A Day In The Life Of Gonky!!

That's a good suggestion but instead I'm going to use the Gonk to destroy things and wreak havoc. I might also throw a lamp at you so you lighten up, but I haven't made up my mind on that yet

What if, theoretically, someone had a Gonk droid that they droidnapped but would now wish to give the Gonk away (this is definitely not my case)? What would someone (not me) do in that case?

I would advise you to look up the definition of "theoretically" and consider choosing a different adverb.

The Princess Bride (1987), dir. Rob Reiner

I thought you would get along with her since she doesn't like people and sits still for prolonged periods of time, silently watching.

Not an actual tooka but rate my tooka?

Dark markings over half his face. Always looking up at me. Maintains a good attitude despite the circumstances. Absolutely don't need another one of these, 4/10

Is that a hint of care for Tech in your voice, Crosshair?

The lab's all set up, boss.

Actually, Hunter's the boss. I merely chauffeur everyone, design everything, and devise ingenious solutions to all of our problems.

Is this a Sherlock reference? I never thought you would be the type, Tech.

Hardcase: if any of us were to turn evil, who would be the scariest?

Fives: hmmm, probably-

Echo: Kix.

Jesse: Kix?

Echo: He could kill every single one of us and make it look like an accident.

Kix: *sitting in the corner* Echo is the only one I'd spare-

Everyone in Torrent was convinced Fives was responsible for the pranks they suffered. It made sense, right? They began when Echo and Fives joined them, and Echo was too rule-abiding to be responsible. When Echo tragically fell at the Citadel, they continued. So, it has to be Fives... right?

Surprise, surprise, it had been Echo in the state, who though the was sly until Jesse cornered him. After the Citadel mission, Jesse took over and continued the pranks.

No matter how much Fives wailed and denied his involvement, no one believe him. No one. Which was rather ironic, since they all knew that Fives couldn't lie to save his life and Echo... had always been remarkably good at it.

Fives wasn't the trickster, the prankster, the troublemaker everyone made him out to be. It was Echo or the spirit of Echo that lived in, honored by a dutiful Jesse.

Unbeknownst to any of them, there was one who knew... But, how often did anything slip past Captain Rex?

He just smirked as Fives tried to state a case in his defense and Kix yelled at him for the glitter bomb in his trunk.

“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

Rex: Nothing in life is free.

Padmé: Love is free!

Ahsoka: Adventure is free.

Obi-Wan: Knowledge is free.

Anakin: Everything is free if you take it without paying.

if Crosshair and Wolffe met

Crosshair: we don’t usually work with regs

Wolffe: yeah well i don’t usually put up with talking twigs.

Wolffe: *catches toothpick*.

Crosshair: *violently shakes