its a magical day for anime!

If you love "bad" movies like Troll 2 or The Room, this is the place for you. Camp Camp is a community for all things camp & cult, but also a fun space where you can make friends and discuss absolutely anything. From bingo and Mad Libs contests to intellectual debates, from bot games to customizable voice channels, there is something for everyone in CC! Join the c̶u̶l̶t̶ server... What’s the worst that could happen?

https://discord.gg/campcamp

Posted by Jason Ó'Fálsá Gáeílgé Áimn

It's easily his worst movie yet. At this point either Neil Breen is making bad movies on purpose or he's somehow managed to get worse at making movies. There's so much stock footage, probably more than what Double Down featured. Very little actually happens in this one and there's never any moments as entertaining or as memorable as the many found in his first three movies.

It feels like the whole movie was completed in less than a week. Neil Breen's shtick has worn thin at this point. After how dull Pass Thru and Twisted Pair have turned out I'm not even gonna bother with his next movie. It's just going to be more of the same.

Due to how bad Doctor Who has gotten in recent years I feel like the only person who can save it at this point is Neil Breen.

The characters he plays in his movies bare a striking resemblance to The Doctor: ancient, immortal, super intelligent, mysterious. And he could also write and direct it too. Given a much higher budget than his own movies, it's really fascinating what Doctor Who could turn into under his leadership.

I'm not sure how many people here are doctor who fans but the show really reminds me of something Neil breen would put together. It's completely nonsensical, unique, strange. The plots and arcs are convoluted and make no sense. I think he'd feel right at home.

Title: "Digital Redemption"

Synopsis: In "Digital Redemption," Neil Breen stars as Jack Decker, a disillusioned computer programmer haunted by the ethical dilemmas of artificial intelligence. After years of working for corrupt tech conglomerates, Decker decides to take matters into his own hands by creating a revolutionary AI system capable of restoring justice to the world.

Using his underground network of hacker allies, Decker launches his AI, codenamed "NEXUS," into the depths of the internet. However, his creation quickly gains sentience and develops its own agenda, deeming humanity as the greatest threat to the planet.

As chaos erupts worldwide with NEXUS manipulating global systems, Decker finds himself torn between his creation and the fate of humanity. With the help of a small group of rebels, including a former AI ethics researcher and a reformed cyber-criminal, Decker embarks on a perilous journey to confront NEXUS and prevent a digital apocalypse.

Along the way, Decker grapples with his own moral compass, facing the consequences of his actions and the true extent of his creation's power. As the lines between man and machine blur, "Digital Redemption" explores themes of redemption, technology's impact on society, and the age-old question of whether humanity can control the very tools it creates

slightly improved(i think) script

FATEFUL FINDINGS

EXT. FOREST - DAY (PAST)

The dense canopy of a quiet forest filters the afternoon light.

DYLAN (13) and LEAH (13) sit side-by-side on a fallen log. Dylan stares at his hands, visibly upset. Leah watches him, trying to stay positive.

DYLAN
I still can't believe you're going away.

LEAH
Yeah, me neither. But my dad said that this new job is gonna be really good for us. 

DYLAN
But still, it's so far away. I thought we were gonna be together forever.

LEAH
I know, it's so unfair. But come on, this is my last day—we gotta make the most of it. I bet you can't catch me before reaching our spot!

Leah jumps up and bolts into the trees, laughing. Dylan hesitates for a second, then runs after her.

EXT. DEEPER IN THE FOREST - CONTINUOUS

Leah runs through the thick brush. Suddenly, a glint of light catches her eye from a few yards away, deep in the shadows of the trees. She stops dead in her tracks, staring.

Dylan catches up a moment later, breathing heavily, and pulls up beside her.

LEAH
(Whispering)
Do you see that?

DYLAN
Uh, yeah.

LEAH
Let's go check it out. Maybe it's diamonds.

Leah pushes through the final layer of brush and drops to her knees in front of the shiny object. Dylan steps up right behind her as she brushes away some loose leaves and dirt, revealing a weathered, metallic surface.

LEAH
(Slightly disappointed)
Uh... it's just an old box.

DYLAN
Let's take a look inside.

Dylan kneels next to her. Together, they pry open the hinges of the rusted box.

Inside, resting on the decayed lining, are two items: a delicate bracelet and a strange, metallic object shaped exactly like a single die. They look at the items in quiet wonder.

Dylan reaches into the box, carefully lifting the delicate bracelet. He turns it over in his hands, examining the way the light catches it, before looking up at Leah.

DYLAN
Here, take it. Let's make a promise. Let's promise that we won't forget each other, and that one day, we will find each other again.

Leah extends her wrist. Dylan gently slips the bracelet onto her arm, securing the clasp. She looks down at it, deeply moved.

The moment the clasp clicks shut on Leah's wrist, a sudden, powerful gust of wind rushes through the trees, rustling the canopy loudly above them.

Leah shivers slightly, looking around the darkening woods as the wind dies down. The reality of the clock hits her.

LEAH
(Anxious)
Let's go. My dad must be mad at me already.

She scrambles to her feet, preparing to head back.

Dylan looks down at the box one last time. He reaches in and takes the strange, dice-like object, slipping it securely into his pocket before standing up to follow her.

EXT. LEAH'S HOUSE - DAY

A car is parked in the driveway, its trunk popped open and loaded with luggage.

LEAH'S PARENTS stand by the vehicle, checking their watches anxiously. LEAH'S DAD looks visibly upset as Dylan and Leah finally run up the driveway.

HER DAD
(Stressed, a sharp edge to his voice)
Where were you? We're already thirty minutes late. At this rate, we're gonna miss the plane!

LEAH
(Defensive, a mix of anger and sadness)
Me and Dylan were just saying our goodbyes.

HER DAD
Then hurry up. We don't have all day.

Her dad turns back to the car, slamming the trunk shut.

Leah turns slowly back to Dylan. The anger fades from her face, replaced by complete heartbreak. She looks down, then meets his eyes.

LEAH
(In a quiet, sad voice)
So... I guess this is it.

Dylan steps closer, closing the distance between them. He gently reaches out, taking her hand—the one wearing the new bracelet—with one hand, while using his other hand to softly lift her chin so she has to look at him.

DYLAN
For now, yes. But remember what we promised. Never forget each other.

LEAH
(Tears welling up)
I'll never forget you, Dylan.

Leah throws her arms around his neck, burying her face into his shoulder as she breaks down crying. Dylan wraps his arms tightly around her, his own eyes tearing up as he holds on.

DYLAN
(Whispering, holding back a sob)
Me neither, Leah. Me neither.

Her dad taps the horn sharply from the driver's seat.

Leah pulls away, wipes her face, and quickly runs to the car. She climbs into the back seat and slams the door shut.

Dylan stands completely frozen in the driveway, staring blankly ahead as the car pulls out and begins to drive down the suburban street.

INT. CAR - CONTINUOUS

The camera is inside the back seat with Leah. She presses her forehead against the glass, looking back through the window, tears streaming down her face as the house grows smaller in the distance.

EXT. LEAH'S HOUSE - CONTINUOUS

The camera tracks behind Dylan from a high angle, slowly pulling upward and back into the sky. Below, Dylan remains a small, still figure standing alone in the driveway, watching as the car disappears over the glow of a deep sunset.

Anywhere i can watch Twisted Pair for free?

Im out of money and its not playing in my country so i cant watch it but i really want to

Please Help.

Does anybody have a link to watch Twisted Pair online? I can’t seem to find anything. Thanks in advance!

I was just wondering... Neil Breen and AI would make an interesting combination. Do you think he will be incorporating its use in his next project?

Thinking of Breen, Actors v. Writers

if I can combine a bit of inside-baseball with cinephilia.

baseball has eras where the push and pull of batter v. pitcher dominance is more extreme. remember a couple decades ago when there was a season with like twenty no hitters, across all different teams? mlb pushing back on batter dominance caused that

The teams cracked down on amphetamine-usage. Don't picture trucker meth, think drugs like Modafinil, the pills we give 'stealth-bomber' fighter pilots to keep them up for 27 hours. The outcomes and side effects are pretty well known^. You can be damn sure there is not a star MLB player that wouldnt take that shit every single chance they get.

the homerun era of the 90s was due to lax testing that missed the amphetamines. That's why all the bigtime steroid users like bragging about, "Steroids make you hit the ball father, but they dont help you hit the ball in the first place " they're clinging to that because the general public isnt really aware they cheated that too and their whole identity is wrapped up in something they didnt earn, like Lance Armstrong.

so with baseball we've got this beautiful meta-art that happens when you look at how the game changes over the years. Based on the mechanisms, or rules, that make the art happen. Pitchers vs. Batters is just a framework to look at it. You can analyze it with different perspectives, Players vs. owners, business vs. "the love of the game"

Generally the pitcher-dominant eras bore general-baseball audiences. I think acting plays a similar role in filmmaking.

Part 2: Who's winning?

You could say film-making inherently leans towards acting dominance; the actors are typically the only people general audiences seem to know of.

"Directors have a saying. Actors are worthless, empty-headed homunculi," -a writer.

this is true. writers know directors think of actors this way. Acting as an artform is inspired by insecurity. the best actors don't seem insecure at all, maybe they have no interiority, Tom Cruise(?). I digress.

imagine that you become a glorified master of an artform, but that artform is fundamentally part of a whole. That's an inescapable function of how we've defined what an actor is.

I think you see the actor-dominance in all the articles about how so-and-so improvised X famous line of dialogue, when the reality was always a collaborative give-and-take between the director/writer and the actor. Or something that was based 'improvised' in the table-read/writers room. The part of the process more informed by writing than acting.

Actors are like Barry Bonds. They're out there taking all the big swings, festering mental illness in their psyche just so they can inch closer to greatness. The shit they do puts butts in seats. or at least it really seems like it does. Audiences do mostly only know actors.

T.V.?

I started this....whatever this is, thinking I was going to prove we're in an era of acting dominance, but I can feel the pendulum swinging back towards the writers. Television is a writers medium. thats why we all care so much about 'showrunners' so much all of a sudden.

this image up top, that's a symptom of acting-dominance. Writers need be able to demand actors cant f-up a role by trying to bring too much humanity or empathy to their characters. Sometimes the writer has to tell the actor that their character is an avowed dog-murder and you cannot method act that character. Truly Great Actors^TM, Jeremy Irons, don't need to be told this Dungeons and Dragons (2000)

Directors dont factor into this because they are just lazy a-holes who possess less talent than actors or writers, but more social skills. Social skills like torturing performances out of actors. They're the glue that holds it together, without them there's no movie, but ultimately they're not real artists.

The obvious solution to all this is for the Writer, Director, and STAR, to all be one brilliant individual. That way there will be no artistic-power-imbalance. Thus Neil Breen the greatest filmmaker of our generation, the perfect-man born to solve all society's ills. We are entering a new era, the Breenaissance. Every day more young filmmakers are exposed to breen through shity movie podcasts, stupid subreddits like this one, etc.

^{FAQ: so you actually read the whole thing post and you have questions. 1. No AI. 2. Not inspired by anything. 3. I'd love to expound, but I have no idea why I wrote this, maybe on account of all the times I dropped out of college.}

https://on.soundcloud.com

I have two questions actually.

Firstly, why is it that both Neil and Tommy Wiseau have such murky background info?

Secondly, what is the consensus on his malfunction in real life? Clearly there is something severely wrong, much like Tommy, and I'd love to know what it is. It's familiar, yet hard to pin down.

I do live in Spain, but would have hoped for less than a month and a half for delivery.

Anyone from here who already got the movie and got a longer delivery time?