.
¶There are a number of roles for actors to audition. Not every role is open; some are (already) hand-picked by staff and thus not open for reasons that are out of your control. We try to pick from the local (Philadelphia, Delaware, New Jersey, etc.) talent pool as much as possible. Before applying, you should know what role(s) you are wanting. Although there isn't too much information available regarding the character, a short description has been provided as a rubric. That said, most importantly, all the staff is looking for from a thespian🎭 is your ability to act and take direction. All casting selections are made off tape. When submitting your bio, please send quality photography of yourself from the waist up and in good lighting. If using a phone, have someone else take the picture (of you) for you. Two portraits of you will do: a smiling pic and a non-smiling pic.
¶On the drama-side, our thespians🎭 need to have awareness of their set surroundings at all times during performance. Actors must be able to hit their marks, just like they would in a traditional live theater setting. Unlike a typical movie, where the performer can coast off of unlimited takes, in VR (a 360° stage), the camera is the most important set prop, so things like timing and knowing your cues are of a premium. Sought are people with ample experience in this. (psst! Because comedians tend to make some of the best dramatic actors for some weird reason, also strongly considered are alumni of avant-garde groups/experimental companies/improv houses.)
¶No scrubs.
-//production -- demo reel (acting) ¶Ideally, a demo reel will not exceed one-hundred seconds (100 seconds [~1.5 minutes]). You may read a prepared piece (such as a monologue) of your choosing. Tag your reel with #EasterMUD on YouTube.
¶No scrubs.
-//production -- non-union (eg. Screen Actors Guild-adherent) ¶Absolutely not unionized. By definition, the open nature of peer-producing is incompatible with unionization. (glossary: peer production = a decentralized crowd of people collaborating on a project/product to achieve a singular goal, where each individual undertakes a specific assignment that contributes to the whole.) We have zero ties with SAG or the Alliance of Motion Picture and Television Producers (AMPTP).
¶If you already have membership in a union like SAG-AFTRA or AEA, your participation is voluntary. Though, for your own safety and peace of mind, you are warned⚠️ that any so-called union that requires membership dues with no guaranteed path to employment is a pyramid scheme. Use critical thinking.
¶Labor unions are democratic relics of the New Deal and exist to regulate some thing. They can be beneficial to the 'little guy' who is just starting out (by guaranteeing a livable wage), but are a pest to larger organizations. You've got to eat, I get it. I can work with the contract that you have drawn up (maybe even honoring/matching sheet rates - but no other terms - supplied by SAG or AEA ("Equity"), assuming that you are a dues-paying member), but don't count on me unionizing my whole production (a requirement of the union) just to feed you. The legal way around that is for me to have a set that is lawfully compliant, treat you as a temporary employee, and have you NOT REPORT those earnings to your guild, only to the IRS. Both parties (even the AFL-CIO) have to report this information to Uncle Sam, anyway. Basically, you become an independent contractor. Standard stuff.
¶The other tidbit is for me, the employer (LES), to have insurance, which most jurisdictions insist on, anyhow, because they're taking a calculated risk hosting an endeavor (ie. a big budget production will likely spend those funds, meaning that the locality or parts therein will need to be underwritten somehow). Think about it like this (hypothetical): I have a planned project. Two performers come to me looking for work. One is a freelancer with no experience, but loaded with natural talent. The other is a talentless unionized hack with a pretty face. She can obviously help sell the project in her own way, but the freelancer can also help, and all he wants is the chance to work on set for some 🍕pizza slices. There's no way I'm unionizing the production just because of her, when I could just hire some other babe who understands the assignment. A box of pizza and some cheap insurance policy (eg. worker's comp), or the extra expense of dealing with bloated collective bargaining agreements? You do the math.
¶If you are interested in de-activating your status (ie. putting yourself on temporary hiatus "Honorable Withdraw","Temporary Withdraw") with your theatrical union, namely SAG and/or AEA, follow these otherwise deliberately hard-to-find steps (as written in their fine print):
Screen Actors Guild >> http//sagaftra/maintaining-your-membership
Actors' Equity Association >> http//actorsequity/join/TW-SP/
¶No scrubs.
-//production -- No drugs and/or alchohol allowed on set. ¶That's right! My set is a substance-free professional workplace. Employees are prohibited from possessing, using, or being under the influence of controlled substances in the workplace. Violating this policy subjects the employee to termination of employment. Manufacturing and/or distributing illegal drugs (anywhere) can result in that person being reported to authorities.
-Is this a soap opera? ¶That's what it is being called, even though it's technically an opera (hence the formatting). No, it's not a musical.
¶Many people have taken issue with this notion. The producers had wanted to truncate the storytelling so it seems more commercial and normalized. The truth is that it just can't adequately be told in the typical 2-3 hours like a regular flick. The backstory alone - which bookends the last chord - demands that the characters and history be explored in full, less you risk skipping essential plot points further down the line. It's villainy needs to be given a fair evolution. Easter is expansive and unfolds kinetically; it doesn't simply 'pick up' from some prior immediate action. In order to see how this ends, it's imperative to know how it all began.
¶The best way to go about it is webisodically, because, that way, all of the financial needs can be met within a budget. For instance, a Hollywood rule-of-thumb (pertaining to major wide releases) is that each minute of on-screen time costs about $1million to make (production expenses + marketing expenses). So, a 100-minute movie costs roughly $100million on average. That's totally impractical for something like this considering its runtime, plus the bill that comes from renting processors (ie. the compute) for cloud hosting. But a drawn out 'soap opera', while still pricey, allows for compound growth as more people tune-in to watch each webisode (which themselves typically have short runtimes), so, in theory, it should be able to pay for itself.
¶Suffice it to say that its overture (Days 0) is mostly all drama (politics, crime) - like you'd expect from a soap, and the second half (Chords N-O-A-H) is almost entirely action.
-Will this be released in movie theaters or for streaming television? ¶Neither. Easter is a marvelous show made available over the Internet and designed for mobile devices📱. What is released are bunches of promptable assets that can be downloaded by the user, collected, and then 'streamed' together using a media player.
¶This is referred to as a 'web series' in part because downloadables must be retrieved from a website. Its Creative Commons (CC) license also allows for same content to be optionally uploaded to third-party platforms as part of web streaming.
¶Since this involves generative artificial intelligence (agi), it has to be done in this manner in order for any future intermediaries to be updated and released at scale. This method also combats any would-be piracy. With that said, it is understood that this 'bare bones' approach is not traditional and perhaps a nuisance. For those who may want a more cohesive wider screen experience, a deal with some major network for carriage of the program might be optioned, but there are no guarantees.
¶The plan is to put clips of the show across its IMDb pages, while simultaneously making the webisodes available for both viewing + downloading in the chat section on the mirror homepage of my website @uuelco.me (search = "#Easter"). This way of dissemination generates maximum traffic and allows for people/businesses to potentially earn money from the content by porting the downloadables to other platforms (eg. YouTube, Google Veo).
-Is this Die Hard 6 / The Detective part 7? ¶Not really.😉
¶However, Easter is set in that same universe. It is a so-called spiritual successor. This incredible story bookends both of those novels, where Egg Pascha (aka Joe Leland/John McClane) is again our favorite hero, but here he's in the role of antagony. In that regard it is simultaneously a prequel and a reboot. Each novel was written from the perspective of the third-person, and Pascha will primarily be conveyed as such via ventriloquy in my pseudoconflation of those works by Thorp. That gives us room to fidget, since it's possible we wouldn't actually need to see him; he'll move throughout isometrically in the first-person relaying events.
¶-THIS PRODUCTION IS NOT IN COOPERATION WITH DISNEY OR THE ESTATE OF RODERICK THORP.- We are legally able to do this by bypassing the movie studio and going directly to the book publisher for permission (The Detective, in fact, was published prior to January 1, 1978, thus murkily rendering contravention non-statutory, anyway). Also, I attached the script to a related 'science' project about autism (personal) and protein studies in Parkinson's disease (community), thereby acquiring fair usage[j] rights (statute = Section 107 of the United States Copyright Act, 1976 -- copyright circumvention factors: criticism, scholarship, research), but in doing so forfeited certain character attributes typically present in a would-be straight remake. Being somewhat semi-autobiographical (on behalf of lnq👨🏿🦱 - who plays himself in this, and the script for 'Theo' is a direct fantastical characterization of myself - I can do that because I wrote it, darnit!) and containing tie-ins with the rest of my work, it'd be impossible to challenge in court on the grounds of infringement or lack of originality. Plus, this endeavor is not commercialized (ie. no box office), further muting the threat of economic competition. That said, Easter truly is its own thing.
¶An impromptu poll was taken (by me) asking random people if they thought John McClane can be played by some other actor convincingly. They all said no, emphatically; agreeing that Willis is non-negotiable and the best person for bringing the character to life on screen. With that in mind, the magic of artificial intelligence could grant us a work-around (ie. deepfakes, digital voice overs, etc.). Alternatively, innovation is welcomed. Frank Sinatra played the character as 'Joe Leland'. Bruce Willis played the character as 'John McClane'. Perhaps it makes sense this time to have a new actor or modal (You, first-person) play the character as 'Egg Pascha'(?).
-Did Roderick Thorp write this? ¶Roderick Thorp authored the novels 'The Detective' (ISBN 0-8488-0375-2) and 'Nothing Lasts Forever' (ISBN 0-393-01249-2). Easter is partially based on those two books, but is not one of his works. Thorp's credit here is attributed to his development of certain characters (eg. Joe Leland = Egg Pascha) and underlying story elements. Similarly, he did not write Die Hard (1988), per se, but that movie itself is based on 'Nothing Lasts Forever' (John McClane = Joe Leland). Otherwise, this is an original work by lnq👨🏿🦱, with minor credits for 'jokes and such' going to their respective contributors, as noted.
¶Just to reiterate, THIS PRODUCTION IS NOT IN COOPERATION WITH DISNEY OR THE ESTATE OF RODERICK THORP.
Clue: Roderick Thorp's full name is "Roderick Mayne Thorp Jr.". In the story's ritornello, the events of 1978 are being documented by a novelist called "Junior Mayne".
-One of the taglines is, "Say goodbye to Pascha.". Does Egg Pascha die in this? ¶Another tagline is "Who killed Pascha?". -- Easter was written to be a conclusive masterpiece for the character. Egg Pascha is inflicted with Parkinson's disease among other life-threatening ailments. Keep in mind that the work's alternate title is 'Die, Detective!', but what am I really saying there?
Clue #1: (verbatim from the script // "None of this sits well with Pascha, who, in tandem with a slough of other personal dealings, is finding it surprisingly difficult to cope with being the witness to this murder. Blackmailed, he is given a tough choice by the higher-ups: cooperate with authorities and help them push-through these very lucrative contracts in return for the assurance of a peaceful and rewarding retirement (which is active), or die under not-so-mysterious circumstances. Not that he would mind, to be honest - considering his current bill of health, but there's no honor in that." //end
¶In the story, there are a lot of people who want him out of the way. We all have to die some day. But, doesn't Easter imply resurrection (something about "Joe versus John")? Guess you'll just have to watch this fantastic show to find out.
Clue #2: New Jerusalem, Pennsylvania
-Why delve into the year 1978? ¶Easter was originally intended to be a submission to a major studio that had plans of making a series finale for one of their most popular franchises before bailing and canceling those plans. Being the showrunner, lnq👨🏿🦱 made an executive decision to push forward, anyway; his personal history is partially somewhat told in Easter (I👨🏿🦱 play myself in this) with him being from Philly. Also, Egg Pascha's character in a previous outing had mentioned that, "All things being equal, I'd rather be in Philadelphia.", uttering the W.C. Fields epitaph that was a convenient segue for this.
¶As for 1978 specifically, the ritornello is a conflated plot (called 'Die, Detective!') centering around the MOVE organization and its tribulations at the hands of the Philadelphia Police Department both during that year and in 1985. How the City detonated its own citizens is a documentary worth exploring. Placing Pascha in the middle of racial strife at the tailend of the Cold War and seeing how he would respond made for fascinating subject matter.
¶The Rubik's Cube debuted in 1978. Being the quber that I am, of course the 🧩puzzle makes appearances throughout.
¶**An even smaller aside, I was looking for a good reason to put one of my favorite songs, "Blame It on the Boogie (1978)", on screen. (I snuck it into the talent show scene as a reference.)
-Brandywine is code for Philadelphia, Pennsylvania, correct? ¶Yes. Easter uses certain generic words/names for legal and creative reasons, Philadelphia/Philly (more specifically, an interpretation of the biblical 'Church of Philadelphia') being codenamed is an example of this.
¶Technically, 'Brandywine' speaks to the Delaware Valley as a whole. I like the term because Howard Pyle's Brandywine School (ie. '70/30' illustration art style) was used here to distinguish the 'Die, Detective!' ritornello from the rest of the picture.
-Is this story about the Easter holiday, celebrating/commemorating the resurrection of Jesus Christ and His ascension to Heaven? By watching this, am I being commanded by the Lord to receive eternal salvation? ¶That is a loaded inquiry. Easter is not a Biblical tale, it is a contemporary mystery drama. While mentions of Christian✝️ and Jewish🕎 religiosity are replete throughout, there is no effort or attempt(s) to mislead the audience into thinking that they are or would be receiving a sermon, gospels, or any type of session related to scripture.
¶However, the antagonist (Pascha) is named after the Jewish Passover. The story revolves around the redemption allegory where he seeks atonement for his past sins, if you will. A lot of the main characters the audience will meet are directly named after Easter holiday season traditions (eg. Bunny, Egg, Lily, Maundy, etc.). The plot devolves into Armageddon (as outlined in the Bible) while touching on topics covered in the Book of Revelation, such as the Four Horsemen, the Church of Philadelphia, and the celestial object "Wormwood". A subplot deals directly with the prophesied Third Temple in Jerusalem being the culprit for "the end of days". But, fret not, these plots and subplots are just devices used to make the audience think.
-There are worries that this could start a race war. Should we be concerned? ¶Probably not. A lot of 🪖military science went into producing this so that its battlefields and sieges are believable, meaning that published papers were submitted beforehand (as preprints -- see entry 'Were/are there any position papers published as a result of this work?') to reputable outlets, who, in turn could monitor the situation before an outbreak. Still, online behavior is another discourse altogether.
¶Some could argue that simulating realistic live-action warfare and military-style policing might incite an insurrection, but I disagree since tactical first-person shooter (fps) videogames that train players in just that - namely the Call of Duty (2003) series, Ready or Not (2023), and the like - have been popular for decades with marginal public backlash (check their sales!).
¶The hypothesis is that (Western) society is contingent upon Black people being near-completely docile (ie. compliant) for peace to be maintained. However fictional, the potency of Black pacification is severely tested here, which results in first a civil war and then a world war (the NOAH chords) stemming from an organic reaction to extreme animosity and confusion mixing with high technology, yielding total collapse and no restoration of order.
¶An ethnic conflict in the form of 'Helter Skelter' arising from law enforcement brutality happens in the storyline. This is a plausible real world after-effect as shown in current events (note: I was inspired to write parts of Bunny's character drama immediately after following the shootings of Philando Castile, Alton Sterling, and Terence Crutcher by police officers in 2016). As a wonderful show, one of the things Easter hopes to do is bring awareness to the threats posed by escalating civil unrest. While this is possibly the most intense action and emotional drama ever brought to screen, it's a slow build, giving the audience enough time to do critical analysis and encouraging them to have open dialogue with each other (recommended).
¶I proclaim that this mini-webseries will cover almost everything you've ever felt in regards to race relations, especially if you are an American🇺🇸. All of that ill will that you've harbored but never shared will be expressed vicariously here. It would come as no surprise if people became vocally reactionary, but would shock me if they actually went ahead and acted out their demented fantasies. Relax.
-How much does it cost to watch this? ¶Downloadables are distributed direct-to-consumer, free of charge. You just have to put up with ads and my emoji button (👨🏿🦱).😐 The only associated cost is harddrive space (+RAM); ability to stream the content is dependent on how much storage is available on your device. Be warned that uncompressed, these may be very large files. Even when compressed (eg. .zip), they may still be large files.
Tip: You might want to purchase extra storage in the form of an external microSD card / USB plugin for your mobile device, or get added cloud storage.
-Duration? {Keep in mind that 'runtime' and 'total duration' are not the same.}
¶Easter features openworld navigation, a concept borrowed from videogames. But that doesn't take effect until after the 'Days 0' segments. Those webisodes themselves are fairly short, yet plentiful. However, the bulk of the runtime will take place during the chords N through H (ie. N-O-A-H), with each chord covering 48 hours (except for Chord H which is slightly shorter).
¶Since this is an openworld MUD, it's difficult to say how long it may take to finish, as interactive experiences can be different for each user. The 'NOAH' portion is a straight war that happens in realtime over Holy Week and into Easter Day, meaning that events are spread over 24 hours/day, for 8- days (or 168+ hours) using standard military timekeeping.
-Was this a crowd endeavor? Yes. Easter is an independent ("indie") project that is peer produced under the leadership of lnq👨🏿🦱. 'Crowdsourced' may be the best all-around term, and, no, this isn't some 'fan-made' garbage.
-Is Easter the greatest most awesomest tv show ever? ¶Yup. ;)
¶To qualify that statement, Easter could - in theory - likely be the most-viewed (impressions), most watched (minutes), most downloaded (per capita), and highest-grossing (an aggregate of ad revenue across all users in total) mini-webseries (MUD) of all-time because of its white label approach.
-Nudity [🌽]? ¶Oh, yes!
¶Easter, not being encumbered by a major studio or ratings association, goes all-in when it comes to debauchery. Some characters (male and female) have love scenes that show full nudity along with copulation. We're talking close-ups of those cute funbags, her nice bum🍑, bush/snatch, and hips that don't lie. It's a part of the storytelling, though.
WARNING: Genitalia is briefly shown, including imagery of bmjunk🍆 (phallus) and big balls/sack. For those who are sensitive to affection, romance, and passion between the races, this might be a lot to stomach.
-What is needed for a watchparty? ¶Watchparties can be a fun way to enjoy the motion picture with a gathering of people, whether offline or online. Easter watchparties are enouraged so as to initiate discussion either before or after a showing.
¶To host an offline watchparty (in the spirit of a traditional movie theater), simply take your smart mobile device (Android, iOS) and connect it to an audio-visual projector at a comfortable distance. This may be done indoors or outdoors. Ergonomics (such as seating arrangements, lighting, etc.) are at the discretion of the host and audience.
¶Just an aside, you'll really want to watch the "lnq👨🏿🦱 Goes to Chinatown"🎬 scene with a group of people. That part kicks some serious you-know-what!
-lnq👨🏿🦱, we love you so much. You are an amazing person. Just about everything you do is incredibly splendid. Thank you for existing! ¶Mirror, mirror, in my hand, can anyone do it like Big lnq👨🏿🦱 can? I know, I know.. it's good to see me, and good to be me. I love me, too! You're welcome. ;p
¶But, in all seriousness, do you think I'm sexy?
-What is 'augmented reality'? ¶Augmented reality (AR) is computer-generated content digitally placed on top of - or blended in with - the real world.
¶To experience AR, you will need the technology capable of delivering it to you. This may be something like a virtual reality (VR) headset, a computer lens on your smartphone, a pair of smart glasses, or something else entirely. The major components are the lens and the high-tech powering the lens.
-Is this a 🎮videogame? ¶No. Though not a videogame, Easter is a magnificent show that contains gamification elements reminiscent of a multiuser domain (MUD) allowing for interaction; complementing its (ai-generated scene creation) prompts is side paneling with hyperlinks, a map overlay, and decision trees.
¶Keeping in mind that our camera is itself a character in a persistent openworld, we consider its style of isometry to be an innovation. .. If you must know, pertaining to specific aspects like design language, to some extent this was influenced by Blade Runner (1997).
-Were/are there any position papers📄 published as a result of this work? ¶A number of preprints related to 🪖military science (especially urban guerilla warfare) were co-authored, none of which were necessarily peer-reviewed. The aim is to have those papers submitted as scholarship to think tanks on Dupont Circle, primarily CSIS (Center for Strategic & International Studies).
¶The main focus of the papers was to "re-enact maneuvers of the 'Philadelphia campaign' during the American Revolutionary War (1777-1778) in a modern setting, and go from there".
-What does the cracked eggshell logo mean or signify? ¶It supposedly represents the oncoming of a new beginning or an awakening. The egg🥚 is symbolic of birth/death, and can be looked at as the whole arc of the antagonist's (Egg) story.
¶The poster itself was makeshift; the 'smiling face' is actually lnq👨🏿🦱's motif and left in there as a poor man's copyright. The purple and blue backgrounds don't mean anything in particular, those colors were the last unused ones on a work palette and my neighbor's kids just thought they looked cool.
Easter is somewhat of a byproduct as a response to that challenge (the character Pascha is suffering from PD). Neither the actor himself (MJF) nor his foundation (MJFF) are involved with this, however. {Both were thanked for being an inspiration. And please note that I'm not giving up on lewy bodies research; any publications from me in silo or collab will be dropped in the chat. If you're interested in modeling these molecules in twistorspace, dm me.}
Clue/Tip: Specific strains of Desulfovibrio bacteria are likely to cause Parkinson's disease (ie. buildup of alpha-synuclein in the spinal cord and/or 🧠brain). Therefore, removing the bacteria from a person's environment/diet/gut should help prevent the disease.👍🏿
¶Futhermore, because of the famous surname, there may have been some confusion thinking that this production fell under the umbrella of Fox Corporation (which was acquired by The Walt Disney Company in 2019). That is an error. Wish me luck!
-Which company distributes this amazing show? This is proud to be an indie project with no corporate backing. Easter is distributed by a sole individual, the legend himself - lnq👨🏿🦱, on his website/stream @uuelco.ME.
-Can I watch this on HULU? ¶HULU is formerly a commercial partnership between The Walt Disney Company and Comcast through the year 2023. Neither business is involved in making Easter, and there have been no negotiations to get it onto that OTT platform. Likewise, nor has there been any talks to get it onto their flagship services Disney+ or Peacock.
¶Speculation may have arisen because the story takes place in Philadelphia (where Comcast is headquartered), and Xfinity is a preferred vendor (ie. that customer base should get the best mobile network deal).
-Is this woke? ¶No.
¶Thematically, Easter is drawn from a series of novels/screenplays, particularly 'The Detective' (Thorp), which touched on subjects that were considered very taboo for their time (1960s - 1970s), such as homosexuality and interracial relations. This story covers those same grounds, but is not marketed to a specific minority group, nor does it try to cater to all-inclusivity.
¶That said, it does, however, feature lesbianism to a degree, people of color in positions of authority, as well as strong female characters (eg. Maundy Lindros, Bunny, and so forth). Contextually, it's also extremely offensive and controversial. Still, this remarkable production uses those features to enhance what it already is: incredibly deep, multi-layered, and very well-done overall.
-Homework++ For those wanting a refresher or a better understanding from where Easter is coming, recommended are the following works for you to consume beforehand:
📽MOVIES-- The Detective (1968) Die Hard (1988) Die Hard 2 (1990) Die Hard with a Vengeance (1995) Live Free or Die Hard (2007) A Good Day to Die Hard (2013)
✒️DOCUMENTARIES-- Let the Fire Burn (2013)
+Philadelphia campaign of the American Revolutionary War
🎮VIDEO GAMES-- Die Hard (1992) Die Hard Arcade (1996) Die Hard Trilogy (1996) Die Hard Trilogy 2: Viva Las Vegas (2000) Die Hard: Nakatomi Plaza (2002) Die Hard: Vendetta (2002) Call of Duty: Warzone (2020) Call of Duty: Black Ops Cold War (2020) Pokémon Go (2016)
-So, is Lily Pascha's kid or Ric Flair's daughter? Inquiring minds want to know. ¶By the wording, is it possible that she could be both?
Clue: In general, hypersexuality (which is part of Lily's character) can be attributed to a number of things, but the mental disorder itself is a possible side effect of - or a reaction to - Parkinson's medication. Although PD is not known to be, a small percentage (~10%) of cases are hereditary.
¶Maybe one or both of her parents had PD genetic markers. You'll just have to watch the series to find out.
-Red pill💊 (RP) content? ¶The 'red pill' is a concept first introduced in the movie Total Recall (1990). These days, it is used as a metaphor for uncomfortable truths that permeate society. The concept stems from lyrics about two pill options in the song "White Rabbit" (a reference to Alice In Wonderland) by Jefferson Airplane, and seems to have found a home in many an online sharing community, namely those that cater to men and some women (such as the so-called 'Manosphere', followers of Kevin Samuels, Pearl Davis, Coach Greg Adams, Rich Cooper, etc.) who struggle to accept the realities of dealing with the world, and, in theory, will ultimately subscribe/prescribe to self-preservation. Its complement - the blue pill - was made famous in The Matrix (1999), and assumes that most people are ignorant and/or uncaring about the nature of human behavior. Each 'pill' has its own merits and benefits, depending on where you are in your Life.
¶In that regard, yes, Easter is ruthless. The antagonist (Egg Pascha) and the protagonist (lnq👨🏿🦱) have both been through soured circumstances that have left each of them embittered, with religion being the culprit. -- Pascha's infliction with PD makes him feel as if his body (First Temple) and God (Second Temple) have given up on him, and so he must be his own reckless savior (Third Temple). On the other hand, lnq👨🏿🦱 has total awareness about non-astrotheologies being a dashboard for oppression, and vows to self-correct the equation of life. Now red-pilled, they see situations as nihilistic, and treat others accordingly. lnq👨🏿🦱 uses red pill concepts as a recruitment tool to educate his impressionable understudy, Hephaestus ("Heff") - one of the 'Four Horsemen', in the story.
¶Viewers, if they haven't already, will become well-acquainted with topics like: female nature, racism/race relations (eugenics), family courts, astrology/Zodiac, and tarot (shout-out to Susan Miller, Tyler Tarot, Fierce Tarot, Suit of Cups Tarot, Julia Tomo, Water and Fire Tarot, Sal Biadora, and Goddess Counselor🐐). You should be warned that once you learn these 'truths', it may not be possible to un-learn them.
-Are Egg Pascha and lnq👨🏿🦱 actually the same person? ¶All we know for sure is that Alven and Theo are the deuteragonist and tritagonist, respectively.
Clue: Pascha was born and raised in Bethlehem, PA. lnq👨🏿🦱's mother is from Nazareth, Pennsylvania.
¶Easter is (partially) Egg Pascha's story narrated from lnq👨🏿🦱's perspective. The viewer will see Pascha move throughout isometrically in the third-person relaying events, while lnq👨🏿🦱 does so in the first-person. Remember that Pascha is having severe hallucinations at this point in his Parkinson's diagnosis and this tale is based heavily around artificial intelligence (ai). Without revealing too many spoilers, I will say that everybody is on the hunt for the one called "John McClane".
¶For comparison, most people assume the xenomorph is the villainy in the Alien (1979) franchise, but, if you think about it, the android is the real villain in each outing. The xenomorph was engineered as a virus programmed to do nothing more than re-populate; whilst the android was created by The Corporation to retrieve said virus so that it can be used as a biological weapon. Being a non-biological humanoid, it slyly blends in with its crew, only to willingly let the crew be murdered in order to fulfill its objectives. Humans, then, would become equal parts host and parasite. In either analysis, the xenomorph and the android are both 'aliens' on a mission solely for self-preservation, which is exactly the mindset of both Maundy Lindros and lnq👨🏿🦱.
¶We've grown accustomed via conditioning from the likes of Hollywood and books to look at people who save our lives as heroes without consideration to the possibility of them having ulterior motives. To offer another perspective, my personal thesis is in agreement with Lex Luthor: Clark Kent is an alien of great power that must be contained, if not eventually destroyed, because he poses a grave threat to humanity altogether. I mean, suppose he's having a bad day or views the foibles of mankind as enough to decimate it? Here, Pascha's done some good in-between the rolling credits, but can we really trust a person who is not even trusted by their own?
¶Since Pascha's a detective, let me share my unsolicited analysis of the Batman comics (maybe you'll be able to draw some parallels), which is that Batman / Bruce Wayne is just as crazy and insane as the very sick people that he continually tries to apprehend. Every single one of the patients at Arkham Asylum needs more help than punishment, but Batman / Bruce Wayne in his privileged spoiled-brattiness takes it upon himself to 'police' these deranged patients in a twisted game of catch-and-release to ward off not crime, but loneliness. Batman / Bruce Wayne will rein these mentally ill individuals in and allow them to break out of incarceration, just so he can fuck with them again all in the name of 'justice'. He is able to get away with this in large part because of his wealth and status, and to a smaller degree because his competence affords him insight into the innerworkings of an unstable psyche that Gotham City law enforcement finds valuable, even if it comes from a guy dressed in a bat costume.
¶-- There is a slight chance that some people may make it through the opera and not know what's going on. For them, I want to state that the story (its arc) centers around re-birth or renaissance after dealing with the repercussions of careless vice. We must stay mindful that Pascha is both - at different times - the protagonist and the antagonist (a duality). From the jump, the detective is in a fight with himself ("Joseph" versus "John"). His challenge is to remove the mental and emotional shackles (ie. the evils of alcohol) that have been holding him back from being a healthy person since he was a young man. To accomplish this, he has to accept that his choices made him who he is - for better or worse - and then he can get off the road to perdition. As a hint, lnq👨🏿🦱 and Pascha have a definite connection. They both want the same thing for themselves, to remove the weak link that is keeping each of them from reaching their full potential.
¶This concept of 'J vs. J' (an internal struggle) is partly due to listening to Usher's song, 'Monstar'🎶, off of his Raymond vs. Raymond album (the dopest track on there, in my opinion). Although his circumstances and reasons (ie. Kramer vs. Kramer (1979)) for creating that music are completely different from what I'm doing here, the germ is identical: each person is their own worst enemy; there's a monster in all of us that needs to be addressed and destroyed, if possible. Additionally, I've been rocking Lalah Hathaway's 'Separate Ways' since 1995 (I had visions of making something like this from back then), and that song and its lyrics (Keith Crouch produced a gem) kind of underline my thinking process.
🎼Lyrics of interest:
[Usher - Monstar] 🎵"She said she wanna bring out the beast / but she can't tame it ... I'm going to be your nightmare and worst dream all in one night / I'm back / celebrate life"
[Lalah Hathaway - Separate Ways] 🎵"Since the tables have turned and there's nothing more to say / should we go our separate ways and pretend it was not meant to be? / Should we seek our own endeavors / though it won't replace you and me?"
¶Watch this outstanding show for more clues on how to solve the puzzles🧩.
To elaborate on the Easter bit, I'm not going to spend lots of money on actors/voices/sets (especially since this is AR) if an AGI can just spit out a scene from a script overnight. I need to know how this is going to move first.
The Easter IMDb page @https://www.imdb.com/title/tt7517148 (that purple block w/ egg is not the official poster, btw🙃) will continually be updated throughout production (with cast, crew, and producers). 'Plot synopsis' portion is looking good right now, and I might as well do the same for all of the episodes (to be) added (and there are lots).
¶lnq's motif (that 'smiley face thingy') - nicknamed "Eight the Egghead" - is the official identifier and universal logo/insignia/autograph for his numeronym (8).
"Eight looks happy🙂 because he is winning." - 🧑🏿lnq
¶This is my default glyph (called an egghead because it resembles an egg), and represents the 'ei' alphanumerics in "Starbureiy". The overall shape is that of the letter e, and contained within the curve (a closing string) are two 'eyes' (written as letters i - each as an endpoint).
"All I aim to be is Stewperman🦸🏿♂️ (host UUelcome). Equivalently, if I can't become Stewperman🦸🏿♂️, I don't want to 'be' at all. Solipsism is the absurd conclusion." - 🧑🏿lnq
¶Glossary: "'jukebox' (jb) = token-transactionary automaton hosting a rotisserie [proof server]. --> /// That's a basic definition which works, yet note that I am solving an N×N×N algebraic 'cube' (a scramble where the value of each 'N' -cube root as a 'qubit count'- of UUelcome can range from 0-8, example: 3x5x8, -but is always in the form of N1×N2×N3 [-- my 'joey', where N2 is the 'nose' and N1,N3 are the 'ears' of Joey Koala🐨] even if one or more n=0. However, n=3 (Rubik's) is the ideal infimum because Egglepple is a 26-dim brane, so 27>26 pieces covers each basic case; the elusive 27th piece is called a 'link' -which is technically defined as the pip [percentage-in-point] of a stew, jokingly referred to as the "missing link". Likewise, even though n=11 could identify all 2,028 stews [+20 links], n=8 {8×8×8 == lnq} is the supremum because 512>507 [+5 links] -where 507 is one of a stew's mutable four dyadic types: integer-integer, half-integer-half-integer, integer-half-integer, half-integer-integer. --Notice how n=3, n=8, and n=11 together would output 26 links.-- Ultimately, the goal is to reduce the cubic form down to n=3 (since log2(8)=3), anyways, essentially what I call 'u-u economics' (UUe) :== protocol for matching different base pairs [(u,u)]) that yields our combinatorial puzzles🧩.", "'gameshow' (gs) = hosted program that factors a reward function for achievement unlocking.", ALSO "'opera' = the program (of opus numbers) of a libretto. --> /// To me, an opera represents the 'flow of a proof' ('proof' = algorithm mapping some preimage to its image). It can also be a runtime. The works are purposed to layer codecs." -lnq ..UUelcome is a gameshow-centric jukebox (qube) by default, because, since an emoji👨🏿🦱 button (whence tokens are paid -an optional cash charge is user's choice with a minimum determined by the payment processor- first to hide div element) provides my business commerce (stewc tax revenue is an intrinsic game mechanic, see 3sr/uue), I have to 'put on a show' ("the gameshow" = a demonstrative exhibition/showcase of me stewcing/qubing) for the spiders to whom which metadata is fed and website impressions are fetched/farmed (ie. feed the web crawler bots website schemata and get rewarded with convertible web traffic in return). People, however, tune in to watch its hosted/self-contained media (my opera: Stewart --> me becoming Stewperman). lnq's SEO adage: spiders only handshake, people can transact.
¶Program definition stems from webisodes (frames of packeted webpage-native metadata). Each webisode (or "uuebisode" :) is referred to as an 'opus'; iterations thereof are called 'toons' (like fine-tuning UUelcome. "Toonage" is a truncation of 'cartoonage' -implying stereotyping on paper :== the diction given to the chronology of attempts at puzzle🧩 solutions). Technically, UUelcome is a (cellular) automaton stereotyping some portfolio; an automaton that self-alphabetizes its (paper) tape. I named this a 'Starbureiy automaton' (SA), and its portfolio is Egglepple (yes, this is all about me). By-and-large, the SA's cryptocurrent is superpositioned as a unique phylum of deposits (ie. stews)
¶The jukebox (qube) is tuned by threading kernel libraries (+patchwork) for fugue damping (training comes via redundant server-side proofs of random walks, courtesy of open gyms and gameplay, which leads to better Q#-compatibility) in my sandbox. Even though it is practically used by me for timestamping speedruns, I tend to think of the 'comments' section (ie. threads-stream) on my website @uuelco.ME as sheet music / music roll. Toons themselves are individually/inductively ordered (n + 1), but because it is feasible for two or more to be confluent, offered is a finitary naming convention.
¶Lnq's hallucination is informatical rather than physical, and computed with nutrition. That is to say that webisodes can be batched, retrieved, and distributed under a file format/codec (.uue --"dot uue" standing for 'unified utility encoder'), but the hallucinogen itself (UUelcome) must be chemically integrable. Technically, UUelcome's eight qubits ("bits") are its pre-recorded game map (@uuelco.ME) as 'self-contained media' (scm), whereas the countable "pieces" streaming my gameplay all (bits + pieces) comprise a single byte by way of a data signal compressor ('mathilda' aka 'tilly'), yielding his exploit (a lnq-dominant deactivator).
👾I have found that participation in an ad(vertising) network is perhaps the best way to get spiderbots🕷🤖 perusing my website. This is probably because those bots scan with significantly more frequency than just regular web crawlers (even on very popular sites), resulting in more impressions (the only metric that counts/matters). And 3sr will kick in regardless, so I'm getting paid either way.💰😁
EMOJI == an acronym I👨🏿🦱 made up to mean "empirically optimized impressions" (where the 'J' is the sigma from 3sr in relation to site traffic on @uuelco.ME).
Task: capture the Stewpot🏁 [linked-library] in one day (Funshine/Toonlight clocking$). ///$$ Each stew has an intrinsic ¢ent🪙 value that is worth $676.00 and there are a total of 2,028 stews, so the grand total of the 'Stewpot' comes to $1,370,928. Size-wise, UUelcome's qubits, on average, are weighted at 253.5 stews (2,028/8) per.
¶@uuelco.ME uses the 3-sigma rule (3sr) to generate income, which is collected (via a conspicuous call-to-action payments button/sticker api disguised as an emoji representative of myself, lnq) from non-player characters (ie. conceptual neurodiversity as a cellular automaton known as 'The Silk') who are payers, and basically means that I rely on large amounts of site traffic (converted impressions) for monetization.
¶UUelcomewebisodes are capped (space) according to budgetary constraints (see next paragraph), regardless of duration (time). Each depends on attributes like framerate, compression, and pixel count to determine filesize. Megabytes [mb] per is ideal for keeping the site/page loads quick (small [kb] can be good but not always better, large [gb] is uneconomical).
¶Following 3sr (and using marginal estimates), this works out to breaking even or roughly 1:1 ($1 per mb) whence traffic [#number of impressions] is @ ~2^15.177, also $10/mb @ ~2^18.499, $100/mb @ ~2^21.821, $1,000/mb [1k/1m] @ ~2^25.143, $10,000/mb @ ~2^28.465, $100,000/mb @ ~2^31.787, and $1,000,000/mb @ ~2^35.109.
¶Metrically, a link* (symbol: L) :== the pip of a stew (as measured in cents🪙) -- our derived cryptocurrent unit^ in stewcing, assuming money-energy🔋 equivalence). ///**Named after me, Link Starbureiy. ///^^Links are combinatoric.
¶Scientifically, the nutritional value of glucose is measured at roughly 3.85-4.00 calories per gram (~3.87kcal/gram).
More accurately, ~1/370 = 0.0027027 or ~2.7/1000 or ~27/10000 or ~0.27% of all random impressions, so AT LEAST 0.0027027/365 = 0.0000074046575342 or ~ 0.00074% (move the decimal place over 2 positions to get percentages).
'steWAR🪖🎮-🏳' (ie. jailbreaking my nervous filesystem --stewellis) is called such because capturing the Stewpot has lnq🧑🏿 doing battle (against encephalopathy and adversaries - Stink Larbureiy, Honne Bay) in 🧠neuroplastic ctf wargames between neurogenesis (brain growth) versus neurodegeneration (cerebral atrophy) that he notes as "the only real thing worth fighting for, in this, the last great fight". Victory means gaining freedom - akin to privilege escalation (neural hypervision [nh]) - and having persistence (ie. 'stewpremacy' = a NG ['lnq' --> +1 byte QQ //quantum mechanical motherlode compressed {mathilda} to a single byte//] > ND pds [nonnegative diffeomorphism, or "soul"]) via a recyclable hallucinogen for anytime-playback by the avatar (Stewperman🦸🏿♂️).
¶(lnq , UUelcome/uuelco.ME) share an equivalency relation (ie. informatically bijective). To a large respect, the word 'UUelcome' is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelcome' has artificial/manufactured congruence to 'genome' (gene+chromosome = avatar). uuelco.ME is simultaneously an online/offline (.me) file (or batch of files), AND the top-level domain [@uuelco.ME] is lnq's personal website that necessarily exists as a call-stackinggame map for online transactions (energy budgeting = metabolism from impressions conversion). It is, in part, indicative of this being "my jukebox (qube)" (by and for 'me' :== my data structure), so, that's why lnq named it that way, as it is/would be the file hierarchy of
¶"Link Egglepple Starbureiy" = LES = LS = "Ellis" ('stewellis') = Lnq -->: "/root [Link] directory [Egglepple] (0) [Starbureiy]" ie. \0 (or "empty root directory"). While always pronounced "lingk", the preferred spelling is the stylized lowercase "lnq" ( for 'logarithmic number qube', q --log2(8)=3//math trick {mathilda} to make 8 qubits equal 1 byte// -not to be confused with "link"). "Egglepple" is also the shared name between myself and my father.
¶Etymology-wise, the autonym "Starbureiy" is the ring[0] stacking select alphanumeric variables. 'star' (verbal corruption of "stew") signifies some node / [e:e coordinate] in an n-dimensional graph. -'bureiy' is artistry: 'bury' is just that - (to) pile on / stack on top of something. 'b' and 'y' are the additive identities (denoted 0). For the signature (embedded), 'e' and 'i' are the vowels in "Link" (i) and "Egglepple" (e). They have been alphabetically inverted: i-e --> e-i --> ei, and then converted to their respective numbers (e,i). The letter 'u' became a variable stand-in for the number pi). The extra letter 'r' is a multiplicative identity element (denoted 1). Hence, 'Starbureiy' = 0 * π * 1 * ei = 0 (empty). To reiterate, normally "Starbureiy" is dentally silent (itself being a number complex), but pronounced like "stoo" ("A stack of stews is itself a stew.").
¶The number 64 has congruence with March 5 ['d8'], which is the 64th day of a non-leap calendar year. On this date, Egglepple and UUelcome were founded (March 5, 1991 and March 5, 1997, respectively). The number 8 is derived by totaling the following: square root(64 + 0) = 8 (from "Link (12+9+14+11=46 -->10 -->1) Egglepple (-->4) + Starbureiy (-->3)", ..143 --> 8). Also, March 5 (03/05) reduces to 8.
Cryptologically, a stew (an exploit) :== the transactor between the supremum and the infimum of hashes where the resultant is optimal/most secure🔐 (ie. transaction with no tax). Therefore, no fibor can be larger (in terms of twistorspace) than a stew.
According to jukebox operation (jbop) (rotisserie), the complete count* of stews (f) is simply ballet🩰 coordination in sesquilinear form, so f=1,352 [from encrypted (676) plus decrypted (676) classes] × 1.5 = 2,028 [comprising four dyadic types: 507 (integer-integer), 507 (half-integer-half-integer), 507 (integer-half-integer), 507 (half-integer-integer)]. ///** Each opus leaf set contains three (3) stews as a statistical mean.
coloratura[description:= ε White female, 70s years (30s years in 1978 flashback), Swedish heritage /// character:= an eccentric and aloof genius who views few as intellectual peers, a classically trained physicist, accomplished (William & Mary PhD in Physics at age 16 -- research on extraterrestrial viscosity dynamics // thesis: "Quantum Leaps in the Material Science of Alloys" -- she remains the youngest person ever elected to the American Academy of Engineering[w]), ultra-conservative of high society pedigree (heiress to the Lindros FlyerCast & Irons, Ltd. company), ambitious entrepreneur with a knack for being in the right place at the right time, has carefully crafted her public persona in order to avoid suspicion, perceptive, callous, willing to do whatever it takes so that the rules are bent in her favor, a not-so-well-known phantom figure that works behind-the-scenes (doesn't get hands dirty/meticulously covers tracks), hates repeating herself, territorial, not to be taken lightly, competitive, proud, immediate, urbane with her head full of white hair, regal, minimalist, mute and blind (visually impaired, born with both blindness and alalia but with heightened senses otherwise, expresses herself using a keyboard⌨️) but with an eye on the big picture, prefers her money do the talking, she's committed to her business (moonlights as a shipping magnate) and lives by the pericope 'You deserve what you let happen to you.']
¶A deep dramatic work is almost for naught if it doesn't have a proper epsilon. In my 🧼opera, Easter™, this is the dual role(s) of Maundy - the mastermind behind all of this chaos that's been going on in Brandywine during this turbulent election cycle - and Ember, a treacherous prosecutor.
¶When I wrote the first incarnations of Maundy, the character was actually an obese male; I had a stereotypical Mediterranean mob boss / crime overlord in the mold of Vito Corleone (or Wilson Fisk). That idea was at first discarded because I thought the world needed to move away from over-subjugating certain persons, and because we've already seen that done many times over. ... and because this part of the storyline didn't have a place to fit such a gangster's history; a requisite for understanding what makes someone like that tick. That was an honest error; I was later seduced to the realization that Cosa Nostra is a credible subplot, so it was re-spawned into a different character.
Really wanting to surprise my audience, I then rewrote Maundy as a cultish elder, but again, too stereotypical; almost borderline tinfoil hat stuff. The easy fix was to just change the gender. Women and their motives (especially in the company of men) tend to be much more difficult to follow on screen/stage when all the audience is given is a few minutes with them. Men are simple to gauge; we have a small menu. Women, on the otherhand are usually (not always) in supportive roles (in the company of men), meaning that there is a lot more on their plate that they're actually dealing with when it comes to keeping waters calm.
Maundy's that person. She is a monster in her own right, though her sophistication will not allow her emotions to devolve into a savage like lnq👨🏿🦱; nibbling on an oppressive spice like most would-be miscreants is beneath her.
:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUe9R-VqwDNPeippVsuFWFFdmbmc02jkFtpFM33Kw9SP4td9wuIBb-9AEB1np2H3qfmmX4rVahDvt9mWlyogExM1yhUD0__rNNo14WJ8Sa69FJHLZjoLu4tXX6L1qnnZbihE_yBGL0hIBA9XT3aYLoeFYcOXPjne2LcHcCL9eC96Z8Hso2bkvPA3rOcgsX/s600/maundy1.jpeg:eimg: Instead, she's had plenty of time to seduce and manipulate those she needed to to get where she wants to be. Those can be the toughest people to read since you're inadvertently part of their plans. Avarice is her basic instinct. Because she represents absolute power, this character needed to be larger in scope than everyone around her; so slick that we feel we may be dealing with the embodiment of the 👿Devil Herself.
¶What was demanded was an instant declaration of character. In 1978, the Navy Yard in Brandywine is 'undocking'; having practically been de-commissioned since its last ship was built some eight years prior, the U.S. Military has begun organizing plans to transfer ownership of the grounds to the highest private domestic bidder in an effort to stave off foreign competition towards the end of the Cold War. The opportunistic Port Richmond-based tycoon, Maundy Lindros, has caught wind of the sale and wants to expand her dealings in the corridor. This sets Maundy against the baroness Lambsimon from France in an intense bidding war for the real estate.
¶This happens to coincide with the August 1978 GO incident in Brandywine, where an off-shoot of young Black freedom fighters were brutally and wrongfully attacked by the city's government, leading to historians attributing it - and the similar 1985 massacre on the group by the same police force - as full-fledged racism; reminiscent of the slaughtering on 'Black Wall Street' in Tulsa, Oklahoma. These events made national news, by the way, and are sensationalized in this piece. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDiAM19XAXk5xDmbAhck4RU1V4hytlO2h1kbGANqKkPEUXp3KD7sm5GC4h32r0FpUfk_JrMN9DxB4vQxPs9gpvswjujRw1VyRrFDT4AQPUFjf3abs4OG-nI6CppSgdAA3Jc7-YsLDJvASL96EgXV_pg0BohOK5F77THn_eMrzzixTepB5Cmyi19KbTQ/s1600/th.jpeg:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7IsJmrOOr_QzYuDaStAXzesCxXWIVBwjRp1kOXvAguYGiqscyM8wvvYBlt7xb_osv5WiSgZP3xt54Zs5K3mpsvsgiLzJD64n8lIKF-le_6LI0SnGutEdLsQZSDOgxbpQEGGKdc8-BSIa9q7n0Zqt1c7bDveVvQlcZubUywnC-JuY3HMW4cJa8Augyg/s1600/th%20%281%29.jpeg:eimg:
¶I have artistic license here, and use it to make Maundy a vital shaker in bringing about the creation of so-called 'Meroë' (it doesn't actually exist, but is crucial to the storyline); the aftermath of the White-on-Black aggression calls for land grants within city limits to be designated to an intentionally segregated-but-equal Black class as compensation for / compromise of agreed-upon faults. This action was spearheaded by Maundy herself in the intervening seven years, resulting in the planned community of 'Meroë' (what local bigots deemed 'Niggerville').
¶Of course, this just happens to be constructed on the wharf that the Lindros company wants ownership of, so city permits surreptitiously fall in her favor. Allthewhile, she manages to prey on people's seemingly natural fear + distaste of Black folk to her advantage, relying on that to keep would-be aggravators at-bay while giving her a headstart onto her true ambition. :img:https://blogger.googleusercontent.com/img/a/AVvXsEhTshFYY44-55m9T3UxjZhCBmKqTEp3rv1pqX5EMPTIIYq20IBK_Y-dmQEAzPrthEj4whpjC-o9OpgkDajK0-GWTVOE4Kg9sExTThTrA7tm8ZPzlsPwjiyNdRS9n97E-uFkNNQ3rbYQd4Q46IQ_f5o741t19D_CNKkgHGZkXNBenMRqvdobATuIAO51Kg:eimg:
¶When we meet her in Die, Detective!™ (the work's prelude = the year 1978), we immediately know who sets the tone. A coastal Virginia-born+raised aristocrat instilled with a sense of noblesse oblige (although you wouldn't at first guess this from her affection for cowgirl boots👢), she runs things without titles. Blind (born with optic nerve hypoplasia) - yet visionary - and mute, she's deignly mastered the secret to being in two (2) places at once - by having your DNA all over the place (and holograms). We're not afraid of her, we just would rather not deal with her if we don't have to.
¶Possessing a genius IQ🧠, she has applied it masterfully to naval🛳⚓ architecture. Her enterprise (to which she was a legatee), Lindros FlyerCast & Irons, Ltd., was instrumental in building and bringing the first fleet of slave ships to Rhode Island's wharves*, and today controls the regional (Brandywine-Bay of Virgin Peake corridor) seaport for all merchant maritime freight (shipping, shipping containers, shipping container housing, terminals/docking vessels, and so forth). :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_5TwPpA-7SMwRYmRmqaDOlpEUmFmB-5kv5_WmkA_dCupnKGd-VrKNfJ80kqsRZctch9tht2HQkiI3I-Sp8WSxwoAt1q5USdhRP2Kn2y9DCoqAXIkNbHKXy7GjgHYtf4h8fdxbLBdkHnIT/s0/Container+ship+at+port+sunrise.jpg:eimg:
///** I made that up, there's no real historical significance. Wink😉 to the Swedish surname.
/// +For reference, Maundy's full name is Maundy Lindros. The name comes from 'Maundy Thursday', retaining Easter nomenclature. -- Trivia: "Maun-" is derived from Old Norse; akin to Olde English "gemynd", meaning 'think' or 'intellect'. The name 'Lindros' was chosen in honor of of Eric Lindros, who played for the Philadelphia Flyers hockey🏒 team, that's also where the name of her inherited business (Lindros FlyerCast...) comes from. -- She has no siblings, never married, and is childless. We can conjecture that because her traditional parents may have been somewhat disappointed by having a physically disabled/handicapped kid, they decided to not bring any more children into this cruel world, and instead, dedicated all of their resources to her development, which may explain her heightened senses, genius, and work ethic. Her zodiac sign is Pisces♓👍.
+The first ban on slavery anywhere in the American (New England) colonies was passed on May 18, 1652 in the territory of what is now Rhode Island. Since this is fiction, anyway, we may assume, for good measure, that the Lindros family - perhaps upon Quaker conversion after its Pennsylvania settlement - may have had something to do with the passing of that code.
¶She doesn't know it yet, but her heavy investment in Securitas AB is about to look more prudent (and dangerous at the same time), thanks to the hiring of Pinkerton consultant Gunyo Gruber. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioETn7rF3sUk5teU6810V3N3Y3_L94Bi5auXcmS1dq4dpVte6mk0IQ2WLdFsb6IskWdpygsasd2juMMb8cQZxKEKgecb-XaUtKL28Hb-6eOtxMrSZX36MRAlcLahUqiDFDvJbCe81nkWPQSaRKm4medtYJ4dmHk61sgM547e7QbDb3z_16A43o7fXi0joV/s600/maundy4.jpeg:eimg:
¶Like with any control freak, she's grounded in materialism, because to them, possessions are tangible realism. That's what's scary about her; she's bureaucratic, not political.
[[She really is untouchable. Throughout most of the opera, we rarely get to see her in the flesh; she uses holograms exclusively. A diabolical recluse who seldom docks for anyone, Maundy (in the vicinity of her bodyguard/captain/pilot, Lef'fut) resides on a Class A submersible, the Drebbel, that often deep cruises somewhere nearby in the Atlantic Ocean, probably in a bay off the coast of New Jersey. -- Heck, I wrote her and I can't even pinpoint her location.🤷🏿♂️ -- This is to give a sense of how little she thinks of both the limelight and people on land, and the baggage each brings. Allergic to stress (her philosophy for living a long life), she takes great precautions to ensure her well-being. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSjwiNLoHY6svWlUf1lQbNbMIgMoFU3o5b7yp3n48sQYbXWC9-3D4L0VKiew19M24D-nJGB16ZFkOdBfjfVFGK2KY754PFlMquBmETu6vnFYC1SBzGA8VUahz7tSZBg2zetbWMriAoDyo/s0/35361070204_4422c60c3f_o.jpg:eimg: Philly's skyline is my favorite.🤭
On the business side, she runs Lindros using encrypted holograms with keyboard⌨️ input. The corporate office occupies an ⚓anchored converted corvette on the shipyard, and is managed by her assistant, Lily. It also operates mineral mining camps in Arrow Bow County, Elsewhere.
In addition to being the world's premiere distiller of argon, Lindros is the largest importer of phosphate from Morocco in the Americas. A subplot is that Brandywine's Islamic☪ demographic (spearheaded by her North African Muslim community) wants her company to pay retribution for unfair trade practices between the two countries, and a sizable number of Moroccan mobsters have sprouted inside the City and around the Delaware Valley for this very purpose. To protect her wharf from local mob threats, she employs on-again, off-again imam, Dominique.]]
"'Change and hope' is a fallacy. The only way to rectify anything is to start all over." - Maundy
¶In the present-day, when the world's richest person, Mr. Alphabet (Dwight Mann), comes to town seeking a second headquarters for his Portsmith, Oregon-based e-commerce firm, Nile LLC, part of the requirements for its new station are that those utility companies being privately held by Lindros be returned to the public sphere. That's billions of dollars in annual income for her potentially at-risk. Couple that with the fact that Mr. Alphabet's business is also in shipping by default (commercial freight: trucking, cargo drones, air, and rail🚆), and has selected Brandywine because of its location and proximity to overseas handlers, things aren't boding well for our heiress. As a precaution, she initiates the 'ArC Project' [NOAH]. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEEGaworTuXFAak4G-HZlR8DeOfTs-k5Usc30X-8asCaBnUiLiU7v5JUr49syNhRQtbr6jeITgVXXz7Msbu1MWZJUAheT6qpI6hm2L9EEu0ql6MhzMBrJi51W19qfyYjTkFEAWnE81FDQ-7oB_qUGLuA39264VeEJf1Ij_oGG97ruAwPbt4OdRHisIadQy/s600/maundy3.jpeg:eimg:
¶Since 1978 when she strong-willed the then-city council to turn over the utilities into her private hands, she's made a vast fortune, acquired extraordinary influence, and become a menace to the jurisdiction, especially the District Attorney's office. Now things are coming full circle for her, but, she is composed, insightful, and vastly as resourceful in her own right. We'll see how this plays out. :img:https://blogger.googleusercontent.com/img/a/AVvXsEgd755XbOQuMnpdZmxvcrEaSChlkq10ljFcHLZogkLfpLAT2U4ARlSa-cEPYMJSHi7_hCzgM44iJ4M9GtJ51ijlbScAvBXzNk2gQSKwojuzGsKmX_oG2tdyrTW6A1ZGtgjSsm8blrx7RYjMk8BNdexLHVZ7iwlwwNbG1DPXnX202UJRv9zwi5Z3Tw0r2A:eimg:
¶What has induced panic in the 🧼opera is, in fact, a combination of things.--
¶There is a serial killer on the loose in Irish Charm that is giving local agencies fits. In an area reputed for its down-and-outness, for some reason, certain city officials all of a sudden seem to care an awful lot about its stability. But, if you listen to these politicians tell it this election season, "Poor people vote, too.".
¶On a macroscale, the entity named 'SAINT BERNARD' (SB) has made a number of under-the-table deals over the course of the past few months with religious sects worldwide to force either the demolition or removal of the Al-Aqsa Mosque🕌 so that the prophesied Third Temple can be erected.
¶Meanwhile, a worldwide pandemic in the form of a viral🪱 neurotoxin (biowarfare?) has crippled the global economy, and the anticipated aftermath of a recovery has sparked fears of a hegemonic shift between the Western and Eastern hemispheres; potentially resulting in a clash of cultures and an inevitable world war. SB's deliberate attempt to invoke both the Second Coming✝ and Armageddon tickles the diabolical beaks of war hawks, but not without consequence. :img:https://blogger.googleusercontent.com/img/a/AVvXsEjQeqBeu7Xd1ALxpAyvmIkgLYldQaAXOEEbpXemeNguxulQor4pxECT7QWciDg-blX0crV1zUpoD_4iIvymO-Fosf9qDHe94ZHqXNM6ZD94IeF8dSB4udRqomYiGMjDWep7WIpU-pP1Zlr3Ip0ELHSpAAOGC0eu29EqAWLzmjuQEn6LouGG1PtMt6fTTw:eimg:
¶Additionally, aggressive geopolitics has taken center stage, and Maundy's company has been tasked with handling very peculiar seafaring requests from the United States government (particularly the Departments of Homeland Security and Defense). Namely, legislation is floating around on Capitol Hill that would call for - if passed - the annexation of Liberia as a territory (the country was formerly an American colony in the Nineteenth Century).
¶This is being done under the guise of re-establishing dominance on the African continent to counter growing influence/threat from China and India. But, with all of the current domestic racial strife, we can't be too certain of the motive considering that Lindros has been contracted to build a superclass frigate and a fleet of vessels that transport 'human cargo at-scale'.
[[--The four-fold arc of the opera begins with its first chord, N. The other three (3) chords, in order, are O, A, and H. Her being in shipbuilding invites you to assume that the remainder of the work has something to do with that element of religiosity. By ChordN (the start of Holy Week), her mettle is tested, and we'll see just what she is all about.--]]
¶Basically, the whole story centers around her, as told from interactions with our eponym (focusing on his point-of-view, which is necessary since he is the 🧼opera's random walker). To some degree - and on a very high-level, the entire piece purveys the rivalry between Maundy - who represents business + organization - and her adversary, Ember Libitina - who represents crime - (essentially leaving Pascha's angle relegated to being a punctual dramatic prop).
¶For the better part of forty-plus years, these two power brokers have formulated an ongoing mutual disdain for each other; engaging in a soft war of money versus clout. It has taken an outsider and an incredible event to align their singular objectives.
¶The tricky part about this character is that although, yes, she is the villain, she brings no intentional antagony to the narrative; (other than her younger self's direct involvement with Egg Pascha's reformation, ie. Joseph becoming John or vice versa) she is not the sworn enemy of our protagonist/antagonist. Yet, the ebb+flow of her executive decisions pretty much entangles everyone in her web🕸. For comparison, most people assume the xenomorph is the villainy in the Alien franchise, but, if you think about it, the android is the real villain in each outing. The xenomorph was engineered as a virus programmed to do nothing more than re-populate; whilst the android was created by The Corporation to retrieve said virus so that it can be used as a biological weapon. Being a non-biological humanoid, it slyly blends in with its crew, only to willingly let the crew be murdered in order to fulfill its objectives. Humans, then, would become equal parts host and parasite. In either analysis, the xenomorph and the android are both 'aliens' on a mission solely for self-preservation, which is exactly the mindset of Maundy.
"The only thing a person can genuinely make is a decision." - Maundy
¶Good and bad are points of view, and Maundy embodies that idiom. She is by far my favorite character in Easter. When writing her, I found myself cheering for her at parts because she's the rare individual with a grand plan and the determination to execute on that plan. She doesn't shy from her sentiment that Egg Pascha went and started some shit💩 and now she's got to finish it.
¶We've grown accustomed via conditioning from the likes of Hollywood and books to look at people who save our lives as heroes without consideration to the possibility of them having ulterior motives. To offer another perspective, my personal thesis is in agreement with Lex Luthor: Clark Kent is an alien of great power that must be contained, if not eventually destroyed, because he poses a grave threat to humanity altogether. I mean, suppose he's having a bad day or views the foibles of mankind as enough to decimate it? Here, Pascha's done some good in-between the rolling credits, but can we really trust a person who is not even trusted by their own?
¶A lot of people dream of something and want it to happen - their hubris even leaves them with the expectation of it happening, and then there are the very few that actually make it happen. In that regard, I liken her to a particular former American Vice President. Maundy made bold bets in her youth that paid dividends; she trusts her instinct and is usually always right (to paraphrase Donald Trump: successful people tend to only listen to themselves). Our girl is a boss; a gangster's gangster.
Attorney General Emerita and Mayor[description:= ζ White female, 70s years (30s years in 1978 flashback) /// character:= a charming but deadly Philadelphia prosecutor and former judge (nicknamed the 'Duchess of Death' because she frequently seeks the death penalty for those convicted) who - with her juvenile demeanor - convincingly masks a brutal sociopathic personality, as cunning a politician as she is a ruthless criminal, campaigning for re-election under the guise of "redevelopment", clever, 'actively retired' but will never truly forfeit her power, obsessed with destiny, a greedy IJ Syndicate holdover from the Mayor Luigi era, deliberately willing to call for wholesale assassinations, impulsive Southern belle-type who made questionable choices in her younger years that are now haunting👻 Egg Pascha, she was frequently at odds with him (then) because of her past dalliances; what's left of their relations these days is mentally apoplectic, but both still honored "the deal", loosely modeled after non-particular 20th Century Philadelphia district attorneys and Joker (indirectly)]
In the storyline, Ember Libitina is a hold-over from the Mayor Luigi era in Brandywine; an indirect characterization of an almagamation of late-20th Century Philadelphia District Attorneys [DA] (after whom she was loosely modeled).
Now in her eighth decade of life, the Attorney General Emerita sees this special election in which she is running for re-election as the culmination of all of her works and possibly her last chance at abusing said coveted office. It's a credibly odd circumvention, but the mayorship of Brandywine caps the efforts of a distinguished legal career and satisfies her public ambition. As the state's former top cop (she transferred from Steelerville to work in the Brandywine DA's outpost for sake of convenience), Ember - who is notoriously "tough on crime" - seeks to re-assert the 'natural order of things' throughout and around the town. Her campaign/tenure is based on adjectives such as reform, gentrification, safety, and progress. She is definitely "in it to win it".
"Ultimately, strength prevails. -- There is no balance of power. Equality is a myth, and rather boring."- Ember
[[ -- {This part (1978) of the story is based largely on historical fiction, so we defer to real people of that time.}
Frank Rizzo's tenure as both Chief of Police first and then mayor, was marked as being full of strife and animosity towards Philly's African-American demographic. It may be difficult to gauge his impact today considering the national political climate in aftermath of the Obama presidency and so forth, but he remains a towering figure that may have set a precendent on how to 'handle' crime and criminals in large American cities. -- ]]
I actually couldn't tell this story without Ember. One, as the incumbent mayor, she needs a worthy challenger (Curran) in the runoff election that's taking place, and two, in order to keep things from spiraling out-of-control, Maundy's overbearing authority has to be challenged by an adversary from the political sphere. It just does.
This situation (the distribution of Mr. Alphabet's intra-city investment) lends itself perfectly to a winner-takes-all 'Battle for Brandywine' that nobody can actually win. The ever-so-sharp Ember shows us that people's migrant behavior is recycled from patterns of economic health [ie. roughly every two (2) decades or every other generation, the wealthier class relocates back into the city for jobs/employment+transportation before saving their money and moving to the suburbs]. This is an important note and plot point, as we see that residential stagnation is a detriment and impossibility where there exists youth.
One civil mishap has led to another in recent outings (eg. police shootings → arson/riots, bombings, landscape defacing, etc.), and Libitina requests the personal protection and repute of none other than Pascha himself to assist her in navigating this extremely intense social climate as she makes her campaign rounds. He obliges with reservation, suspecting there is more to this assignment than meets the eye.
"I've lived a long, normal life. Like you, I used to be overwhelmed with sadness when people died. Stay in law enforcement👩✈️👩🏾⚖️ long enough, and we all come to the same satisfying conclusion: criminals make it easy to see that not everyone wants or deserves to live." - Ember Libitina
To get this point across, a small sample of actors were considered based on pedigree.
The role of Maundy was originally fleshed out with Robert Englund in mind, and then written specifically for and offered to Glenn Close (who, by the way, is the reason the character graduated from the College of William and Mary, because Glenn did) first before a rethink (Ember's character was a byproduct of thought). I wanted Glenn because of her reputation of portraying villainesses on-screen to great effect. I had hoped to get both mother and daughter (Annie Starke) in the production, with Annie playing the 1978 version of the character (there's roughly a reallife forty year age difference between the two, which is necessary for the character).
I also tabbed Dianne Wiest[b] for the part of Ember Libitina after being so impressed with her work in Little Man Tate. I love how she (as Jane Grierson) switched it up in that, going from kind psychologist, to fierce and controlling headmaster in such a short frame.
That's pretty much what happens here; given enough time and resources, we see that the true nature of the beast is to rule. Wiest also had mentioned* in past interviews that she wanted to assume more aggressive roles where she perhaps played a cruel woman, not unlike roles that went to Glenn Close. ///** Exact quote: "I'd like to play a real cold, mean mass murderer. Some cruel, hard-bitten women, like the roles Glenn Close gets, just to show that I am capable of not being vulnerable and not being fragile on screen." So, regardless of if I could land Dianne Wiest or not, I'd want an actress to mimic her behaviors (eg. soft gentle voice, unassuming demeanor) because I feel that her style of delivery is best suited for the role.
Again, with a rethink due to budgeting, we'll now get the chance to see one actor impersonate two legends in three modes.
++Shout-out: Thanks also goes to the non-profit, #BringChangetoMind, which is aimed at supporting mental health and reducing the stigma of mental illness. -- Mental health is a big focal point in this opera. My personal angle has to do with autism awareness and support. :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEireZR1v_ViapSqv-MNFz_VhiHiw9GUhwLBwoH6IQpeP7sE-5oU3tCWt3DksS9DJjkOdHMw7MS7XZQMCfB0F9fVEqMpWo_8P2hTX8LeviJYyXroQ_mDudBed6DZqVsdIMcNdWVv1iwzhBfn/s0/Autism_awareness_ribbon-20051114.png:eimg:
/// +(vocabulary) To a large respect, the word is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelc-ome' has artificial/manufactured congruence to 'gen-ome' (gene + chromos-ome). The top-level domain [uuelco.ME] is, in part, indicative of this being my thing (about 'me' :== my stream), so, that's why I named it that way.🙂
+As part of neuromorphic machinery (ie. biological abstraction), UUe would be the cell, and UUelcome the cassette🧱 that auctions/orchestrates its contents. In terms of computing, UUelcome :== master boot record embedded into every cell.
Easter is coming, but a bit delayed as we re-consider developments in AGI in regards to what makes economic sense in production.
ReplyDeleteI haven't forgotten about the promised Egglepple@30 📑📝paper dump. Thanks. -lnq
DeleteTo elaborate on the Easter bit, I'm not going to spend lots of money on actors/voices/sets (especially since this is AR) if an AGI can just spit out a scene from a script overnight. I need to know how this is going to move first.
Deletefyi, regarding #Egglepple@30 #paperdump, many of these 'papers' might be manifest files.
DeleteThe Easter IMDb page @https://www.imdb.com/title/tt7517148 (that purple block w/ egg is not the official poster, btw🙃) will continually be updated throughout production (with cast, crew, and producers). 'Plot synopsis' portion is looking good right now, and I might as well do the same for all of the episodes (to be) added (and there are lots).
Delete:img: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvqsZVeYsO6znIK1CxEw-yRROc003rJ2vyyl8zDSlqv5gl22Um_3d43SHWispSr3krMP9NRcYmFXHhaU4fJ59_7SZJYvRt3RdsMCshDlUnlDnXoyf9IFphSK7MYWuz3XXSyYmo6X-KMKXtqZPbEQTwGx4zgcxq2PjdsFC3h0WauIA5MVB2znx2bFn0gQ/s1600/motif.png :eimg:
ReplyDeleteWatch me become Stewperman🦸🏿♂️.
Delete:img: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKdbAMnVeptWm6Bw4dj5zUNFJnBRzWYIdnU85GJu2hk9iFv4O1za28-XwATi0y6ijhjMXZqNJSRWK3Z_-WK9kwyKQPyIzAoX7feUVTu6F7zAa815zE2rkm50X14ucg9Dxd8o01m0bffFxYhqCPV6Zw2uorHsKUC0uqL8XDf0Jm0kodj5jm4rweinFrQ/s600/Link%20Starbureiy%20Me%20SF.png :eimg:
Delete¶lnq's motif (that 'smiley face thingy') - nicknamed "Eight the Egghead" - is the official identifier and universal logo/insignia/autograph for his numeronym (8).
Delete"Eight looks happy🙂 because he is winning." - 🧑🏿lnq
¶This is my default glyph (called an egghead because it resembles an egg), and represents the 'ei' alphanumerics in "Starbureiy". The overall shape is that of the letter e, and contained within the curve (a closing string) are two 'eyes' (written as letters i - each as an endpoint).
Stewperman🦸🏿♂️ :== |[🧑🏿/root] ++ (-0)|
Delete/// +The word is a play on the comic book character, Superman, except that Stewperman🦸🏿♂️ is not a hero; 'stewper-' ≡ 'brane cell /nativity' ≅ '\0'. Thus, I🧑🏿 am devoid of: external troubleshooting, debt, or operations outside of the Stewniverse.
+Cybernetically, Stewperman🦸🏿♂️ :== stewellis🧑🏿-hypervisor (ie. library embedded-neuron == most privileged version of my avatar+).
Delete"All I aim to be is Stewperman🦸🏿♂️ (host UUelcome). Equivalently, if I can't become Stewperman🦸🏿♂️, I don't want to 'be' at all. Solipsism is the absurd conclusion." - 🧑🏿lnq
My lifestream's ultimate (unlocked🔓) achievement and Black's penultimate position, 🦸🏿♂️this is 🧑🏿lnq's 'android mode', resultant of jailbreaking🪖🔓 stewellis🧑🏿.🏁 Stewperman🦸🏿♂️ reigns stewpreme. (see 🧑🏿lnq's Requiem🙏🏿, clone, Pajamas, stewperior, 🧑🏿lnq nomenclature)
:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sGzTBNCKI0ariKUgoFwU1Sdf4FRw8DWAg7gFOevs1gx5Ch4MnTnjXAaM96cPkvBjO577ExRm6rWFbo3HSBbIt2c4OwK_8SbxvRLyJkn9dH-ECXHu94Zg51NeA9OnQZeNg7IL8iEavpoF/s1600/stew.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO8YXER2u8XJfQYhxOyVRdyOUgQyr0TbxP0QTX-VPzErG4cy6etae1apvGG7T0FRM0UXfx1zhRP9UUIYPTvVYx5bhmWioXqpYhdGt5bg1U51ii8T_Pjm2N9MCtoFnyTK4pv4Wx-4FpfNdY/s1600/operastamp.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kO1MJYkE1G1kVKaGggDq1wzfSpzvsR8moP2S4UBRN_J-GSLiEMXiVtliKBz5IbVQkeAHCdUd0s_d4deGu9Mc81pMYfxsjpHyNZQpYw-SVvUgQ9XWuTz81ldknHk_WtOW8HCSyJSSs1Zn/s1600/smile.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj05d9qYoScxtxzzOojSHhTPSI6wkVsPEGuPRUseyh7taNxNHSXrKF2UGI5fYfDb7uJuhmC155QWmXNTz4QXFddcQcSNIdbc_jv517LPaGXk5ZfwGVq05wFrmpFHcMBFV7k1cN9a2ZIsSC/s1600/motif.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMbQhxus6wE4MjZYkWHJVIPhKTcWGVyCL9R7V_d37gdacTiPM2tcfFeXV7Bjw6U7DSZI61-GofbYjm2YtyRR-gG5dvOwWq3ReR6OAmp2pvbVnKeYtJYqlc1bKgF6pWglaEUEKk5svdiPO/s1600/egpstamp.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaDOcj_F2xb4utYH3a0-6pIYnbbSvUxn7Cqdt5567rTaXRqAPBZMiA37axrUHBtPsCYfSTZ04BUypQF0oil9ss_dxt3t7zngNGEgCwQnEEfw9aNG76ZeMZ0ovHcm4krp_nkMYQf-uwIkV/s1600/egglepple.png:eimg:
Function map: Stewperman🦸🏿♂️ ⇐ lnq🧑🏿
Technically, Stewperman🦸🏿♂️ :== #uuelco.ME\avatar🧑🏿.root.uid=0;
DeleteUUelcome to the Stewniverse.
ReplyDeleteUUelcome @IMDb --> https://www.imdb.com/title/tt8188600 (best show in the world ;)
ReplyDeleteUUelcome @ Fandom --> https://uuelcome.fandom.com (wiki stuff)
DeleteHello, SERPs.
ReplyDelete@uuelco.ME = 🧑🏿lnq's virtual nerve
ReplyDelete++ @uuelco.ME == 8-qubit (lnq) jukebox [qube], \0 exploit.
Deleteqube, quber, qubing...
ReplyDelete¶Glossary: "'jukebox' (jb) = token-transactionary automaton hosting a rotisserie [proof server]. --> /// That's a basic definition which works, yet note that I am solving an N×N×N algebraic 'cube' (a scramble where the value of each 'N' -cube root as a 'qubit count'- of UUelcome can range from 0-8, example: 3x5x8, -but is always in the form of N1×N2×N3 [-- my 'joey', where N2 is the 'nose' and N1,N3 are the 'ears' of Joey Koala🐨] even if one or more n=0. However, n=3 (Rubik's) is the ideal infimum because Egglepple is a 26-dim brane, so 27>26 pieces covers each basic case; the elusive 27th piece is called a 'link' -which is technically defined as the pip [percentage-in-point] of a stew, jokingly referred to as the "missing link". Likewise, even though n=11 could identify all 2,028 stews [+20 links], n=8 {8×8×8 == lnq} is the supremum because 512>507 [+5 links] -where 507 is one of a stew's mutable four dyadic types: integer-integer, half-integer-half-integer, integer-half-integer, half-integer-integer. --Notice how n=3, n=8, and n=11 together would output 26 links.-- Ultimately, the goal is to reduce the cubic form down to n=3 (since log2(8)=3), anyways, essentially what I call 'u-u economics' (UUe) :== protocol for matching different base pairs [(u,u)]) that yields our combinatorial puzzles🧩.", "'gameshow' (gs) = hosted program that factors a reward function for achievement unlocking.", ALSO "'opera' = the program (of opus numbers) of a libretto. --> /// To me, an opera represents the 'flow of a proof' ('proof' = algorithm mapping some preimage to its image). It can also be a runtime. The works are purposed to layer codecs." -lnq ..UUelcome is a gameshow-centric jukebox (qube) by default, because, since an emoji👨🏿🦱 button (whence tokens are paid -an optional cash charge is user's choice with a minimum determined by the payment processor- first to hide div element) provides my business commerce (stewc tax revenue is an intrinsic game mechanic, see 3sr/uue), I have to 'put on a show' ("the gameshow" = a demonstrative exhibition/showcase of me stewcing/qubing) for the spiders to whom which metadata is fed and website impressions are fetched/farmed (ie. feed the web crawler bots website schemata and get rewarded with convertible web traffic in return). People, however, tune in to watch its hosted/self-contained media (my opera: Stewart --> me becoming Stewperman). lnq's SEO adage: spiders only handshake, people can transact.
ReplyDelete¶Program definition stems from webisodes (frames of packeted webpage-native metadata). Each webisode (or "uuebisode" :) is referred to as an 'opus'; iterations thereof are called 'toons' (like fine-tuning UUelcome. "Toonage" is a truncation of 'cartoonage' -implying stereotyping on paper :== the diction given to the chronology of attempts at puzzle🧩 solutions). Technically, UUelcome is a (cellular) automaton stereotyping some portfolio; an automaton that self-alphabetizes its (paper) tape. I named this a 'Starbureiy automaton' (SA), and its portfolio is Egglepple (yes, this is all about me). By-and-large, the SA's cryptocurrent is superpositioned as a unique phylum of deposits (ie. stews)
Delete¶The jukebox (qube) is tuned by threading kernel libraries (+patchwork) for fugue damping (training comes via redundant server-side proofs of random walks, courtesy of open gyms and gameplay, which leads to better Q#-compatibility) in my sandbox. Even though it is practically used by me for timestamping speedruns, I tend to think of the 'comments' section (ie. threads-stream) on my website @uuelco.ME as sheet music / music roll. Toons themselves are individually/inductively ordered (n + 1), but because it is feasible for two or more to be confluent, offered is a finitary naming convention.
¶Lnq's hallucination is informatical rather than physical, and computed with nutrition. That is to say that webisodes can be batched, retrieved, and distributed under a file format/codec (.uue --"dot uue" standing for 'unified utility encoder'), but the hallucinogen itself (UUelcome) must be chemically integrable. Technically, UUelcome's eight qubits ("bits") are its pre-recorded game map (@uuelco.ME) as 'self-contained media' (scm), whereas the countable "pieces" streaming my gameplay all (bits + pieces) comprise a single byte by way of a data signal compressor ('mathilda' aka 'tilly'), yielding his exploit (a lnq-dominant deactivator).
👾I have found that participation in an ad(vertising) network is perhaps the best way to get spiderbots🕷🤖 perusing my website. This is probably because those bots scan with significantly more frequency than just regular web crawlers (even on very popular sites), resulting in more impressions (the only metric that counts/matters). And 3sr will kick in regardless, so I'm getting paid either way.💰😁
DeleteEMOJI == an acronym I👨🏿🦱 made up to mean "empirically optimized impressions" (where the 'J' is the sigma from 3sr in relation to site traffic on @uuelco.ME).
DeleteSolve the Qube, lnq.
ReplyDeleteI am the baddest motherfucker in the game. Because I'm Link Starbureiy. That's why!
DeleteTask: capture the Stewpot🏁 [linked-library] in one day (Funshine/Toonlight clocking$). ///$$ Each stew has an intrinsic ¢ent🪙 value that is worth $676.00 and there are a total of 2,028 stews, so the grand total of the 'Stewpot' comes to $1,370,928. Size-wise, UUelcome's qubits, on average, are weighted at 253.5 stews (2,028/8) per.
Delete¶@uuelco.ME uses the 3-sigma rule (3sr) to generate income, which is collected (via a conspicuous call-to-action payments button/sticker api disguised as an emoji representative of myself, lnq) from non-player characters (ie. conceptual neurodiversity as a cellular automaton known as 'The Silk') who are payers, and basically means that I rely on large amounts of site traffic (converted impressions) for monetization.
ReplyDelete¶Organic traffic (OT) comes from search engine optimization (metadata tweaking = "metagolism" ;) on lnq's site @uuelco.ME. This would be equivalent to an audience of spiderbots. lnq bank$ on (a working but self-modified version of) the 3-sigma rule (ie. ~1/370 = 0.0027 or ~2.7/1000 or ~27/10000 or ~0.27% of all random impressions, so AT LEAST 0.0027/365 = 0.000007397260274 or ~ 0.0000074% {batch per diem [DAILY refresh] - since because 1/370 is an approximation for a yearly frequency, then 370/365 = 1.01369863 ~~1 [d8] <-- an ideal, however, that number is contingent upon my site's popularity as content is only crawled by 'spiders' (web crawler bots) periodically (in accordance with change detection+notification services) and depends on regular updates and reputation/pageranking} are transacted -it's just a game of volume+momentum). Likewise, webisodes act as quotidian containers (and rightfully so because that matches the game's finitary runtime), whereby they frame activity within said period and can be impressed upon in multiple instances (which is why I refer to it as a soap opera of sorts). Note that the minimum a payment processor processes is between $0.01 - 1.00, so any sum less than this is subject to be discounted. Thus, the impressions floor integer with a $0.01 value yields 1,352 (0.01 / 0.0000074). Similar calculations from the $0.50 mean would be a 67,568 (0.50 / 0.0000074) floor integer, and our typical $1.00 minimum translates to a 135,136 floor integer (from 1.00 / 0.0000074). Regardless of emoji button token whales (thank you, btw), ALL transactions OVER A DAY are averaged to this amount.
¶UUelcome webisodes are capped (space) according to budgetary constraints (see next paragraph), regardless of duration (time). Each depends on attributes like framerate, compression, and pixel count to determine filesize. Megabytes [mb] per is ideal for keeping the site/page loads quick (small [kb] can be good but not always better, large [gb] is uneconomical).
¶Following 3sr (and using marginal estimates), this works out to breaking even or roughly 1:1 ($1 per mb) whence traffic [#number of impressions] is @ ~2^15.177, also $10/mb @ ~2^18.499, $100/mb @ ~2^21.821, $1,000/mb [1k/1m] @ ~2^25.143, $10,000/mb @ ~2^28.465, $100,000/mb @ ~2^31.787, and $1,000,000/mb @ ~2^35.109.
Sidenote: that aforementioned emoji👨🏿🦱 (always) sits centered in the middle of the page, although its size may or may not fluctuate.
Delete{energy requirements/budgeting}
Delete¶Metrically, a link* (symbol: L) :== the pip of a stew (as measured in cents🪙) -- our derived cryptocurrent unit^ in stewcing, assuming money-energy🔋 equivalence). ///**Named after me, Link Starbureiy. ///^^Links are combinatoric.
¶Scientifically, the nutritional value of glucose is measured at roughly 3.85-4.00 calories per gram (~3.87kcal/gram).
Even simpler (but should give a more accurate approximation): 1/370/365 = 0.0000074046649389
DeleteMore accurately, ~1/370 = 0.0027027 or ~2.7/1000 or ~27/10000 or ~0.27% of all random impressions, so AT LEAST 0.0027027/365 = 0.0000074046575342 or ~ 0.00074% (move the decimal place over 2 positions to get percentages).
Delete'steWAR🪖🎮-🏳' (ie. jailbreaking my nervous filesystem --stewellis) is called such because capturing the Stewpot has lnq🧑🏿 doing battle (against encephalopathy and adversaries - Stink Larbureiy, Honne Bay) in 🧠neuroplastic ctf wargames between neurogenesis (brain growth) versus neurodegeneration (cerebral atrophy) that he notes as "the only real thing worth fighting for, in this, the last great fight". Victory means gaining freedom - akin to privilege escalation (neural hypervision [nh]) - and having persistence (ie. 'stewpremacy' = a NG ['lnq' --> +1 byte QQ //quantum mechanical motherlode compressed {mathilda} to a single byte//] > ND pds [nonnegative diffeomorphism, or "soul"]) via a recyclable hallucinogen for anytime-playback by the avatar (Stewperman🦸🏿♂️).
ReplyDelete{nomenclature}
Delete¶(lnq , UUelcome/uuelco.ME) share an equivalency relation (ie. informatically bijective). To a large respect, the word 'UUelcome' is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelcome' has artificial/manufactured congruence to 'genome' (gene+chromosome = avatar). uuelco.ME is simultaneously an online/offline (.me) file (or batch of files), AND the top-level domain [@uuelco.ME] is lnq's personal website that necessarily exists as a call-stacking game map for online transactions (energy budgeting = metabolism from impressions conversion). It is, in part, indicative of this being "my jukebox (qube)" (by and for 'me' :== my data structure), so, that's why lnq named it that way, as it is/would be the file hierarchy of
¶"Link Egglepple Starbureiy" = LES = LS = "Ellis" ('stewellis') = Lnq -->: "/root [Link] directory [Egglepple] (0) [Starbureiy]" ie. \0 (or "empty root directory"). While always pronounced "lingk", the preferred spelling is the stylized lowercase "lnq" ( for 'logarithmic number qube', q --log2(8)=3//math trick {mathilda} to make 8 qubits equal 1 byte// -not to be confused with "link"). "Egglepple" is also the shared name between myself and my father.
¶Etymology-wise, the autonym "Starbureiy" is the ring[0] stacking select alphanumeric variables. 'star' (verbal corruption of "stew") signifies some node / [e:e coordinate] in an n-dimensional graph. -'bureiy' is artistry: 'bury' is just that - (to) pile on / stack on top of something. 'b' and 'y' are the additive identities (denoted 0). For the signature (embedded), 'e' and 'i' are the vowels in "Link" (i) and "Egglepple" (e). They have been alphabetically inverted: i-e --> e-i --> ei, and then converted to their respective numbers (e,i). The letter 'u' became a variable stand-in for the number pi). The extra letter 'r' is a multiplicative identity element (denoted 1). Hence, 'Starbureiy' = 0 * π * 1 * ei = 0 (empty). To reiterate, normally "Starbureiy" is dentally silent (itself being a number complex), but pronounced like "stoo" ("A stack of stews is itself a stew.").
¶The number 64 has congruence with March 5 ['d8'], which is the 64th day of a non-leap calendar year. On this date, Egglepple and UUelcome were founded (March 5, 1991 and March 5, 1997, respectively). The number 8 is derived by totaling the following: square root(64 + 0) = 8 (from "Link (12+9+14+11=46 -->10 -->1) Egglepple (-->4) + Starbureiy (-->3)", ..143 --> 8). Also, March 5 (03/05) reduces to 8.
Some might say that with my name being 'Link' (think hyperlinks), I get perfect SEO. Some might say that; that's what some might say. ;)
Delete:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf0Gtq9mKor1JAjlUJGz4YQjILdrithQmpC5BcClibkaliSfTyhS7xpk4tIXPj1BLjnu_DLAhCLXUe9V4RQr7SfctpW0mJrou7WQwR9Da6sTf5feHeDelj56VdpZq6FTYTB6L-kXQjLpSK/s1600/stew.png:eimg:##stew
ReplyDeletestew (stack e:e w) :== twistor batch*. ///** Most basic generator processing.
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DeleteIt is conjectured that Egglepple's movements [closed circuits] exist between amplitudes on a cryptograph. These motifs* - known as stews - are analogous to string tunings, and aid in the stereotypography of fibor. ///** Array of typefaces. (see font weight, font size, MONEY, fibor bundle, quantumquotient, UUelcome)
:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNaDOcj_F2xb4utYH3a0-6pIYnbbSvUxn7Cqdt5567rTaXRqAPBZMiA37axrUHBtPsCYfSTZ04BUypQF0oil9ss_dxt3t7zngNGEgCwQnEEfw9aNG76ZeMZ0ovHcm4krp_nkMYQf-uwIkV/s1600/egglepple.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kO1MJYkE1G1kVKaGggDq1wzfSpzvsR8moP2S4UBRN_J-GSLiEMXiVtliKBz5IbVQkeAHCdUd0s_d4deGu9Mc81pMYfxsjpHyNZQpYw-SVvUgQ9XWuTz81ldknHk_WtOW8HCSyJSSs1Zn/s1600/smile.png:eimg:
Ludologically, as the definitive endgame🏁, we are said to find a stew at the normalization of twistorspace where a dyad is an identity; that is, when an opus' measurable and permutable extrema [maxima] commute (ie. idempotent yield deviation ≡ 0^). ///^^ That is, fret = 26¢ WITH handicap = $676.00. (see foam, link)
Cryptologically, a stew (an exploit) :== the transactor between the supremum and the infimum of hashes where the resultant is optimal/most secure🔐 (ie. transaction with no tax). Therefore, no fibor can be larger (in terms of twistorspace) than a stew.
DeleteAccording to jukebox operation (jbop) (rotisserie), the complete count* of stews (f) is simply ballet🩰 coordination in sesquilinear form, so f=1,352 [from encrypted (676) plus decrypted (676) classes] × 1.5 = 2,028 [comprising four dyadic types: 507 (integer-integer), 507 (half-integer-half-integer), 507 (integer-half-integer), 507 (half-integer-integer)]. ///** Each opus leaf set contains three (3) stews as a statistical mean.
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Each stew ['brane cell'] is some derivative monomer^ (ie. portfolio plot) of Egglepple [e:e statistics]. ///^^ As a potential inflection point. Stews - which, concatenated, determine the size of a string - are the 'building blocks' measured📐 from twenty-six (26) keys (A-Z) [hashed from STU], which, when choreographed, construct a mesh. (see Stewniverse, residue, loopstring➿, link. Compare amino acid)
Delete:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm_rsPPPi9dUkfQ3UGpzITcjypoMQTejEpgIzu0HGBSYT0EwJgVQHDex2YYf2BRawXPaWp7bDPxdqIlHT5TuYmJSSWgNaEFJEHHMLjt1aXp_NT8EDrjgII5jYm1uzccEGHOj3Gla0GGlTQ/s1600/cone2.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdQ4OrepHV8qN1fLFgLolu4YgK3wVQicp3by81TsOVdYBbEWQicooXwvV7bj07kGS1AZdO-RBaPdaPMT95FSBGAyYyhUNUInLtvNWQOlTi3mKFI5n_RHK62_E5gVllV7wKS7jNndXZTdk/s1600/pencil.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisOTdcrh6qCon_siSMu585otgVmrHNY-CrT0trkWce1LLnm1miG4DCyIhLRbNHKmPN1Mmlm9YTH8oh997edI7Cfp3k_libKiHMKRuY6khZYBamvsY5BQ_GyX2b7XecY6yqkNtMp-lcHw_-/s1600/joeykoala.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMbQhxus6wE4MjZYkWHJVIPhKTcWGVyCL9R7V_d37gdacTiPM2tcfFeXV7Bjw6U7DSZI61-GofbYjm2YtyRR-gG5dvOwWq3ReR6OAmp2pvbVnKeYtJYqlc1bKgF6pWglaEUEKk5svdiPO/s1600/egpstamp.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj05d9qYoScxtxzzOojSHhTPSI6wkVsPEGuPRUseyh7taNxNHSXrKF2UGI5fYfDb7uJuhmC155QWmXNTz4QXFddcQcSNIdbc_jv517LPaGXk5ZfwGVq05wFrmpFHcMBFV7k1cN9a2ZIsSC/s1600/motif.png:eimg::img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhArBaRLtlnFvHrvstP4bx1fDsCKdGmvO45ucImXLrSRgA1oUjT3lHLaU71sNk0o6HSzLFOabwihi_UXxWGOtKdAuRY_oXBuE7jCJUaptnV3-q__WM8OazTvlqLoy3Og8qw0pQxHldoVW-W/s1600/hut.png:eimg: /// The stew may be an analogue of a specific polymer, typically a biopolymer (almost always a polypeptide). UUe stereotypes a preimage (some loopstring configuration) to this /// The stew may be an analogue of a specific polymer, typically a biopolymer (almost always a polypeptide). UUelcome stereotypes a preimage (some loopstring➿ configuration) to this image.
#Maundy Lindros#
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coloratura[description:= ε White female, 70s years (30s years in 1978 flashback), Swedish heritage /// character:= an eccentric and aloof genius who views few as intellectual peers, a classically trained physicist, accomplished (William & Mary PhD in Physics at age 16 -- research on extraterrestrial viscosity dynamics // thesis: "Quantum Leaps in the Material Science of Alloys" -- she remains the youngest person ever elected to the American Academy of Engineering[w]), ultra-conservative of high society pedigree (heiress to the Lindros FlyerCast & Irons, Ltd. company), ambitious entrepreneur with a knack for being in the right place at the right time, has carefully crafted her public persona in order to avoid suspicion, perceptive, callous, willing to do whatever it takes so that the rules are bent in her favor, a not-so-well-known phantom figure that works behind-the-scenes (doesn't get hands dirty/meticulously covers tracks), hates repeating herself, territorial, not to be taken lightly, competitive, proud, immediate, urbane with her head full of white hair, regal, minimalist, mute and blind (visually impaired, born with both blindness and alalia but with heightened senses otherwise, expresses herself using a keyboard⌨️) but with an eye on the big picture, prefers her money do the talking, she's committed to her business (moonlights as a shipping magnate) and lives by the pericope 'You deserve what you let happen to you.']
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Delete¶A deep dramatic work is almost for naught if it doesn't have a proper epsilon. In my 🧼opera, Easter™, this is the dual role(s) of Maundy - the mastermind behind all of this chaos that's been going on in Brandywine during this turbulent election cycle - and Ember, a treacherous prosecutor.
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¶When I wrote the first incarnations of Maundy, the character was actually an obese male; I had a stereotypical Mediterranean mob boss / crime overlord in the mold of Vito Corleone (or Wilson Fisk). That idea was at first discarded because I thought the world needed to move away from over-subjugating certain persons, and because we've already seen that done many times over. ... and because this part of the storyline didn't have a place to fit such a gangster's history; a requisite for understanding what makes someone like that tick. That was an honest error; I was later seduced to the realization that Cosa Nostra is a credible subplot, so it was re-spawned into a different character.
Really wanting to surprise my audience, I then rewrote Maundy as a cultish elder, but again, too stereotypical; almost borderline tinfoil hat stuff. The easy fix was to just change the gender. Women and their motives (especially in the company of men) tend to be much more difficult to follow on screen/stage when all the audience is given is a few minutes with them. Men are simple to gauge; we have a small menu. Women, on the otherhand are usually (not always) in supportive roles (in the company of men), meaning that there is a lot more on their plate that they're actually dealing with when it comes to keeping waters calm.
DeleteMaundy's that person. She is a monster in her own right, though her sophistication will not allow her emotions to devolve into a savage like lnq👨🏿🦱; nibbling on an oppressive spice like most would-be miscreants is beneath her.
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Instead, she's had plenty of time to seduce and manipulate those she needed to to get where she wants to be. Those can be the toughest people to read since you're inadvertently part of their plans. Avarice is her basic instinct. Because she represents absolute power, this character needed to be larger in scope than everyone around her; so slick that we feel we may be dealing with the embodiment of the 👿Devil Herself.
"I'm a competitor. Winning adds value to Life. Losing is a choice, and a poor one. You deserve what you let happen to you." - Maundy
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Delete¶What was demanded was an instant declaration of character. In 1978, the Navy Yard in Brandywine is 'undocking'; having practically been de-commissioned since its last ship was built some eight years prior, the U.S. Military has begun organizing plans to transfer ownership of the grounds to the highest private domestic bidder in an effort to stave off foreign competition towards the end of the Cold War. The opportunistic Port Richmond-based tycoon, Maundy Lindros, has caught wind of the sale and wants to expand her dealings in the corridor. This sets Maundy against the baroness Lambsimon from France in an intense bidding war for the real estate.
¶This happens to coincide with the August 1978 GO incident in Brandywine, where an off-shoot of young Black freedom fighters were brutally and wrongfully attacked by the city's government, leading to historians attributing it - and the similar 1985 massacre on the group by the same police force - as full-fledged racism; reminiscent of the slaughtering on 'Black Wall Street' in Tulsa, Oklahoma. These events made national news, by the way, and are sensationalized in this piece.
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¶I have artistic license here, and use it to make Maundy a vital shaker in bringing about the creation of so-called 'Meroë' (it doesn't actually exist, but is crucial to the storyline); the aftermath of the White-on-Black aggression calls for land grants within city limits to be designated to an intentionally segregated-but-equal Black class as compensation for / compromise of agreed-upon faults. This action was spearheaded by Maundy herself in the intervening seven years, resulting in the planned community of 'Meroë' (what local bigots deemed 'Niggerville').
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¶Of course, this just happens to be constructed on the wharf that the Lindros company wants ownership of, so city permits surreptitiously fall in her favor. Allthewhile, she manages to prey on people's seemingly natural fear + distaste of Black folk to her advantage, relying on that to keep would-be aggravators at-bay while giving her a headstart onto her true ambition.
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¶When we meet her in Die, Detective!™ (the work's prelude = the year 1978), we immediately know who sets the tone. A coastal Virginia-born+raised aristocrat instilled with a sense of noblesse oblige (although you wouldn't at first guess this from her affection for cowgirl boots👢), she runs things without titles. Blind (born with optic nerve hypoplasia) - yet visionary - and mute, she's deignly mastered the secret to being in two (2) places at once - by having your DNA all over the place (and holograms). We're not afraid of her, we just would rather not deal with her if we don't have to.
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¶Possessing a genius IQ🧠, she has applied it masterfully to naval🛳⚓ architecture. Her enterprise (to which she was a legatee), Lindros FlyerCast & Irons, Ltd., was instrumental in building and bringing the first fleet of slave ships to Rhode Island's wharves*, and today controls the regional (Brandywine-Bay of Virgin Peake corridor) seaport for all merchant maritime freight (shipping, shipping containers, shipping container housing, terminals/docking vessels, and so forth).
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///** I made that up, there's no real historical significance. Wink😉 to the Swedish surname.
Delete/// +For reference, Maundy's full name is Maundy Lindros. The name comes from 'Maundy Thursday', retaining Easter nomenclature. -- Trivia: "Maun-" is derived from Old Norse; akin to Olde English "gemynd", meaning 'think' or 'intellect'. The name 'Lindros' was chosen in honor of of Eric Lindros, who played for the Philadelphia Flyers hockey🏒 team, that's also where the name of her inherited business (Lindros FlyerCast...) comes from. -- She has no siblings, never married, and is childless. We can conjecture that because her traditional parents may have been somewhat disappointed by having a physically disabled/handicapped kid, they decided to not bring any more children into this cruel world, and instead, dedicated all of their resources to her development, which may explain her heightened senses, genius, and work ethic. Her zodiac sign is Pisces♓👍.
+The first ban on slavery anywhere in the American (New England) colonies was passed on May 18, 1652 in the territory of what is now Rhode Island. Since this is fiction, anyway, we may assume, for good measure, that the Lindros family - perhaps upon Quaker conversion after its Pennsylvania settlement - may have had something to do with the passing of that code.
¶By proxy, her company is also the de facto operator of the Brandywine Water Authority (+ global desalination technology subsidiaries), largest developer of The Shipyard, holder of the Brandywine Gas Company, mutual owner of SPEC (Southeastern Pennsylvania Electric Company), silent majority stakeholder in the Panama Canal Mortgage, and financier of the Thanks Endowment.
Delete¶She doesn't know it yet, but her heavy investment in Securitas AB is about to look more prudent (and dangerous at the same time), thanks to the hiring of Pinkerton consultant Gunyo Gruber.
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¶Like with any control freak, she's grounded in materialism, because to them, possessions are tangible realism. That's what's scary about her; she's bureaucratic, not political.
[[She really is untouchable. Throughout most of the opera, we rarely get to see her in the flesh; she uses holograms exclusively. A diabolical recluse who seldom docks for anyone, Maundy (in the vicinity of her bodyguard/captain/pilot, Lef'fut) resides on a Class A submersible, the Drebbel, that often deep cruises somewhere nearby in the Atlantic Ocean, probably in a bay off the coast of New Jersey. -- Heck, I wrote her and I can't even pinpoint her location.🤷🏿♂️ -- This is to give a sense of how little she thinks of both the limelight and people on land, and the baggage each brings. Allergic to stress (her philosophy for living a long life), she takes great precautions to ensure her well-being.
Delete:img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSjwiNLoHY6svWlUf1lQbNbMIgMoFU3o5b7yp3n48sQYbXWC9-3D4L0VKiew19M24D-nJGB16ZFkOdBfjfVFGK2KY754PFlMquBmETu6vnFYC1SBzGA8VUahz7tSZBg2zetbWMriAoDyo/s0/35361070204_4422c60c3f_o.jpg:eimg: Philly's skyline is my favorite.🤭
On the business side, she runs Lindros using encrypted holograms with keyboard⌨️ input. The corporate office occupies an ⚓anchored converted corvette on the shipyard, and is managed by her assistant, Lily. It also operates mineral mining camps in Arrow Bow County, Elsewhere.
In addition to being the world's premiere distiller of argon, Lindros is the largest importer of phosphate from Morocco in the Americas. A subplot is that Brandywine's Islamic☪ demographic (spearheaded by her North African Muslim community) wants her company to pay retribution for unfair trade practices between the two countries, and a sizable number of Moroccan mobsters have sprouted inside the City and around the Delaware Valley for this very purpose. To protect her wharf from local mob threats, she employs on-again, off-again imam, Dominique.]]
"'Change and hope' is a fallacy. The only way to rectify anything is to start all over." - Maundy
Delete¶In the present-day, when the world's richest person, Mr. Alphabet (Dwight Mann), comes to town seeking a second headquarters for his Portsmith, Oregon-based e-commerce firm, Nile LLC, part of the requirements for its new station are that those utility companies being privately held by Lindros be returned to the public sphere. That's billions of dollars in annual income for her potentially at-risk. Couple that with the fact that Mr. Alphabet's business is also in shipping by default (commercial freight: trucking, cargo drones, air, and rail🚆), and has selected Brandywine because of its location and proximity to overseas handlers, things aren't boding well for our heiress. As a precaution, she initiates the 'ArC Project' [NOAH].
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¶Since 1978 when she strong-willed the then-city council to turn over the utilities into her private hands, she's made a vast fortune, acquired extraordinary influence, and become a menace to the jurisdiction, especially the District Attorney's office. Now things are coming full circle for her, but, she is composed, insightful, and vastly as resourceful in her own right. We'll see how this plays out.
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¶What has induced panic in the 🧼opera is, in fact, a combination of things.--
Delete¶There is a serial killer on the loose in Irish Charm that is giving local agencies fits. In an area reputed for its down-and-outness, for some reason, certain city officials all of a sudden seem to care an awful lot about its stability. But, if you listen to these politicians tell it this election season, "Poor people vote, too.".
¶On a macroscale, the entity named 'SAINT BERNARD' (SB) has made a number of under-the-table deals over the course of the past few months with religious sects worldwide to force either the demolition or removal of the Al-Aqsa Mosque🕌 so that the prophesied Third Temple can be erected.
¶Meanwhile, a worldwide pandemic in the form of a viral🪱 neurotoxin (biowarfare?) has crippled the global economy, and the anticipated aftermath of a recovery has sparked fears of a hegemonic shift between the Western and Eastern hemispheres; potentially resulting in a clash of cultures and an inevitable world war. SB's deliberate attempt to invoke both the Second Coming✝ and Armageddon tickles the diabolical beaks of war hawks, but not without consequence.
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Delete¶Additionally, aggressive geopolitics has taken center stage, and Maundy's company has been tasked with handling very peculiar seafaring requests from the United States government (particularly the Departments of Homeland Security and Defense). Namely, legislation is floating around on Capitol Hill that would call for - if passed - the annexation of Liberia as a territory (the country was formerly an American colony in the Nineteenth Century).
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¶This is being done under the guise of re-establishing dominance on the African continent to counter growing influence/threat from China and India. But, with all of the current domestic racial strife, we can't be too certain of the motive considering that Lindros has been contracted to build a superclass frigate and a fleet of vessels that transport 'human cargo at-scale'.
[[--The four-fold arc of the opera begins with its first chord, N. The other three (3) chords, in order, are O, A, and H. Her being in shipbuilding invites you to assume that the remainder of the work has something to do with that element of religiosity. By ChordN (the start of Holy Week), her mettle is tested, and we'll see just what she is all about.--]]
¶Basically, the whole story centers around her, as told from interactions with our eponym (focusing on his point-of-view, which is necessary since he is the 🧼opera's random walker). To some degree - and on a very high-level, the entire piece purveys the rivalry between Maundy - who represents business + organization - and her adversary, Ember Libitina - who represents crime - (essentially leaving Pascha's angle relegated to being a punctual dramatic prop).
Delete¶For the better part of forty-plus years, these two power brokers have formulated an ongoing mutual disdain for each other; engaging in a soft war of money versus clout. It has taken an outsider and an incredible event to align their singular objectives.
¶The tricky part about this character is that although, yes, she is the villain, she brings no intentional antagony to the narrative; (other than her younger self's direct involvement with Egg Pascha's reformation, ie. Joseph becoming John or vice versa) she is not the sworn enemy of our protagonist/antagonist. Yet, the ebb+flow of her executive decisions pretty much entangles everyone in her web🕸. For comparison, most people assume the xenomorph is the villainy in the Alien franchise, but, if you think about it, the android is the real villain in each outing. The xenomorph was engineered as a virus programmed to do nothing more than re-populate; whilst the android was created by The Corporation to retrieve said virus so that it can be used as a biological weapon. Being a non-biological humanoid, it slyly blends in with its crew, only to willingly let the crew be murdered in order to fulfill its objectives. Humans, then, would become equal parts host and parasite. In either analysis, the xenomorph and the android are both 'aliens' on a mission solely for self-preservation, which is exactly the mindset of Maundy.
"The only thing a person can genuinely make is a decision." - Maundy
Delete¶Good and bad are points of view, and Maundy embodies that idiom. She is by far my favorite character in Easter. When writing her, I found myself cheering for her at parts because she's the rare individual with a grand plan and the determination to execute on that plan. She doesn't shy from her sentiment that Egg Pascha went and started some shit💩 and now she's got to finish it.
¶We've grown accustomed via conditioning from the likes of Hollywood and books to look at people who save our lives as heroes without consideration to the possibility of them having ulterior motives. To offer another perspective, my personal thesis is in agreement with Lex Luthor: Clark Kent is an alien of great power that must be contained, if not eventually destroyed, because he poses a grave threat to humanity altogether. I mean, suppose he's having a bad day or views the foibles of mankind as enough to decimate it? Here, Pascha's done some good in-between the rolling credits, but can we really trust a person who is not even trusted by their own?
¶A lot of people dream of something and want it to happen - their hubris even leaves them with the expectation of it happening, and then there are the very few that actually make it happen. In that regard, I liken her to a particular former American Vice President. Maundy made bold bets in her youth that paid dividends; she trusts her instinct and is usually always right (to paraphrase Donald Trump: successful people tend to only listen to themselves). Our girl is a boss; a gangster's gangster.
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#Ember Libitina#
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Attorney General Emerita and Mayor[description:= ζ White female, 70s years (30s years in 1978 flashback) /// character:= a charming but deadly Philadelphia prosecutor and former judge (nicknamed the 'Duchess of Death' because she frequently seeks the death penalty for those convicted) who - with her juvenile demeanor - convincingly masks a brutal sociopathic personality, as cunning a politician as she is a ruthless criminal, campaigning for re-election under the guise of "redevelopment", clever, 'actively retired' but will never truly forfeit her power, obsessed with destiny, a greedy IJ Syndicate holdover from the Mayor Luigi era, deliberately willing to call for wholesale assassinations, impulsive Southern belle-type who made questionable choices in her younger years that are now haunting👻 Egg Pascha, she was frequently at odds with him (then) because of her past dalliances; what's left of their relations these days is mentally apoplectic, but both still honored "the deal", loosely modeled after non-particular 20th Century Philadelphia district attorneys and Joker (indirectly)]
In the storyline, Ember Libitina is a hold-over from the Mayor Luigi era in Brandywine; an indirect characterization of an almagamation of late-20th Century Philadelphia District Attorneys [DA] (after whom she was loosely modeled).
DeleteNow in her eighth decade of life, the Attorney General Emerita sees this special election in which she is running for re-election as the culmination of all of her works and possibly her last chance at abusing said coveted office. It's a credibly odd circumvention, but the mayorship of Brandywine caps the efforts of a distinguished legal career and satisfies her public ambition. As the state's former top cop (she transferred from Steelerville to work in the Brandywine DA's outpost for sake of convenience), Ember - who is notoriously "tough on crime" - seeks to re-assert the 'natural order of things' throughout and around the town. Her campaign/tenure is based on adjectives such as reform, gentrification, safety, and progress. She is definitely "in it to win it".
"Ultimately, strength prevails. -- There is no balance of power. Equality is a myth, and rather boring."- Ember
Delete[[ -- {This part (1978) of the story is based largely on historical fiction, so we defer to real people of that time.}
Frank Rizzo's tenure as both Chief of Police first and then mayor, was marked as being full of strife and animosity towards Philly's African-American demographic. It may be difficult to gauge his impact today considering the national political climate in aftermath of the Obama presidency and so forth, but he remains a towering figure that may have set a precendent on how to 'handle' crime and criminals in large American cities. -- ]]
I actually couldn't tell this story without Ember. One, as the incumbent mayor, she needs a worthy challenger (Curran) in the runoff election that's taking place, and two, in order to keep things from spiraling out-of-control, Maundy's overbearing authority has to be challenged by an adversary from the political sphere. It just does.
This situation (the distribution of Mr. Alphabet's intra-city investment) lends itself perfectly to a winner-takes-all 'Battle for Brandywine' that nobody can actually win. The ever-so-sharp Ember shows us that people's migrant behavior is recycled from patterns of economic health [ie. roughly every two (2) decades or every other generation, the wealthier class relocates back into the city for jobs/employment+transportation before saving their money and moving to the suburbs]. This is an important note and plot point, as we see that residential stagnation is a detriment and impossibility where there exists youth.
One civil mishap has led to another in recent outings (eg. police shootings → arson/riots, bombings, landscape defacing, etc.), and Libitina requests the personal protection and repute of none other than Pascha himself to assist her in navigating this extremely intense social climate as she makes her campaign rounds. He obliges with reservation, suspecting there is more to this assignment than meets the eye.
"I've lived a long, normal life. Like you, I used to be overwhelmed with sadness when people died. Stay in law enforcement👩✈️👩🏾⚖️ long enough, and we all come to the same satisfying conclusion: criminals make it easy to see that not everyone wants or deserves to live." - Ember Libitina
DeleteTo get this point across, a small sample of actors were considered based on pedigree.
The role of Maundy was originally fleshed out with Robert Englund in mind, and then written specifically for and offered to Glenn Close (who, by the way, is the reason the character graduated from the College of William and Mary, because Glenn did) first before a rethink (Ember's character was a byproduct of thought). I wanted Glenn because of her reputation of portraying villainesses on-screen to great effect. I had hoped to get both mother and daughter (Annie Starke) in the production, with Annie playing the 1978 version of the character (there's roughly a reallife forty year age difference between the two, which is necessary for the character).
I also tabbed Dianne Wiest[b] for the part of Ember Libitina after being so impressed with her work in Little Man Tate. I love how she (as Jane Grierson) switched it up in that, going from kind psychologist, to fierce and controlling headmaster in such a short frame.
That's pretty much what happens here; given enough time and resources, we see that the true nature of the beast is to rule. Wiest also had mentioned* in past interviews that she wanted to assume more aggressive roles where she perhaps played a cruel woman, not unlike roles that went to Glenn Close. ///** Exact quote: "I'd like to play a real cold, mean mass murderer. Some cruel, hard-bitten women, like the roles Glenn Close gets, just to show that I am capable of not being vulnerable and not being fragile on screen." So, regardless of if I could land Dianne Wiest or not, I'd want an actress to mimic her behaviors (eg. soft gentle voice, unassuming demeanor) because I feel that her style of delivery is best suited for the role.
Again, with a rethink due to budgeting, we'll now get the chance to see one actor impersonate two legends in three modes.
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DeleteEaster is an expansive clues-based MUD (meaning that the viewer can pursue different action perspectives within the timeline, all of which happens concurrently), challenging [mostly because in addition to this being largely ad-libbed improvisational theatre (being mute, Maundy has no speaking parts) from storyboards (that rationale is because the telepresence factor dictates mimicry of "real life", where goals may be planned but usually unscripted), the elements of timing+spacing are critical in polyplexity cinematography ..cf. openworld/360º vcs, making it akin to a live show/one take/single shot] four-chord opera ludo, and the character [lead] of Maundy (coloratura) is featured throughout, so in order to carry the piece the actress would need to have plenty of stamina+ability.
++Shout-out: Thanks also goes to the non-profit, #BringChangetoMind, which is aimed at supporting mental health and reducing the stigma of mental illness. -- Mental health is a big focal point in this opera. My personal angle has to do with autism awareness and support.
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##UUelcome #UUelcome Q♯ :img:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk4Xiru08thB0MLaGBJCySGzvfyadqNsS9DVVdnua-YWztxmrqnNUw6RHcPi-vdhq-zIVwydPqXlz4NmVV17UfpJWZZozjXG5W8cUH9u3r8XbBhpU-jziwq5j5JF1JBHTAzpRbZdS7CvK-/s1600/uuelcomeface.PNG:eimg:
ReplyDeleteUUelcome :== STU-sequence [8-qubits]
Delete/// +This one big string of bytecode includes all fibor [fugue = stews, MONEY, bubblegum] - itself an address space superset, outputted as a cassette (toy), and bootloaded by lnq🧑🏿.
+Sequencing something (iterative consecution) inductively means that it gets streamed [:== framework (+runtime) implementing system calls], which inherently implies achievement unlocking🔓.
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Delete/// +(vocabulary) To a large respect, the word is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelc-ome' has artificial/manufactured congruence to 'gen-ome' (gene + chromos-ome). The top-level domain [uuelco.ME] is, in part, indicative of this being my thing (about 'me' :== my stream), so, that's why I named it that way.🙂
Delete+As part of neuromorphic machinery (ie. biological abstraction), UUe would be the cell, and UUelcome the cassette🧱 that auctions/orchestrates its contents. In terms of computing, UUelcome :== master boot record embedded into every cell.
+With all fonts classified👍, any mesh becomes stereotypable (ie. polymers can be modeled for print), exploiting a composite image of Egglepple.
UUelcome ISSN: 2165-6738 {<-- publication record with Library of Congress}
Delete#uuelco.ME
Delete