Hey there, gorgeous. I'm a 35-year-old risk-taker living in the heart of San Francisco, a city as wild and unpredictable as I am. If you're reading this, then you're looking for something...something a little exciting, a little dangerous, and a whole lot sexy. Picture a man who doesn't just live life, but devours it. I'm a lover of the arts, but not the stuffy kind. Think underground music gigs in basements, street art that sets the city ablaze with color, and films that push boundaries. Outdoors? Hell yes, but not your typical picnic in the park. We're talking high-speed motorcycle rides across the Golden Gate Bridge, moonlit hikes in the untamed wilderness, and sailing on the choppy waters of the Pacific. I've been called charming, but in a rogue kind of way. I’ve got a quick wit that will keep you on your toes, and a body that's as rugged as the hills of the Marin Headlands. I don't just sip on fine wine, I savor it, just like I'd savor the moments we might share. I can talk, but I prefer to communicate in other, more tantalizing ways. What am I looking for? A bold, audacious woman who isn't afraid to let her hair down, to laugh loudly, to desire and be desired. You're not just looking for someone to pass the time with - you want someone who will set your world on fire. So, if you’re ready to venture into the unknown, to explore the city and each other, let's light this fuse. Reach out, and let's see what kind of sparks we can ignite. Eagerly waiting!

First- Previous
The planetary alarms sounded again, waking me up from a deep sleep as dawn approached. It was likely warning of another solar assault on our planet. I thought myself lucky that Op'olat and his brothers had rescued us from the cave system before it flooded.
But now I wondered if that was really such a good thing. The mountain would have easily protected us from the massive radiation storm heading towards us now. The solid stone construction of the ancient town hall would provide some protection, but will it be enough?
“Reilla!” I could hear the fear in Ael’la’s voice. The woman had been helpful since we were rescued. Even with her infant, she had taken on the care of all the orphaned children, giving them hope and comfort. But she was full of fear, even if the little ones never noticed.
“Reilla? What is happening now? Why are the sirens going off again?”
“I know as much you, but it must be another radiation storm. Get the children into the basement. Get them settled in. Sing them songs. Keep them calm and quiet.”
“If you say so.”
“I do.”
While she got the little ones into the shelter, I went searching for D’rylla. If anyone would know what is happening, it would be our grumpy little radio operator. She knew more than anyone about everything.
The alarms cut off abruptly before I found her.
“D’rylla? What is happening?”
“Oh, there’s just too much. There is a huge solar storm heading towards us with a radiation count high enough to kill anything caught on the surface. But the humans placed their fleet between the us and the sun. Their shields took the brunt of it.”
The tiny woman ran outside, surely an insane thing to do with a radiation storm hitting the planet.
“What are you doing? Get back in here!” I raced after her to stop her from committing suicide.
“No, you don’t understand. The humans stopped it. They said the energized particles are causing rivers of light in the sky and the humans say it is safe to go watch.”
The humans have proven themselves to be competent. If they say it is safe, then I believe them. So it was with only a little trepidation that I stepped outside.
The predawn sky was filled with magic. I had heard of auroras at the poles, but never this far south. It was glorious to behold. In the sky, I could see the rivers of red, purple, green, and gold light running from the far north to the equator and further out, and in space I could see bubbles of light with colors dancing wildly across the spectrum.
“It’s beautiful,” I whispered in awe.
“That must be the human’s ships,” D’rylla whispered back. “There’s at least three hundred or more.”
“If they can protect the planet from the radiation storms, then maybe our planet will survive.”
I found myself believing in the possibility. I am bitterly aware of how little the Confederation had done to help juxtaposed with what the humans had done out of their innate kindness. There is no way we can ever repay them for the gift of life, the survival of our people. And to simply say thanks seemed inadequate.
I’d spoken to one of the human search and rescue teams during a meal. Yrsa Hellström told me that just our simple survival was not good enough. She wanted our people to thrive and if we did so, then that was thanks enough for her. The concept was alien to me. In Confederation society, such acts incur debts that last generations.
“Oh! I forgot about Ael’la and the children. I left them in the basement.”
“I need to get back inside to the radios. I will tell her it is safe to come out. You stay here and enjoy the show.”
I don’t know how long I stood there, gazing at the brightening skies. Even as the sun peaked over the horizon, I could still see the rivers of light. I was so engrossed with the spectacle I did not realize I was no longer alone until I heard someone speak my name.
“Good morning, Reilla.” I recognized Op'olat’s voice right away. He’d spent quite a bit of his free time with me. I did not know if he was wanting friendship or something more. And if he wanted something more, I did not know how I felt about that just yet. So many people had lost their mates in the past weeks. I was not one of them, but I had lost the one I’d planned on marrying in the first few days. I’d not had much time to think of Hav’ed lately. I’d only had time to survive until our rescue. And after that, I’d been busy here, helping those less fortunate.
“Good morning, Op'olat.” His name meant ‘generous laughter’ in the old tongue. He lived up to the name. He was both generous and funny, even amongst all of this. He never missed the opportunity to make others laugh and was an endless source of humorous stories. The children adored him. Even the most withdrawn came out of their shells around him.
“The human Ejvar Sivarsson informed me that a Confederation naval force dropped out of hyperspace and threatened their cargo fleet, thinking to force them to leave.”
I shook my head in disgust. “The Confederation could not be bothered to send help, but they could send ships to chase off those that did come to help. Typical Confederation shit. When are the humans leaving?”
“They are not leaving. Apparently, an even larger human naval force had been waiting in hyperspace. Ejvar called them wolfhounds guarding the flock. Whatever that means.”
“Probably something like huuda guarding the atu.” I’d not seen any huuda since the storms hit. The domesticated guard beasts protect the atu flocks from predators. With atu wool being the main source of soft um’idar cloth and our main textile trade product, protecting them was important.
“Hmm. Makes sense,” he replied absently. “But the Confederation fleet thought better of it and left. When the humans detected the radiation storm, they moved all their ships to block it. They had no idea if it would work, but they put themselves in harm's way for us. It was fun to watch, though.”
“It would not have been so if it didn’t work.”
“Lek told me they were ‘in for a penny, in for a pound.’ Humans have a lot of sayings that I do not quite understand. But I looked that one up on their datanet. It means that humans should finish what they started, even though it may be difficult or expensive.”
“Their help has been truly both.”
“I wanted to tell you that the last time I went out foraging, I found some canned ippa fruit and ground multda. I saved a bit for you,” he told me.
Ippa fruit is an expensive delicacy. One that I rarely could afford when fresh. Canned was not as good, but still a rare and delicious treat. Ground multda when steeped in hot water made a wonderful savory drink that is mildly addictive. I’d not had any in weeks. It was just another in a long line of small things he’d done for me. But he did not pry, did not press me.
“Here.” He handed me a pack loaded with the foods. “There’s also some f’lad bread and rivi sweet beans you can share with the children. The should make them happy. I’d give it to them myself, but I’m going out on another mission soon. We got word of some survivors holed up in an abandoned copper mine in the Wyst’adt mountains. They have been drinking contaminated water and have some really sick kids. I should be back by dinner. I’ll see you then.”
“Thank you. I will see you when you get back, I guess.” I did not know what else to say as I watched him head to the human rescue ship.
Less than a minute later, the ship lifted off, heading south. Watching him leave left me with a hollow feeling. I knew enough about trauma to know that it caused people to feel vulnerable and confused. I knew I would eventually have to figure out how I feel about him.

WILD MAN: Saint or Sinner Posted on May 2, 2021by Dana Rehn The Representation of Wild Folk During the German Renaissance The wild man was inspired in part by pagan hybrid woodland creatures like the satyr, however, much of the mythology of the wild man stems from barbarians of Europe.[i] For much of the Middle Ages, they were considered the antithesis of the civilised Christian society. They were cannibalistic, sexually deviant predators whose many characteristics were related to monstrous races as well as the insane. Despite the wild folk’s outsider status and the antithesis of Christian morality, the wild man and woman nevertheless became an icon of German nationalism. The image of the wild man and woman became a pervasive figure throughout the German Renaissance, depicted on a vast range of media from stained glass, woolen tapestry, playing cards (fig. 3), and ordinary household objects. The wild man and woman transitioned from a demonic brute beast to a romanticised image of the noble savage. They recall a simpler time in German history and became a part of the image of a united and strong German people. They also posed as an affront to the court culture of Rome and became associated with the virtues of the natural wilderness. Cleric, Johann Geiler von Kaysersberg, associated them with the image of the hairy saints who found redemption in the wilderness by categorising them as a type of wild man in Die Emeis.[ii] The German forests that the Wild Man was thought to reside were starting to be romanticised. Geographer, Johannes Rauw, praised the ancient forests that had long been demonised by Italians as a place of barbarians.[iii] From rapists of damsels, wild men were depicted with the virtues of the nuclear family in the Garden of Eden before ‘The Fall’ (Genesis 3). In this way, the wild man and woman became increasingly mythologised, merged with ancient Germans, ascetic saints as well as Adam and Eve. Although there were a growing number of romanticised images of the wild man and woman during the sixteenth century, negative representations persisted. Their depiction was not a simple shift from demonic woodland creature to the image of holy saints; many possessed both contradictory notions of sinner and sainthood. The multifaceted representation of wild folk reflected many of the contradictions of German Renaissance society. Man or Animal The reputation of the wild man stems from antiquity. Aristotle believed that people who lived outside the civilising influence of the urban city lacked the ability to reason.[iv] In this way, they were considered closer to animal than man, subjected to their impulses.[v] The wild man and woman were also believed to lack speech, used primitive tools such as the club, and lived away from civilisation.[vi] Even the food that the wild folk would eat – berries and uncooked food – was a mark of uncivilisation and thus associated them more with animals than man.[vii] Many were also thought to crawl on all fours, which is illustrated by the often bare knees of wild men and women.[viii] The wild man as well as the woman were characterised for their violence and unhinged rage. They both shared a love of combat and have even been depicted jousting against one another.[ix] It is not just appearance, but also behaviour that made someone bestial like peasants who were described with animal qualities. The wild man has also been associated with bears and mythology exists with bears who were able to transform into wild men.[x] Their unbridled sexuality was also more associated with animals. Wild men were thought to abduct pretty maidens, while the wild woman would transform herself into a beautiful woman and attempt to seduce men with her true ugliness only to be revealed during intercourse.[xi] In this way, they were also associated with other pagan and hairy woodland hybrid creatures from antiquity including satyrs and centaurs, who were also known for their immoral behaviour and insatiable sexual appetite.[xii] Albrecht Dürer combined classical mythology with German folklore in the engraving of the Abduction of Proserpine on a Unicorn (1516) (Fig. 1). The print recounts the mythology of the abduction of the goddess of fertility by Pluto (Hades), God of the underworld – the pagan equivalent to the Devil.[xiii] In place of the classical god is a wild man on the back of a unicorn. Although this wild man is not covered in think body hair, he has wild hair on top of his head and a large bushy beard. He is identified as a wild man by his riding of a unicorn where the wild man was believed to be the only creature strong enough to overpower it by force.[xiv] Unicorns were originally regarded as ferocious beasts who used their horn as a weapon.[xv] Tales and visual art from the fourteenth century tell of wild men who become tamed by love after abducting a woman.[xvi] Yet this print illustrates man’s sexuality was thought to reduce them to a brute beast. Fig 1. Albrecht Dürer, Abduction of Proserpine on a Unicorn, 1516, Etching, 30.8 x 21.3cm, The Institute, Chicago. During the Middle Ages, many people concluded that wild man and woman were degenerative humans. They became an irrational beast in the same way that the insane were believed to be a form of wild people. Medieval romances frequently described people who suffered a crisis and lost their mind and ran into the forest living as semi-human wild people.[xvii] In Hartmann von Aue’s (c. 1160/70- c. 1210/20) Iwein, the protagonist who has broken a promise to his wife and is rejected, roams around in the forest until he is discovered by a lady who saves him from his insanity.[xviii] The wilderness in part created the state for wildness as it was away from civilisation and rationality.[xix] Like many monsters during the period, the wild man and woman were defined by their nudity. In this way, they were symbolically outside civilisation – both physically and behaviourally.[xx] Even those who have become temporary wild men through madness and fled into the forest shed their clothes and only returned to civilisation by again putting their garments back on. While in the forest they begin to grow hair all over their body to signify their move away from the human realm and into the animal one.[xxi] The wild man and woman encapsulated the fears of Europeans and what happens to one if they abandon civilisation.[xxii] The theme of civilising the wild man was popular during the Middle Ages. It was knowledge and acceptance of the one true faith that inevitably brought the wild man back to civilisation.[xxiii] In a thirteenth-century Bavarian epic poem, republished in the sixteenth-century German collection of stories, Das Heldenbuch mit synen figuren (‘The Book of Heroes’), recounts a wild woman called Raue Else (‘Rough Else’). The woman who was hairy all over and walked on all fours approached the knight, Wolfdietrich, who questioned if she was an animal. [xxiv] The wild woman demanded the love of the knight and upon his refusal turned him into a crazed wild man who crawled on all fours for half a year until God commanded her to disenchant him. In return, Wolfdietrich offered to marry the wild woman so long as she was baptised. She took him back to her kingdom at Troy and after bathing in the fountain of youth she was transformed into her former self, the beautiful princess, Sigeminne (‘Love’s victory’).[xxv] Wild Man as Noble Savage Although the wild man and woman were frequently represented in literature during the Middle Ages, they were rarely depicted in visual art until the fifteenth century.[xxvi] Therefore, their most ferocious reputation left little mark in visual culture. Instead, the wild man and woman were frequently represented in Renaissance art as the image of purity, with their family representing the virtues of parenthood and a companion or as a saint. Lynn Frier Kaufmann argues that the idea of chivalry and courtly love during the Middle Ages influenced the way wild men and women were depicted during the Renaissance.[xxvii] Larry Silver on the other hand interpreted their new role as cultural emblems brought by the rise in Germanic nationalism, which inspired the new translation of Tacitus’s Germania, describing wild people who only wore a cape of animal’s hide, as the first proud inhabitants of the Germanic lands (for example, fig. 2) .[xxviii] In this way, Tacitus’s Germania transformed the wild man into the romanticised version of the noble savage during the German Renaissance.[xxix] They lived a simple and virtuous life. They needed no written laws because they had good morals and rejected the habits of outsiders.[xxx] The nobility and urban elite began to romanticise the wild man for their strength and freedom from the rules of society.[xxxi] Conrad Celtis described a counterpart to early Germans in the Lapps. He described them as speechless but also that they had not been corrupted with luxury, fame, or wine. ‘Here no jurist twists the law, no doctor accumulates his blood money, and no tonsured man plagues the people’.[xxxii] Fig. 2. Nicolaes van Geelkerken after Clüver in Philipp Clüver, Germaniae antiquae libri tres, Leiden: Louis Elzevir, 1616, Engraving, London, The Wellcome Library. Source: archive.org On a playing card by Master ES printed in c. 1461, a wild woman is depicted with a unicorn (fig. 3). While wild men overpower the unicorn with their bold ferocity, it was the wild woman’s sexual purity that allowed her to get close to the unicorn. A tale of the unicorn captured only by pure virgin maidens arose during the Middle Ages. This led to the unicorn being represented as a sign of purity and thus underscores the image of the wild woman as epitome of the noble savage.[xxxiii] A sense of innocence accompanies their ignorance of the civilized world. Playing cards usually consisted of four suits with illustrations of plants, animals, and heraldic symbols. The wild woman with the unicorn is one of four cards surviving in the animal suit by Master ES.[xxxiv] Richard Bernheimer suggests that the images on the cards represent a hierarchy.[xxxv] Therefore, it places the wild man and woman in the realm of animals.[xxxvi] This is plausible since this wild woman represents the Queen of the Animals. However, her clasping grip of the unicorn who is dwarfed by the wild woman shows her dominate position in nature. Fig. 3. Master ES, Wild Woman and Unicorn (Queen of Animals from the Small Playing) c. 1461, Engraving on Playing Card, 10.5 x 7.3cm (Sheet); 9.8 x 6.cm (Plate), New York, Metropolitan Museum of Art. The wild man also featured in more than 200 coat-of-arms across Europe, most of which were in German lands.[xxxvii] They were particularly popular during the second-half of the fifteenth century.[xxxviii] Interestingly, the wild man was illustrated beside coats-of-arms of popes and kings as their protector or guardian of the coat-of-arms despite the wild man’s history as a heretical being.[xxxix] Roundel prints of coat-of-arms were likely used as templates for goldsmiths or glassmakers who would fill in the family crest.[xl] It has also been suggested that these roundels were used by the middle class to emulate the coat-of-arms of the nobility. The templates were used as a substitute for commissioned coat-of-arms.[xli] In Wild Woman and Heraldic Shield, c. 1490 (fig. 4), a wild woman suckling her baby is reminiscent of the Madonna and child. This image reveals the redemption of women through childbirth for their responsibility for Original Sin (Genesis 3.16). She also serves as an emblem for fertility for the family whose shield she holds to ensure the family line. Fig. 4. Martin Schongauer, Wild Woman and Heraldic Shield, Colmar, c. 1490, Engraving, 7.7 diam. New York, The Metropolitan Museum of Art. Return to the Garden of Eden The image of the noble savage in turn influenced the idyllic images of the wild family. Master bxg’s Wild Folk Family (c. 1475) parallel Adam and Eve in the Garden of Eden. Adam and Eve who were portrayed in animal skins after ‘The Fall’ are akin to the hairiness of the wild family.[xlii] In Master bxg’s print stands the tree of knowledge, overlooked by an owl in the background, symbolising potential danger as owls served as a symbol for evil.[xliii] A rabbit bounds towards a forest in the top left. Rabbits were used as a symbol for fertility and has been depicted in images of Adam and Eve during ‘The Fall’ and thus can symbolise carnal knowledge. The wild woman’s long hair symbolises her fertility and thus her unbridled sexuality and parallels with the depiction of Eve in the Garden of Eden with long, loose flowing hair.[xliv] Although the representation of the wild family references Original Sin, they are still in a state of nature and innocence and their ignorance of God therefore cannot constitute sin.[xlv] However, it also provides a mirror of the tensions between good and evil within German Renaissance society – between temptation and godliness.[xlvi] The wild family not only recall Adam and Eve in the Garden of Eden, but also the image of the Holy Family who were often represented against the backdrop of the wilderness.[xlvii] In a comparative print in Hans Leonhart Schäufelein’s, Wild Man and Wild Woman originally printed in c.1520 (fig.5), the wild family are still hairy and naked, although they wear fig leaves to help preserve their modesty. The fig leaves allude to after ‘The Fall’ in the Garden of Eden once they have eaten from the tree of knowledge and realise their nakedness and feel shame. In this way, the sins of the past are not completely forgotten. However, the image lies in opposite to the unbridled sexuality of the earlier idea of the wild man and woman. One son attempts to place a leash around a domesticated dog, which further symbolises a new domesticity to the wild family.[xlviii] Despite its clear reference to Original Sin, it illustrates an idyllic family scene, away from the corrupting influences of ‘civilised life’.[xlix] Fig. 5. After Hans Schäufelein, Klag der wilden Holtzleüt, uber die ugetrewen Welt, verse by Hans Sachs, printed by Hans Guldenmundt, Augsburg, 1560 Coloured woodcut, 20.2 x 24.2cm (sheet), 20.2 x 15.2 cm (borderline) The British Museum, London. This image was later copied with an addition of a poem written by Hans Sachs in 1530. In the poem the wild folk lament against the corruption and evils of society such as the lust for wealth, flesh, and violence. The wild folk in Sachs’ verse have chosen to discard worldly pleasures to live the simple and pure life in nature. The verse ends with the wild folk declaring that they will be happy to return to civilisation once the world ‘see the light’.[l] This verse parallels the wild man with ascetic monks whose wildness is a temporary state and who seek redemption away from civilisation. Wild Man as Saints The tales of saints who found redemption in the wilderness by discarding worldly pleasures, growing hair on their body and then returning to civilization and shedding their hair once more became co-opted with the image of wild men and women during the Renaissance. Many stories of anchorites parallel with others, to the point that they can become indistinguishable.[li] Onuphrius is one of the better-known ascetic saints who lived during the fourth century. Paying penance, he lived in a cave for sixty years, as wild men and women were thought to do. His clothes wore away and he grew a thick coat of hair to protect his body against the elements (fig. 6).[lii] Saint John Chrysostom similarly went into the wilderness to pay penance and vowed to crawl on all fours until he found favour with God.[liii] Ascetic saints were similarly depicted with bare knees as wild men and women were also believed to crawl on all fours like an animal, wearing away the hair. In Leben der Heiligen (1499), where Saint John Chrysostom is depicted as covered in thick hair and crawling on all fours in the forest is described as an ‘abominable animal,’ despite being depicted with a halo around his head.[liv] Ascetic saints were therefore reduced to a beast just as the wild men and women had traditionally been as they are seen as degenerating into an animal who grow hair on their body and ate raw food.[lv] In this way, the figure of the hairy monstrosity was able to find redemption, at least in part, cast as the model of repentance. Fig. 6. Anonymous, Saint Onuphrius, c. 1480-1500, woodcut, 14.6 x 11.4cm, New York, The Metropolitan Museum of Art. During the German Renaissance, Saint Mary Magdalene, who was regarded for her beauty,[lvi] was frequently represented covered in hair like a wild woman. Her hairy image found wide devotion through the southern Germanic region.[lvii] In a tale originating in the tenth century, Mary was set adrift by non-believers and by divine guidance found her way to the south of France where she preached and converted the locals. She lived in a cave in Saint-Baume, Provence, paying penance for her former sinful life.[lviii] The name Magdalene means manens rea or ‘remaining in guilt’.[lix] She grew hair all over her body in the same way as a wild woman. In her cave she remained silent and when a hermit approached her, she had trouble speaking after being secluded for so long, not unlike the wild man and woman.[lx] Every hour, angels would ascent her to the heavens where she would gain nourishment as she was so remote that there was no food or water.[lxi] Mary’s ascension into the heavens as a hairy wild woman was a theme in German Renaissance prints and is illustrated in a print by Hans Baldung Grien (c.1484-1545) in c.1512 (fig. 7 ).[lxii] Her ascent represents her body’s transcendence from both worldly pleasures and the wilderness. Fig. 7. Hans Baldung Grien, St Mary Magdalen, c.1512, Woodcut, Sheet: 13 × 8.7 cm Metropolitan Museum of Art, New York. The image and identity of Mary Magdalene during the Renaissance is believed to be conflated with the story of Saint Mary of Egypt who lived in the fifth century. Mary has long been thought to be a prostitute. She travelled to Jerusalem where she became aware of her sins when she could not enter a Church as she was held back by a spiritual ‘force’. She saw the image of the Virgin Mary staring back at her and realised why she could not enter. Mary of Egypt, the antithesis to the Virgin prayed to her for forgiveness and renounced her life of sin.[lxiii] Mary went to live alone in the desert to repent for forty-seven years.[lxiv] The desert was a place to be tested against sins, for punishment, but also for contemplation and redemption.[lxv] Both Mary of Egypt and Mary Magdalene have both similarly been depicted covered by hair that represents their place outside of civilization and discarding worldly possessions. It was also used to provide modesty to discern from their previous occupation of the flesh.[lxvi] As seen in the print by Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt (1506) (fig. 8) who was thought to levitate in prayer,[lxvii] is similar to the composition of prints of Mary Magdalene being accented by angels. The naked saints signified the return to nature before ‘The Fall’ in the Garden of Eden.[lxviii] Despite this earlier legend, Mary Magdalene was not depicted in art as covered in hair until the mid-fifteenth century but was rather naked with her long hair covering her modesty. The image of the hairy Mary Magdalene was therefore believed to originate in fifteenth-century Germany.[lxix] The detail of the hairy Mary Magdalene was also not included in the popular thirteenth century The Golden Legend by Jacobus de Voragine (c.1230-1298) that combined the tales of Magdalene. Her nudity was implied as the hermit who visited her passed her a garment to wear.[lxx] The hair covering Mary of Egypt was also a later addition to the story and also does not appear in The Golden Legend.[lxxi] She similarly does not seem to appear in art until the fifteenth-sixteenth centuries.[lxxii] The same can be said of other saints who turn into a wild man, at least temporarily such as Saint John Chrysostom.[lxxiii] This suggests ascetic saints who grew hair over their body was a contemporary idea that arose at the same time that the wild man and woman were popular in Renaissance prints. However, as Bartra notes, the idea of the hairy ascetic saint derived from Ancient Egypt when long haired hermits sought solitude in the desert.[lxxiv] Fig. 8. Lucas Cranach the Elder, The Ecstasy of St. Mary of Egypt, 1506 Woodcut, 24.4 × 14.2 cm, The Met, New York, Wild Man in Reformation Propaganda The image of the wild man was also co-opted into the Protestant Reformation in Germany and has been used by both Protestants and Catholics in contradictory ways. The engraving of The Pope as a Wild Man was created by Melchior Lorck (c.1526/7-1583) in 1545. This wild man with characteristic thick body hair with bare knees is a hybrid with long rat-like tail. Perched on top of his head is the three-tiered crown of the pope, but the last tier is a tower of excrement. Beneath his crown are ass ears, which represent folly and dishonesty. The ass’s ears allude to the myth of Apollo who made Midas grow the ears of a donkey to tag him for his dishonesty.[lxxv] On his back appears to be a bat with stretched out wings, which is a symbol for the Devil.[lxxvi] The wild man carries his characteristic wooden club, but this one has three cross branches at the end to represent the papal cross. He holds onto the papal key that is shattered at the end, which is a sign that the temporal powers of the papacy have been broken.[lxxvii] From his mouth pours a stream of toads and reptiles. This appears to reference the beast, the dragon, and the false prophet who release four foul spirits. A version of this image was discovered cast on a canon of Protestant troops captured during the Schmalkaldic War.[lxxviii] Melchior Lorck, The Pope as Wild Man, c. 1545, Etching, 22.9 × 19.4 cm, Staatliche Museen zu Berlin, Kupferstichkabinett Conclusion In Renaissance Germany, complexity existed in people’s relationship with the wilderness. It both conjured up images of the Garden of Eden before ‘The Fall’ as well as the dangers that may lurk beyond. The wild man and woman were just as complex and represented sinfulness, but also redemption and innocence. As Merry Wiesner-Hanks concludes ‘beast, saint, or hero? the wild man was all three’.[lxxix] A closer look at images of the wild man reveals their complexity. There was not a simple evolution between a demonised creature associated with cannibalism and rape to the holy saint. In the age of the apocalypse, the wild man and woman provide a reminder of Original Sin and the need for repentance at a time of social reform. In this way, the hairy woodland creature is not entirely absolved. Further Reading: Abulafia, David, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008 Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994. Bernheimer, Richard, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952. Colin, Susi, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, pp. 5-37. Husband, Timothy, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980. Kaufmann, Lynn Frier, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984. Moseley-Christian, Michelle, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, pp.429-442. Schama, Simon, Landscape and Memory, London: HarperCollins, 1995. Wiesner-Hanks, Merry, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009. [ii] Simon Schama, Landscape and Memory, London: HarperCollins, 1995, p. 97; Timothy Husband, The Wild Man: Medieval Myth and Symbolism, exh. cat., New York: The Metropolitan Museum of Art, 1980, p. 12. [i] Bartra, Roger, Wild Men in the Looking Glass: The Mythic Origins of European Otherness, trans. Carl T. Berrisford, Ann Arbor: The University of Michigan Press, 1994, p. 79. [iii] Schama, 1995, pp. 95-6. [iv] Bartra, 1994, p. 9. [v] Richard Bernheimer, Wild Men in the Middle Ages: A Study in Art, Sentiment, and Demonology, Cambridge: Harvard University Press, 1952, p. 11. [vi] Joyce E. Salisbury, The Beast Within: Animals in the Middle Ages, New York: Routledge, 1994, p. 151; David Abulafia, The Discovery of Mankind: Atlantic Encounters in the Age of Columbus, New Haven: Yale University Press, 2008, pp.16-7. [vii] Susi Colin, ‘The Wild Man and the Indian in Early 16th Century Book Illustration,’ in Christian F. Feest (eds.), Indians and Europe: An Interdisciplinary Collection, Lincoln: University of Nebraska Press, 1999, p.8. [viii] Abulafia, 2008, pp.16-7. [ix] Colin, 1999, p.6 [x] Bernheimer, 1952, pp.165, 59. [xi] Colin, 1999, p.8. [xii] Husband, 1980, p. 11. [xiii] Walter L. Strauss (ed.), The Complete Engravings, Etchings and Drypoints of Albrecht Dürer, Courier Dover, 2013, p. 178. [xiv] Bernheimer, 1952, p. 135. [xv] Anne Clark, Beasts and Bawdy, London: Dent, 1975, p. 46 [xvi] Lynn Frier Kaufmann, The Nobel Savage: Satyrs and Satyr Families in Renaissance Art, Ann Arbor, Michigan: UMI Research Press, 1984, p. 34. [xvii] Salisbury, 1994, p. 152. [xviii] Classen, Albrecht (ed.), Meeting the Foreign in the Middle Ages, New York: Routledge, 2002, p. xx. [xix] Colin, 1999, p. 9. [xx] Danielle Régnier-Bohler, ‘Imagining the Self’, in Georges Duby (ed.), A History of Private Life: vol. II Revelations of the Medieval World, trans. Arthur Goldhammer, Cambridge, Mass.: Harvard University Press, 1988, p. 368. [xxi] Régnier-Bohler, 1988, p. 369. [xxii] Colin, 1999, p. 9. [xxiii] Colin, 1999, p.6. [xxiv] Husband, 1980, p. 62; Merry Wiesner-Hanks, The Marvelous Hairy Girls: The Gonzales Sisters and their Worlds, New Haven: Yale University Press, 2009, p. 42. [xxv] Husband, 1980, p. 64; Bartra, 1994, p. 101; Bernheimer, 1970, p. 37. [xxvi] Gilmore-House in Husband, 1980, p. 139. [xxvii] Kaufmann, 1984, pp.32-4. [xxviii] Michelle Moseley-Christian, ‘From Page to Print: The Transformation of the “Wild Woman” in Early Modern Northern Engravings’, Word & Image: A Journal of Verbal/Visual Enquiry, vol. 27, no. 4, 2012, p. 431; Tacitus, Cornelius, Agricola and Germany, trans. Anthony Birley, Oxford: Oxford University Press, 1999, p. 46. [xxix] Schama, 1995, p. 96. [xxx] Caspar Hirschi, The Origins of Nationalism: An Alternative History from Ancient Rome to Early Modern Germany, Cambridge: Cambridge University Press, 2011, p. 169. [xxxi] Colin, 1999, p. 23-4. [xxxii] Lewis W. Spitz, Conrad Celtis: The German Arch-Humanist, Cambridge: Harvard Universtiy Press, 1957, p. 100-101. [xxxiii] Anne Clark, 1975, p. 46. [xxxiv] Gilmore-House in Husband, 1980, p. 168. [xxxv] Gilmore-House in Husband, 1980, p. 167. [xxxvi] Gilmore-House in Husband, 1980, p. 168. [xxxvii] Wiesner-Hanks, 2009, p. 35. [xxxviii] Bernheimer, 1952, p. 180. [xxxix] Husband, 1980, p. 4. [xl] Wiesner-Hanks, 2009, p. 44. [xli] Husband, 1980, p. 187. [xlii] Moseley-Christian, 2012, p. 438. [xliii] George Ferguson, Signs & Symbols in Christian Art, Oxford: Oxford University Press, 1959, p. 22. [xliv] Christa Grössinger, Picturing Women in Late Medieval and Renaissance Art, Manchester: Manchester University Press, 1997, p. 82. [xlv] Husband, 1980, p. 15. [xlvi] Husband, 1980, p. 17. [xlvii] Kaufmann, 1984, pp. 36-7. [xlviii] Schama, 1995, pp. 97-8. [xlix] Colin, 1999, pp. 23-4. [l] Husband, 1980, p. 133. The full translation is found in Appendix B of Husband, 1980, pp. 202-4. [li] Husband, 1980, p. 97. [lii] Husband, 1980, p. 95. [liii] Husband, 1980, p. 102. [liv] Husband, 1980, p. 105. [lv] Bartra, 1994, pp. 83-4. [lvi] Roberta Milliken, Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature, Jefferson, North Carolina: McFarland and Company, 2012, p. 189. [lvii] Wiesner-Hanks, 2009, p. 41. [lviii] Joana Antunes, ‘The Late-Medieval Mary Magdalene: Sacredness, Otherness, and Wildness’, in Peter Loewen and Robin Waugh (eds.), Mary Magdalene in Medieval Culture: Conflicted Roles, New York: Routledge, 2014, p. 117; Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100. [lix] Husband, 1980, p. 100. [lx] Antunes, 2014, p. 118. [lxi] Milliken, 2012, p. 189. [lxii] Wiesner-Hanks, 2009, p. 38; Husband, 1980, p. 100; Milliken, 2012, p. 189. [lxiii] Michelle Erhardt and Amy Morris, ‘Introduction’ in Michelle Erhardt and Amy Morris (eds.), Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Leiden: Brill, 2012, p. 9; Else E. Friesen, ‘Saints as Helpers in Dying: The Hairy Holy Women Mary Magdalene, Mary of Egypt, and Wilgefortist in the Iconography of the Late Middle Ages,’ in E.E. DuBruck and B.I. Gusick, Death and Dying in the Middle Ages, New York: Peter Lang, 1999, pp. 240, 242; Milliken, 2012, p. 204. [lxiv] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxv] Bartra, 1994, pp.47-8. [lxvi] Erhardt and Morris, 2012, p. 9; Friesen, 1999, pp. 240, 242. [lxvii] Milliken, 2012, p. 206. [lxviii] Friesen, 1999, p. 242 [lxix] Husband, 1980, p. 100. [lxx] Jacobus de Voragine, The Golden Legend: Readings on the Saints (c.1260), ed. Eamon Duffy, Princeton: Princeton University Press, 2012, p. 381. [lxxi] Virginia Burrus, The Sex Lives of Saints: An Erotics of Ancient Hagiography, Philadelphia: University of Pennsylvania Press, 2011, p. 149. [lxxii] Voragine, 2012, p. 228; Milliken, 2012, p. 205. [lxxiii] Husband, 1980, p. 102. [lxxiv] Bartra, 1994, pp. 74-5. [lxxv] Hélène A. Guerber, The Myths of Greece and Rome, New York: Cosimo, Inc., 2007, p. 57. [lxxvi] Russell, 1986, p. 232. [lxxvii] Robert W. Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation, Cambridge: Cambridge University Press, 1981, pp. 135, 80 [lxxviii] Scribner, 1981, pp. 163, 164. [lxxix] Wiesner-Hanks, 2009, p. 35. Share this: Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to share on Pinterest (Opens in new window)Click to share on Pocket (Opens in new window) Related Wild Men and Heraldry February 20, 2022 In "wild folk" Representations of Monsters in German Renaissance Prints September 5, 2021 In "cynocephali" Monstrous Women: Hair, Gender, and Sexuality in Early Modern German Prints June 6, 2021 In "Human-Animal Relations"

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Welcome to June, and also the latest Project: Gorgon update! This update contains a new much-requested skill, Angling, as well as new UI features, quests, balancing, and a ton of bug fixes.
Bugs!
Update: the following are known bugs in this update -- no need to report them. If you see OTHER bugs, please report them!

• Animal forms are able to angle - kind of - and that is unintentional. Angling is intended to require hands.
• The Angling ability 'Catch and Release' gives 25% XP, not 25% bonus XP.
• You can target certain angling fish before they exist. You shouldn't be able to target them at all.
• Some of the angling abilities have old test descriptions.
• The new AoE indicator doesn't display in some outdoor areas.

Main Story

We've expanded the main story quest-line by a few steps. If you've already reached the point in the storyline where you were asked to have dinner with Jessina (via a hang out), the hang out is now available, and you should log in to see that your character has a "reminder quest" to hang out with Jessina.

New Camera Types

Players come to us from different games with different control schemes and camera views, and they often ask us if we can imitate the camera styles they're used to. So we gave it a try! We know that getting movement behavior just right can be tricky, so please give us feedback on how these work for you.
There are now 3 camera types to choose from, located in Settings > Controls:

• Traditional Camera: How the camera has always worked. Right-click rotates your character, left-click rotates only the camera. Mouse is always available.
• Free Camera: Camera control is completely separate from character control. Mouse is always available.
• Action Camera: Mouse movement always controls character. Mouse cursor is only available when a UI window is open, or when the Toggle Cursor key is pressed (configurable). NOTE: only available in the new selection system!

AoE Visibility

Area-of-Effect abilities that are centered on the caster now have a visualization for their range.

• When an ability is used, the AOE range briefly displays on the ground as a circle.
• When an AOE ability icon is hovered over, its AOE range displays on the ground for as long as it's hovered over.
• Visibility is configurable via Settings > GUI > Windows & HUD > Abilities & Items > "Show Beneficial AOE Areas" & "Show Detrimental AOE Areas". By default they are "Party Members Only" & "Self Only" respectively. Detrimental enemy AOEs will always display.
• Many "aura"-type pets display their aura ranges in a similar fashion, such as a druid's Healing Sanctuary or a fairy's Fae Conduit. These should also follow the visibility settings described above.
• Note: as of this update, all AoE abilities are centered on the caster, except for two Weather Witching abilities that are explicitly centered on the target. Previously, all AoEs were centered on the target, but the game didn't say that anywhere, and most players assumed it was centered on the caster! So this seems much more intuitive. But if there are specific AoE abilities that you feel should be centered on the target instead of the caster, please let us know and we'll consider it.

Angling

Traditionally, fishing in Project: Gorgon has involved scooping fish up out of the water with your bare hands -- what we might call 'tickling' the fish. And that's fine, as far as it goes. It takes real skill! But not all fish can be caught this way. (And more importantly, players have told us that an MMO "needs" to have traditional fishing in order to feel like a complete MMO.)
So we've expanded Fishing with a new sub-skill: Angling. All you need is a fishing pole, some bait, and a body of water with catchable fish. (Also Fishing 15. And hands!) In order to get started, talk to Roshun the Traitor in Serbule.
The precise mechanics of Angling aren't spelled out in the game at the moment. Since this game focuses on exploration, we expect players to be able to figure out how Angling works. Please let us know what parts of the system were hard to figure out, and we'll work to make those bits more obvious.

Skills & Abilities

From here out (and probably through the rest of beta), we'll be making small balance changes. We don't want to overnerf/overbuff things, so most changes will be relatively modest, and then we'll re-evaluate and adjust further after more observation.
Warden:
We've revised the formulae used for damage reflection, which resulted in nerfs to Privacy Field. On the other hand, multiple bug fixes actually increase the Warden's power significantly in other ways.

• Privacy Field abilities: reduced base ability damage (Privacy Field 5 changed from 196 -> 138)
• Treasure: "Privacy Field deals +60 damage to all melee attackers, and the first melee attacker is knocked away": 60 => 42
• Treasure: "Privacy Field also deals its damage when you are hit by burst attacks, and damage is +86": 86 => 47
• Treasure: "Privacy Field also deals its damage when you are hit by ranged attacks, and damage is +57": 57 => 48
• Treasure: "When Privacy Field deals damage, it also ignites the suspect, dealing 156 damage over 12 seconds": => 156 => 80. Note: previously this effect did not work at all, so this is technically a huge buff, not a nerf!
• Treasure: "While Privacy Field is active, melee attacks that hit you have a 100% chance to restore 20 Power to you" : 100% chance => 75% chance. Note: previously this effect did not work at all, so this is technically a huge buff, not a nerf!
• Treasure: "Apprehend deals +48 damage and hastens the current reuse timer of Controlled Burn by 2 seconds (so it can be used again more quickly)" : 2 seconds -> 1.5 seconds. Note: previously this effect did hasten Control Burn at at all, so this is technically a huge buff, not a nerf!
• Controlled Burn: area-of-effect reduced from 15 meters to 10 meters.
• Aggression Deterrent: area-of-effect reduced from 10 meters to 6 meters.

Weather Witch:

• New ability Summon Sandstorm: This is a variant of Summon Tornado intended to be more convenient in groups. It does not knock back foes, instead dealing bonus Armor damage. All tiers of this ability can be learned from the Sand Seer in Ilmari.
• New rare ability Summon Doomstorm: This is a variant of Summon Tornado. It does not knock back foes. Instead it deals Darkness damage. Damage is improved over base version. This pet is marked as undead for purposes of ability targeting. In other words, heals that don't work on undead don't work on this pet either. Buffs that work on undead DO work on this pet. For now, all tiers of this ability can be found as loot scrolls.
• Fixed bug that caused high-level summoned tornados to move incredibly fast. Normalized tornado speeds.
• Summoned tornadoes accidentally had vulnerability stats for Cold Spheres. They now correctly have vulnerability stats for Tornadoes.

Giant Bat:

• "Your Confusing Double deals +67% damage with each attack": 67% => 45%
• "Confusing Double summons an additional figment. Each figment deals +77 damage with each attack": 77 => 50
• "Confusing Double Reuse Timer -15": -15 => -10

Fire Magic:

• "Fire Breath hits all targets within 8 meters and deals +30.5% damage, but reuse timer is +3 seconds and Power cost is +33%" => "Fire Breath hits all targets within 8 meters and deals +60 damage, but reuse timer is +3 seconds and Power cost is +40"

Settings

• The "Reset" button in Settings now resets the currently-selected tab to its default settings. The old functionality, undoing all current changes, is still doable by simply closing the window.
• Added new experimental settings for Tab Targeting. You can find them in settings under GUI > Targeting > Tab Targeting (Experimental).
  • Combat Range: Control the max range of tab targeting when you are in combat.
  • Combat Lock: If your current target is in combat, only other in-combat enemies will be targeted via tab, unless none are in view.
  • Prioritize Unlooted Corpses: When tabbing through corpses, should all un-looted corpses be targeted before looted corpses?
  • You can now tab through targets as quickly as you can press the button.
• Overwriting a keybind that's already bound now shows a confirmation prompt, including the name of the keybind being overwritten.
• Reorganized and renamed several Settings, to make them more intuitively grouped and easier to find.

UI Changes

• "Controls" settings have been organized into Camera & Character controls, with sub-menus.- Allow clicking through entities in the new UI, similar to how it works in the old UI. If you click on something that's already selected, it selects the entity behind it (if there is one).
• Reduced precision of click-selecting entities, so they can be selected without hovering directly over them.
• All stat bars (and globes) now smoothly animate when they change, instead of statically changing to the new value.
• Item stack size font now resizes properly for vaults (including saddlebag).
• Fixed nameplate placement for mounted humanoids.
• Fixed bug causing mouse cursor to disappear completely if mouse-dragging while zoning.
• Fixed bug that caused very large tooltips not to display sometimes.
• Removed hover-text about avatar portraits coming soon -- because they're here now! We live in the future!
• Ability tooltips now display Special Values before Special Info, as those make more sense grouped together with the other numerical data.
• Polished the lootable-corpse particles a bit.
• Nameplates now fully fade out with distance instead of just the names.
• Better handling of left-clicking nothing to deselect your current target.
• Improved display of Crafting button when no hotkey is assigned.
• Fixed quest window display bug when objective count number was very large.
• Removed the "1" from the item slot in the bug report window.
• Fixed bug causing stack sizes of items in the sidebar to get out of sync.

Graphics & Animation

• Wolves & cows now animate at proper speed when going up and down hills.
• Replaced wolf's Hunting Speed animation with a howl animation.
• Polished bard animations, so they flow together better now. The play-lute animation now always plays when you are playing a bard song, even if you use other abilities while playing the song.
• Improved instrument-playing animations.
• New VFX (animations, particles, & shader effects) for all Battle Chemistry abilities.
• You can no longer auto-move while jumping. Doing so previously resulted in some very strange-looking animations.
• Fixed weird animation bug when trying to do certain things while sitting or kneeling.
• Failure to interact with something now returns the player to idle stance.
• Fixed bug with Thentree armor causing weird shadows on male characters.
• Mage Armor is now more polished, a bit darker, and has glowier gems
• Fixed bug that would cause a dancing pig's mud to stick around forever.
• Fixed bug where mounting while dancing would continue some dancing effects.
• Improved texture for Spring Fairy armor.
• Fixed face cam for Pigeons.

Other Bug Fixes & Tweaks

• Some legacy equipment that should have been Mastercrafted wasn't. Those items should be fixed now.
• When you un-legacy equipment by pulling an invalid power off of it at the transmutation table, the legacy and broken state of that equipment is now properly updated.
• Fixed bug allowing recipe items to be summoned from anywhere.
• Updated Shadow Feint tooltip to display the correct AOE distance for blinking back to position.
• Phrenology-based Mentalism & Psychology bonuses to critical chance now properly affect heals.
• Improved logic related to channeling abilities; this should hopefully fix stuck-in-channel bugs.
• Modified Mutation Injection ability descriptions to make it a bit clearer how they work.
• Lycanthropy ability "Become Wolf": the skill check to disable wolf mode is no longer downleveled when your combat skills are downleveled.
• Newly learned abilities, Wild Endurance, & First Aid should now correctly auto-rerank.
• Dying by falling through the world now shows a special button in the death window, "Teleport to Last-Touched Ground", which teleports your dead body to the last ground you were standing on. While this isn't an ideal solution, it should allow you to be revived in party situations
• Fixed bug causing skeleton warrior pets to repeatedly retreat a short distance when fighting something.
• Astounding Cloth Shirt (Max-Enchanted) and Camouflaged Astounding Shirt (Max-Enchanted) recipes now require the correct ingredients.
• Pressing spacebar while in an animal-mount form will no longer play the horse neighing sound.
• Fixed typo in Evasion Boots (Enchanted) recipes.
• Changed icon color for Acid Bomb to more of an acid-y color (and match the new VFX).
• Acid Boost Potion recipe now correctly states that it lasts 30 minutes.
• Fixed typo in quest "Holistic Wellness: Yarn" (twelve -> twenty-four balls of yarn).
• The tsys mod, "Psi Health Wave grants all targets +X Mitigation vs. Electricity, Acid, and Nature attacks for 20 seconds" now displays in the effects list when it's active.
• Fixed Dwarven Fixer causing screen brightness (instead of hiding it).
• "Toxic Flesh" tooltip now takes poison damage buffs into account.
• Using Objective Orienteering on "The Borghild Lead" quest now leads to the correct area.
• Fixed typo in quest "The Borghild Lead" (south -> north).
• Harry now hints more strongly that his Minor Panacea will not cure ALL curses, just a specific one.
• The quest "Goblin Avenger: Ratkin!!!" now correct gives 10 Xedrite.
• JSON users: Note that in skills.json's level-up rewards, "Ability" can now refer to a single ability or an array of abilities.

The Battle of Gettysburg was a significant engagement during the American Civil War that took place from July 1 to July 3, 1863, in and around the town of Gettysburg, Pennsylvania, USA. It is considered one of the most important battles of the war and a turning point in favor of the Union forces.
The battle was fought between the Confederate Army of Northern Virginia, commanded by General Robert E. Lee, and the Union Army of the Potomac, led by General George G. Meade. The Confederate forces initiated the battle by launching an offensive to try to secure a victory on Northern soil and demoralize the Union. The two armies clashed at Gettysburg.
The battle consisted of three days of intense fighting, with each day marked by significant events. On the first day, July 1, Confederate forces attacked Union forces northwest of Gettysburg. The Union forces initially faced setbacks but managed to hold their ground and establish defensive positions on Cemetery Hill, Culp's Hill, and Little Round Top.
On the second day, July 2, the Confederate forces launched assaults on both the Union left and right flanks. The fighting was fierce and resulted in heavy casualties, particularly in the areas of Devil's Den, the Wheatfield, and the Peach Orchard. Despite some initial success, the Confederate attacks were ultimately repulsed by the Union.
The third and final day, July 3, is perhaps the most famous day of the battle. General Lee ordered a massive assault on the center of the Union line, known as Pickett's Charge. Approximately 12,000 Confederate soldiers marched across open fields toward Cemetery Ridge but were met with devastating Union artillery and rifle fire. The charge failed, resulting in heavy Confederate casualties and a significant turning point in the battle.
After three days of intense fighting, General Lee and the Confederate forces were forced to retreat on July 4. The Union victory at Gettysburg was a critical moment in the war, as it halted Lee's invasion of the North and dealt a severe blow to the Confederate Army. The battle resulted in an estimated 51,000 casualties on both sides, making it one of the bloodiest battles in American history.
The Battle of Gettysburg is often seen as a turning point in the Civil War. It boosted Union morale, demonstrated the effectiveness of defensive tactics, and encouraged President Abraham Lincoln to issue the Emancipation Proclamation. The battle also marked the farthest advance of Confederate forces into Northern territory, and from that point forward, the Confederacy would be primarily on the defensive until its eventual defeat in 1865.

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

We have a mortgage of just under $80k on a house worth between $1.5-2mil. Eastern suburbs Melbourne. The house is on a 630 sqm block in a growth zone (pretty sure RGZ2) that is within 1.6 km of the future new rail loop Box Hill station, so zoning is very likely to change to higher density very soon by the state government. The house is a Californian bungalow renovated over the years and extended about 8 years ago to a 4 bedroom plus study and 2 bathrooms. We think it would get about $900 pw in rent, maybe more as it’s an easy walk to Box Hill station. The house holds a lot of traumatic memories for me and I do not want to stay living here any longer. We want to “move up” and move our family to anywhere between Surrey Hills and North Balwyn BUT we don’t want to let go of the potential of this house/land. Our next door neighbours own a house/land same size as ours and they’re on the corner and we are all willing to sell together when the time is right so there’s that added potential. I’m hoping to get some advice about how we can best leverage our position and hopefully keep the existing house while also “moving up”. Any ideas appreciated!

After the conversation we've been having today regarding number retirements, especially after u/NotJuniorBridgeman's question reminded me of Chuck Cooper's status as the only player in the Hall of Fame to have never either made an all-star game or had their jersey retired, I started to think about how the MLB has every team wear Jackie Robinson's #42 on the anniversary of his debut. Since the NBA doesn't exactly have a singular Jackie Robinson-esque figure, I thought I'd make a list of which player each team would be most likely to honor if they did something similar. Let me know of any alternate suggestions you have, there are five or so where I feel like there should be a better answer but there just isn't that I'm aware of.
Atlanta Hawks: Pop Gates (first post-war Black NBL player, sparked pro ball's integration movement)
Boston Celtics: Chuck Cooper (integrated the NBA as a Celtic)
Brooklyn Nets: Dolly King (integrated the NBL along with Gates, first gained fame at LIU)
Charlotte Hornets: Tex Harrison (first HBCU player to be an All-American, played 18 years with the Globetrotters)
Chicago Bulls: Sonny Boswell (1940s star for the Rens and Globetrotters, one of the seven Black players the Chicago Studebakers integrated the wartime NBL with)
Cleveland Cavaliers: Willie Smith (At one point the best player in the world while on the Rens, Cleveland native who integrated the NBL's Cleveland Chase Brass and played for the Dayton Rens)
Dallas Mavericks: Harry Rusan (nine years with the Globetrotters after a college career at Paul Quinn)
Denver Nuggets: Ziggy Marcell (eight years with the Globetrotters, briefly integrated the NPBL Denver Refiners in 1950-51)
Detroit Pistons: Willie King (integrated the NBL's Detroit Gems)
Golden State Warriors: Don Barksdale (first Black All-Star and a whole bunch of other firsts)
Houston Rockets: Woody Sauldsberry (first player from an HBCU (Texas Southern) to make an All-Star Game)
Indiana Pacers: Dave DeJernett (first Black man to lead an integrated HS basketball team to a state championship, later played for Rens and other barnstorming teams)
Los Angeles Clippers: Ermer Robinson (from San Diego, but I'm letting them have him since they used to be there, SDSU and Globetrotters star famous for making the game-winner in a win over the Lakers)
Los Angeles Lakers: Jackie Robinson (UCLA All-American, star of the Los Angeles Red Devils)
Memphis Grizzlies: Harold Hunter (technically the first Black NBA player since he signed his training camp contract seconds before Earl Lloyd, college coach beginning as McLendon's successor at Tennessee State)
Miami Heat: Will Allen (integrated University of Miami basketball)
Milwaukee Bucks: Jack Mann (integrated the Sheboygan Redskins years before joining the NBL)
Minnesota Timberwolves: Bob Williams (integrated the Minneapolis Lakers)
New Orleans Pelicans: Bill Russell (he's Bill Russell)
New York Knicks: Nathaniel Clifton (integrated the NBA as a Knick)
Oklahoma City Thunder: Marques Haynes (six years with the Globetrotters, starred HS and college in Oklahoma)
Orlando Magic: John Chaney (starred for Bethune-Cookman in the 1950s, played 11 years of minor league ball, 24 years coaching Temple)
Philadelphia 76ers: Tarzan Cooper (Commonly regarded as the greatest pre-NBA black player while with the Rens, always lived in Philadelphia aside from during the basketball season)
Phoenix Suns: T.C. Dean (high school legend, averaged 18/17 for an undefeated Grand Canyon team while being the university's only Black student)
Portland Trail Blazers: Chuck Patterson (Portland native, played for various 1940s AAU teams in Oregon and integrated the PCL as a member of the Bellingham Fircrests)
Sacramento Kings: Wilmeth Sidat-Singh (integrated the team years before they even joined the NBL)
San Antonio Spurs: Bobby Joe Hill (star for 1965-66 Texas Western)
Toronto Raptors: Fred Thomas (Canadian barnstorming star, didn't make 1952 Canada national team because of his race)
Utah Jazz: Zelmo Beaty (went from refusing to report to the Utah Stars to owning a house in SLC the rest of his life)
Washington Wizards: Earl Lloyd (integrated the NBA as a member of the Washington Capitols)

Just what the title says. Thanks.

Saturday:
Durham Craft Market - Saturday 08:00 AM @ Durham Central Park - Durham
The Raleigh Market - For the thrill of the hunt! - Saturday 09:00 AM @ N. C. State Fairgrounds - Raleigh
Shop & Play Saturday at Phillips Farms of Cary: Kids' Summer Kick-Off with NC Eat & Play - Saturday 09:00 AM @ Phillips Farms of Cary - Cary
FREE HIIT class @ Crabtree Valley Mall w/ Princess from Fit Factory! - Saturday 09:00 AM @ Fabletics Crabtree Valley Mall - Raleigh
West Point Park Tours (4 start times) - Saturday 10:00 AM @ West Point on the Eno - Durham
Spring Kiln Opening at Mark Hewitt Pottery - Saturday 10:00 AM @ Hewitt Pottery - Pittsboro
Saturday Slowdown at RambleRill Farm in Hillsborough: shop at farmers' market, meet goats, have a picnic - Saturday 10:00 AM @ RambleRill Farm - Hillsborough
Summer Sol - Vinyasa Flow w/ Live Sound Journey & Zero Proof Cocktails - Saturday 10:00 AM @ Raleigh Rose Garden - Raleigh
1st Annual International Children's Day at the City of Raleigh Museum - Saturday 10:00 AM @ City of Raleigh Museum - Raleigh
Ever After: Fairytales, Food & Flowers - Saturday 10:00 AM @ Fred Fletcher Park - Raleigh
"Cultural Infusions": An Art Collective Art Exhibition - Saturday 10:00 AM @ Triangle Cultural Art Gallery - Raleigh
Open Farm Visit to Sunrise Community Farm - Saturday 10:00 AM @ Sunrise Community Farm Center - Chapel Hill
The Original Downtown Raleigh Murals and Public Art Tour - Saturday 10:30 AM @ 300 S Salisbury St - Raleigh
Yoga at Hi-Wire Brewing - Saturday 11:00 AM @ Hi-Wire Brewing at Golden Belt - Durham
Historic Raleigh Trolley Tours (1-hour long; 4 start times) - Saturday 11:00 AM @ Mordecai Historic Park - Raleigh
Wilson Pride Market - Saturday 11:00 AM @ Fayetteville Street - Raleigh
Flight Day at Dix Park - Saturday 11:00 AM @ Dorothea Dix Park, Big Field - Raleigh
The Market at NCMA - Saturday 11:00 AM @ North Carolina Museum of Art - Raleigh
Flight Day at Dorothea Dix Park - Saturday 11:00 AM@ Dorothea Dix Park — Big Field - Raleigh
FlushFest -- West Hillsborough's Homemade Music and Film Festival (admission by donation) - Saturday 12:00 PM @ 711 Eno Street, West Hillsborough - Hillsborough
flART Market - Saturday 12:00 PM @ ArtPost - Durham
Record Show - Saturday 12:00 PM @ Durty Bull Brewing Company - Durham
Art-n-Soul Market - Saturday 12:00 PM@ Waverly Place - Cary
Art-n-Soul Market @ Mystic Farm & Distillery - Saturday 12:00 PM @ Mystic Farm & Distillery - Durham
Rescheduled: Bond Brothers' Mid-Town Square Spring Festival - Saturday 12:00 PM @ Bond Brothers Beer Company - Cary
Raleigh's International Food Festival - Saturday 12:00 PM @ City Plaza - Raleigh
53rd Annual Bimbé Cultural Arts Festival - Saturday 1:00 PM @ Rock Quarry Park - Durham
Doughnuts with Dads at Book Harvest - Saturday 1:00 PM @ Durham Bulls Athletic Park - Durham
Live music - Saturday 2:00 PM @ Gizmo Brew Works - Raleigh
Away Home - Workshop Offering (part of NC State's TheatreFEST) - Saturday 2:00 PM @ Thompson Hall (NC State) - Raleigh
The Carrboro Really Really Free Market - Saturday 2:00 PM @ Carrboro Town Commons - Carrboro
Live music: The Stagger Brothers - Saturday 2:00 PM@ Carolina Brewery - Pittsboro
The ComedyWorx Show Matinee - Saturday 3:00 PM @ ComedyWorx - Raleigh
19th Annual Beaver Queen Pageant - Saturday 3:00 PM @ Duke Park - Durham
Saturdays in Saxapahaw Outdoor Concert Series - Saturday 3:00 PM @ Saxapahaw Post Office - Saxapahaw
Jazz + Art Market - Saturday 3:00 PM@ Artmosphere Community Arts Center - Clayton
Summertime Beer Fest - Saturday 3:00 PM @ Clouds Brewing Tap Room - Raleigh
Live music - Saturday 6:00 PM @ Gizmo Brew Works - Raleigh
The ComedyWorx Show - Saturday 6:00 PM@ ComedyWorx - Raleigh
Music at Mill Bridge - Saturday 6:00 PM @ Mill Bridge Nature Park Amphitheatre - Wake Forest
Music on Main - Saturday 6:00 PM @ The Streets at Southpoint - Durham
Live music: Maverick Rose - Saturday 6:30 PM @ Southern Peak Brewery - Apex
1st Annual Bad Prom For A Good Cause - Saturday 7:00 PM @ Tobacco Road Sports Cafe & Brewery - Raleigh
Metropolitan Community Church - Saturday 7:00 PM @ St. John’s Metropolitan Community Church -
Live music: LowderStill - Saturday 7:00 PM @ Nickelpoint Brewing Co. - Raleigh
Pride Dance Party at Gizmo Brew Works - Saturday 7:00 PM @ Gizmo Brew Works - Chapel Hill
Live Music - Saturday 7:00 @ 20 West Franklin Street Plaza - Chapel Hill
Live music: Thomas Hinds - Saturday 7:30 PM @ Oaklyn Springs Brewery - Fuquay-Varina
Glitter Hour: Amateur Drag and Queer Stage Show - Saturday 8:00 PM @ Ruby Deluxe - Raleigh
Summer F.L.I.N.G. Game Night - Saturday 8:00 PM @ 93 Rock Quarry Rd - Raleigh
Afrobeats, HipHop, Dancehall - Saturday Nights (1st Saturday of Each Month) - Saturday 10:00 PM @ Nafkot Lounge - Raleigh
Social Club: Saturday Night Social - Saturday 10:00 PM @ Social Club - Raleigh
​
Sunday:
The Raleigh Market - Sunday 09:00 AM @ Raleigh Market (at N.C. State Fairgrounds) - Raleigh
Free Pop-Up Yoga in Wake Forest with SoulFULLY YOURS - Sunday 09:30 AM @ Horseshoe Farm Nature Preserve - Wake Forest
A Place at the Table's "pay what you can" food truck rodeo - Sunday 11:00 AM @ A Place at the Table - Raleigh
Board Game Sundays - Sunday 12:00 PM @ Gizmo Brew Works - Durham
Spring Kiln Opening at Mark Hewitt Pottery - Sunday 12:00 PM @ Hewitt Pottery - Pittsboro
Black Farmers' Market - Sunday 1:00 PM @ Southeast Raleigh YMCA - Raleigh
Community Build Day for Durham Art Parade: Art on a Stick - Sunday 1:00 PM @ The Scrap Exchange - Durham
Youth Aviation Academy Program at John Chavis Memorial Park - Sunday 1:00 PM @ John Chavis Memorial Park - Raleigh
Historic Raleigh Trolley Pride Ride (3 start times) - Sunday 1:00 PM @ Mordecai Historic Park - Raleigh
Durham Really Really Free Market - Sunday 2:00 PM @ Lyon Park - Durham
Open Mic Hosted by Michael Brennan - Sunday 2:00 PM @ BMC Brewing - Pittsboro
Durham City of Medicine Walking Tour (pay what you want) - Sunday 2:00 PM @ Raleigh Convention Center - Raleigh
Live music: Gypsy Railroad Band - Sunday 2:00 @ Nickelpoint Brewing Co. - Raleigh
Historic Houses on the Move - Sunday 2:00 @ Bombshell Beer Company - Holly Springs
Beer, Bacon, and Bluegrass - Sunday 3:00 PM @ Oaklyn Springs Brewery - Fuquay-Varina
Open-Mic Night - Sunday 3:00 PM @ Gizmo Brew Works - Raleigh
"Pay What You Can" for tickets to Corpus Christi by Terrence McNally, presented by St. John's Six Sundays in Spring concert: Sensory Expressions - Sunday 3:30 @ E. Carroll Joyner Park - Wake Forest
Indoor Yoga at the Chapel at Dix Park - Sunday 3:30 @ Dorothea Dix Park - Raleigh
Freeman Round House Summer Event Series: Karaoke with Mia Harris - Sunday 6:00 PM @ Vollis Simpson Whirligig Park - Wilson
Sunday Salsa Social -- lesson and dance - Sunday 6:30 PM @ Triangle Dance Studios - Durham
Sunday Night Live Music - Sunday 7:00 PM @ Southern Village - Chapel Hill
​
Want us to send you all the fun happenings in the Triangle directly to you? Join the LocalFYI newsletter (by clicking here) to get the inside scoop sent to your inbox every Monday. Although it says just Raleigh, we send events that cover the whole Triangle there :)
Any other cool events that we missed? Comment below so we can add them to our list!

What do y'all do when you love a disc but hate the hand feel or plastic? For the past few years I've been throwing a lot of MVP, Axiom, Streamline, Mint, and Thought Space. I've slowly weeded out a lot of the MVP/Axiom because I've discovered I don't really like overmolds, but I still enjoy some sweet Streamline action.
I'm sort of spoiled from the plastic. Not to mention the art, specifically from TSA but Mint does some great shit too. That's a bit beside the point, however, assuming I actually have one.
I still haven't found anything that beats a Teebird for the stable fairway slot. The Alpha is good but for the most part it's a little too overstable. The Votum is good but it's just not quite overstable enough. The Grackle is freaking great but that -1 turn isn't totally reliable with a stiff breeze. The Volt is cool but it's also a little too overstable and a bit too fast for me to range it well.
I've spent a dozen rounds out on the course, sweating my ass off, throwing drives with all these discs and I just. Keep. Coming. Back. To the Teebird. I flies exactly how I want my workhorse driver to fly and, with different weights and plastics, I can pretty much cover any fucking shot I want. Add in a Drift fo US duties and I'm DONE: two discs, fairway shit is finished.
But damn, man...I just don't like how a Teebird feels. I'm used to pulling out something from MVP or TSA or Mint, which feels like Gummy Bears having sex. My fingers just delight in it, my hand loves to hold it. It's precious and silky and just a wee bit naughty.
Innova's Star plastic (my preferred Teebird) is like a melted Barbie doll that might have herpes. Champion plastic feels like the sneeze guard at a Golden Corral, and GStar and DX don't even need to be mentioned because gross. But nothing flies like that mofo. And a seasoned Teebird is just a magical goddamn thing that no one has managed to replicate.
So there it is. Man, I love Teebirds but the plastic just feels like a GoBot left in a hot car. No other mold from TSA or Mint or MVP/Axiom/Streamline seems to do the trick but their plastic is like Zeus's condom stretched tight over an erection that spells certain doom for mere mortals.
Anyway, enjoy your night.

I lived in BrightonVillage in 2012-2013, it’s the towns homes on the right of Real Life Church. I was 14 at the time, and remember over the course of 3 years, around 10 at high to 12am I could a weird booming sound. Hard to explain but like, in movies where a giant is walking, or when there’s the sound of an earthquake coming , but ever 5-10 seconds. I know it was from the north, but when I tried to go towards the sound it switched direction. Absolutely nobody was ever outside when it happened streets were empty, and only me outside, it was so distantly loud I could hear it from my bedroom on the second floor. I KNOW it wasn’t Six Flags, I could see the park from my house, and the place had no fireworks going on, and I used to watch them, & know what they sound like. To this day, no one has heard about it except some kid I met in 2018 at the Golden Valley Skatepark, he told me he heard it in 2011 near copper hill, same time and everything, it used to freak him out as-well. I found one facebook post about it very recent, nobody took it seriously, but the OP explained it like “Boom Boom”

It was Danvers who finally pushed him in. We’d been feeding the fire with hardwood since the afternoon and it had gotten big as the wind picked up by nightfall, flickering cross our faces and warming our cheeks better than a gas heater. He didn’t even scream when he fell. The flames just swallowed him up—sparks shooting out like hot vomit. He knew what he’d done. He knew it was wrong. When he lifted himself up and came out of the fire he stood dead still, staring at us, smiling like we’d done him a favour. Maybe he thought he deserved to turn into ash. Maybe he did deserve it. I know I kept my fingers tight round the handle of the axe just the same till he keeled over and Cauley had touched the corpse with his foot and we knew he was dead. The three of us, we kept silent for a long while after that. There was just the sound of wood burning and it was better that way. None of us touched the body but none of us looked away, either: you could still make out his face, unmistakable, when the rest of him was dark and formless. He was a face on a pile. Then the wind started taking bits and pieces and carrying them away. Like I told the police, he didn’t touch me, but I knew some of the kids he’d done it to. He’d done it to Danvers. I remember once when all the other kids were gone, I’d stayed after class, Mr Gregor bent himself close to my ear and told me the real story. “You’re a wicked one,” he said when he was done, “just like Don Whitman.”
They used to scare us with Don Whitman, the adults: the other teachers, our parents, the priest. But no one ever explained it. They’d just say, “You better do what we want or else Don Whitman will come back and get you.” Mr Gregor was the only one ever to tell it to me with details. He told it different, too. He said he remembered because he was the same age as Don Whitman and they went to the same school. He said that what the others say they remember is like Cain and Abel or Little Red Riding Hood. Even the landscape tells the fairy tale. After it happened, Don Whitman’s school got torn down, then his house. And the bells in the Church got changed: the ones they rang after Elizabeth Cartwell had come back hysterical with the news.
You can’t tear down or change a man’s memory, Mr Gregor told me.
Once you see, it’s forever.
Elizabeth Cartwell’s parents moved away as soon as the police investigation finished. A lot of people moved away. But Mr Gregor showed me a newspaper from Hill City, North Dakota from some years later. The paper was yellow but you could read the black print fine. The story was about a girl who’d killed herself. The photo was of Elizabeth Cartwell. As he held it out for me to see, his hand shook and I felt his breath grow warmer against the skin around my neck. Nothing made him shake as much as what happened to Elizabeth Cartwell, not even the details.
Don Whitman was seventeen when he did it. He was handsome, with wide shoulders and played football. All the girls liked him. He was going to go to college. Maybe that’s why they thought he was ready: they thought he was a man. They thought he’d be with them. It was a school night when they woke him and drove out to the old pumping station, so that he could see everything for himself. They wanted to make him a part of it just like they were. If he saw, he would want it just like they did. I was always told that he drove out there by himself, but Mr Gregor told me that’s part of the lie. He said Don Whitman’s father was in the car with the mayor and the chief of police. He said, “How would he have found the place by himself—why would he have gone looking?”
The place is in a wood not far from the border. Of course, the whole underground is filled with cement now, but you can still see where the opening used to be: a fat tube sticking out of the ground, just big enough for a man to crawl down into. There was a hatch on it then, and thick locks. The hatch was sound-proof. If you stood right beside it, you couldn’t hear a thing, but as soon as you opened the hatch you could smell the insides and hear the moans start to drift upwards into the world. A steel ladder led down. Mr Gregor says they all knew about it, everyone: all the adults. They’d all been down that ladder. All of them had seen it.
Don Whitman went down the ladder, too. He must have smelled the insides grow stronger and heard the moaning echo louder with every rung but he kept going. On the ground above, his father spoke to the mayor and they both felt proud. Don Whitman must have been more scared of coming up and disappointing them than of not going down to the limit. But when he reached the bottom, the very bottom, and put his feet to the hard concrete and saw it before his own eyes, something inside of him must have broken—
“They sugarcoat it and they make a child’s game of it because they’re too scared to remember the truth,” Mr Gregor told me. “They can’t forget it, but it’s a stain to them, so they cover it up and pretend that everything’s clean.”
Don Whitman saw the vastness of the interlocking chambers and, within them, the writhing, ecstatic, swollen no-people of the underground, human-like but non-human, cross-bred mammals draped in plaster-white skin pinned to numb faces, men, women and children, male and female, naked, scared, dirty, with humans—humans Don Whitman knew and recognized—among them, on them and under them, hitting them, squeezing them, making them hurt, making monstrous sounds with them, all under slowly rotating heat lamps, all open and together, one before another, and then someone, someone Don Whitman knew, must have put a hand on Don Whitman’s shoulder and Don Whitman would have asked, “But what now, what am I supposed to do?” and then, from somewhere deep within the chambers, from a place not even Don Whitman would ever see, a voice answered:
“Anything.”
Mr Gregor pulled away from me and I felt my body turn cold. Icy sweat crawled under my collar and below my thighs.
I’d been told Don Whitman had found the old pumping station and lured the police to it, that they’d called others—including Don Whitman’s father—to talk him out of any violence, but that he’d snapped and murdered them all without firing a single shot, with his bare hands, and dumped the bodies into the metal pipe sticking out of the ground, the one just wide enough for a man to fit through. Then he’d disappeared. It wasn’t until days later that Elizabeth Cartwell found the bodies and there was never any sign of Don Whitman after that. The manhunt failed. So the church bells rang, the school was torn down, the pipe was filled in and, ever since, the adults scare their children with the story of the high school boy who’d done a terrible, sinful thing and vanished into thin air.
“And why would she decide to go out there?” Mr Gregor asked—meaning Elizabeth Cartwell—his eyes dead-set through a window at the raining world outside. “It’s as transparent as a sheet of the Bible, every word of it. They all pretend to believe because they’ve all made it up together. But the police reports, the testimony, the news stories, the court records, the verdict: a sham, a falsification made truth because a thousand people and a judge repeat it, word-for-word, every night before bed.”
I tried to stand but couldn’t. My heart was pounding me back into the chair. I was thinking about my mother and father. I had only enough courage for one question, so I asked, “What happened to the no-people?”
Mr Gregor turned suddenly and laughed so fierce the rain lashed the windows even harder. He came toward me. He put a delicate hand on each of my shoulders. He bent forward until his lips were almost touching mine and, his eyes staring at me like one stares at the Devil, said:
“Buried in the concrete. Buried alive, buried dead—”
I pushed him away.
He stumbled backward without losing his balance.
I forced myself off the chair, praying that my legs would keep. My knees shook but held. In front of me, Mr Gregor rasped for air. A few long strands of his thin hair had fallen across his forehead. He was sweating.
“He was a coward, that little boy, Don Whitman. Without him, we wouldn’t need to live under the whip of elaborate lies designed by weaker people turned away and shamed by the power of the natural order of things. They trusted him, and he betrayed us all. The fools! The weakling! Imagine,” Mr Gregor hissed, “just imagine what we could have had, what we could have experienced down there, at the very bottom, in the chambers...”
His eyes spun and his chest heaved as he grew excited, but soon he lost his venom and his voice returned to normal.
Finally, he said without any nastiness, “You’re a wicked one, just like Don Whitman.”
And I ran out.
Danvers prodded me awake. I must have fallen asleep during the night because when I opened my eyes it was morning already. The sun was up and the flames gone, but the fire was still warm. Mr Gregor’s dead face still rested atop a pile of ashes. Cauley was asleep on the dirt across from us. I could tell Danvers hadn’t slept at all. He said he’d been to a farmhouse and called the police. We woke up Cauley and talked over what we’d say when they got here. We decided on something close to the truth: Mr Gregor had taken the three of us camping and, when he tried to do a bad thing, we put up a fight and knocked him into the flames. Cauley said it might be suspicious because of how easily Mr Gregor had burned, but Danvers said that some people were like that—they burned quick and whole—so we needn’t say a word about the gasoline. When the police came, they were professional and treated us fair, but when they took me aside to talk to me about the accident, every time I tried to tell them about the bad things Mr Gregor had done, they wouldn’t hear it, they just said it was a shame there’d been an accident and someone had died.
At home, I asked my parents whether Mr Gregor was a bad person for what he’d done to Danvers and others. My mother didn’t say anything. My father looked at me like he was looking at the Devil himself and said morality was not so simple and that people had differing points of view and that, in the end, much depended not on what you did, but who you did it to—like during the war, for example. There were some who deserved to be done-to and others whose privilege it was to do. Then he picked up his magazine and told me it was best not to think about such things at all.
I did keep thinking about them, and about Don Whitman, too. When I got to high school, I was too old to scare with monsters, but once in a while I’d hear one of the adults tell a kid he better do as he’d been told or Don Whitman would come back and get him. I wondered if maybe people scare others with monsters they’re most scared of themselves. I even thought about investigating: taking a pick-axe to the pumping station and cracking through concrete or investigating records of how much of it had been poured in there. But I figured the records could have been fixed and one person with a pick-axe wouldn’t get far before the police came and I didn’t trust them anymore. I also had homework to worry about and I started seeing a girl.
I’d almost forgotten about Don Whitman by the time my mother sent me out one evening with my dad’s rifle to hunt down a coyote she said had been attacking her hens. I took a bike, because it was quiet, and was roaming just beyond town when I saw something kick up dust in a field. I shot at it, missed and it scurried off. I pedaled after it until it seemingly disappeared into nowhere. I kept my eye firm on the spot I saw it last and when I got close enough, I saw there was a small hole in the ground there. I stuck the rifle in and the hole felt bigger on the inside, so I stomped all around till the hole caved and where there’d been a mouse-sized hole now there was an opening a grown man could fit through. It seemed deep, which made me curious, because there aren’t many caves around here, so I stuck my feet in but still couldn’t feel the bottom. I slid in a little further, and further still, and soon the opening was above my head and I was inside with my whole body.
It was dark but I could feel the ground sloping. When my eyes accustomed to the gloom, I saw enough to tell there was a tunnel leading into the depths and that it was big enough for me to crawl through. I didn’t have a light but I knew it was important to try the hole. Maybe there were no-people at the bottom. Mostly, though, I didn’t think—I expected: that every time I poked ahead with the rifle, I’d hit earth and the tunnel would be done.
That never happened. I descended for hours. The tunnel grew narrower and the slope sharpened. Fear tightened around my chest. I lost track of time. There wasn’t enough space to turn my body around and I’d been descending for so long it was foolish to backtrack. Surely, the tunnel led somewhere. It was not a natural tunnel, I told myself, it must lead somewhere. I should continue until I reached the end, turn around and return to the surface. The trick was to keep calm and keep moving forward.
And I was right. Several hours later the tunnel ended and I crawled out through a hollow in the wall of a huge grotto.
I stood, stretched my limbs and squinted through the dimness. I couldn’t see the other end of the grotto but the wall curved so I thought that maybe if I went along I might get to the other end. My plan of an immediate return to the surface was on hold. I had to see what lived here. Images of no-people raced through my head. I readied my rifle and proceeded, slowly at first. Where the tunnel had been packed dirt and clay, the walls and floor of the grotto were solid rock. There was moisture, too. It flowed down the walls and gathered in depressions on the floor.
Although at first the wall felt smooth, soon I began to feel a texture to it—like a washboard. The ceiling faded into view. The grotto was getting smaller. And the texture was becoming rougher, more violent. I was thinking about the texture and Mr Gregor’s burnt body when a sound sent me sprawling. My elbow banged against the rock and I nearly cried out. My heart was beating like it had beaten me into my chair in the classroom. The sound was real: faint but clear and echoing. It was the sound of continuous and rhythmic scratching.
I crawled forward, holding the rifle in front. The scratching grew louder. I thought about calling out, but suddenly felt foolish to believe in no-people or anything of that kind. It seemed more sensible to believe in large rodents or coyotes with sharp teeth. I could have turned back, but the only thing more frightening than a monster in front is a monster behind, so I pulled myself on.
In fact, I was crawling up a small hill and, when I had reached the top, I looked down and there it was:
His was a human body. Though hunched, he stood on human legs and scratched with human hands. His movements were also clearly a man’s movements. There was nothing feminine about them. His half-translucent skin was grey, almost white, and taut; and if he had any hair, I didn’t see it. His naked body was completely smooth. I looked at him for a long time with dread and disgust. His arms didn’t stop moving. Whatever they were scratching, they kept scratching. Even when he turned and his head looked at me, even as I—stunned—frozen in terror, recoiled against the wall, still his arms kept moving and his hands clawing.
For a few seconds, I thought he’d seen me, that I was done for.
I gripped the rifle tight.
But as I focused on his face, I realized he hadn’t seen me at all. He couldn’t see me. His face, so much like a colourless swollen skull, was punctuated by two black and empty eye sockets.
He turned back to face the wall he was scratching. I turned my face, too. The texture on the wall was his. The deeper the grooves, the newer the work. I put down the rifle and put my hand on the wall, letting my fingers trace the contours of the texture. It wasn’t simple lines. The scratching wasn’t meaningless. These were two words repeated over and over, sometimes on top of each other, sometimes backwards, sometimes small, sometimes each letter as big as a person, and they were all around this vast underground lair, everywhere you looked—
Two words: Don Whitman.
He’d made this grotto. I felt feverish. The sheer greatness, the determination needed to scratch out such a place with one’s bare hands. Or perhaps the insanity—the punishment. If I hadn’t been sitting, a wave of empathy would have knocked me to the wet, rocky floor. I picked up the rifle. I could put Don Whitman out of his misery. I lifted the rifle and pointed it at the distant figure writing his name pointlessly into the wall. With one pull of the trigger, I could show him infinite mercy. I steadied myself. I said a prayer.
Don Whitman stopped scratching and wailed.
I bit down on my teeth.
I hadn’t fired yet.
He grabbed his head and fell to his knees. The high-pitched sound coming from his throat was unbearable. I felt like my mind was being ripped apart. I dropped the rifle and covered my ears. Again, Don Whitman turned. This time with his entire body. He crawled a few steps toward me—still wailing—before stopping and falling silent. He raised his head. Where before had been just eye sockets now there were eyes. White, with irises. Somehow, they’d grown.
He got to his feet and I was sure that he could see me now. He was staring at me. I called his name:
“Don Whitman!”
He didn’t react. Thoughts raced through my mind: what should I do once he comes toward me? Should I defend myself or should I embrace him?
But he didn’t step forward.
He took one step back and lifted his long fingers to his face. His nails, I now saw, were thick and curved as a bird’s talons. He moved them softly from his forehead, down his cheeks and up to his eyes, into which, without warning, he pressed them so painfully that I felt my own eyes burn. When he brought his fingers back out, in each hand he held a mashed and bleeding eyeball. These he put almost greedily into his mouth, one after the other, then chewed, and swallowed.
Having nourished his body, he returned to the wall and began scratching again.
As I watched the movements of his arms, able to follow the pattern of the letters they were carving, I no longer felt like killing him. If he wanted to die, he could die: he could forego water, he could refuse to eat. He didn’t want to die. He wanted to keep scratching his name into the walls of this grotto: Don Whitman, Don Whitman, Don Whitman…
I watched him for a long time before I realized that I would have to get to the surface soon. People would begin to worry. They might start looking for me. And as much as I needed to know the logic behind Don Whitman’s grotto, I also needed food. I couldn’t live down here. I couldn’t eat my own eyes and expect them to grow back. Eventually, I would either have to return to the world above or die.
I put my hand on the grotto wall and began to mentally retrace my steps. A return would not be difficult. All I would need to do was follow—
That’s when I knew.
The geography of it hit me.
The hole I’d entered was on the outskirts of town. The tunnel sloped toward the town. That meant this grotto was below the town. The town hall, the bank, the police station, the school—all of it was lying unknowingly on top of a giant expanding cavity. One day, this cavity would be too large, the town would be too heavy, and everything would collapse into a deep and permanent handmade abyss. Don Whitman would bury the town just as the town had buried the no-people. Everything would be destroyed. Everyone would die. That was Don Whitman’s genius. That was his life’s work.
I picked up the rifle and faced Don Whitman for the final time.
He must have known that I was there. He’d heard me and had probably seen me before he pulled out his eyes, yet he just continued to scratch. Faced with death, he kept working.
As I stood there, I had no doubt that, left in peace, Don Whitman would finish his project. His will was too powerful. The result would be catastrophic. It was under these assumptions that I made the most moral and important decision of my life:
I walked away.