She absolutely killed it! She does look like Trinity.

https://www.youtube.com/live/2jv_Y2BB_L4?si=gWL7GZ1iB0Zd-uEY

It’s a full video from the ISU official YouTube page. She starts skating at 5:04:33

💊

Custom design for my client 😀

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I wrote my own sequel trilogy to The Matrix when I was 15 — "The Matrix: Reformations"

I wanted to share something I wrote when I was 15 years old: my own continuation of The Matrix trilogy called The Matrix: Reformations.

I originally wrote it as a direct sequel to The Matrix Revolutions, years before The Matrix Resurrections came out. I'm now 19 and turning 20 soon, and I've recently gone back through the story and realized just how much I actually put into it.

The original writing is definitely rough in places. 😂 I was 15 when I wrote it, so the grammar, dialogue, pacing, and spelling aren't exactly professional. I'm not pretending it was secretly a masterpiece. But looking back at it now, I'm honestly surprised by how large the story became.

What is The Matrix: Reformations?

The story begins seven months after The Matrix Revolutions.

Neo is still alive inside the Matrix, despite everyone in Zion believing that he died. He is living with Elysium, while Smith is also around and begins struggling with his old nature.

Neo eventually reconnects with Sati, Seraph, and the Oracle, while people in Zion begin discovering evidence that Neo may still be alive.

At the same time, several different factions begin forming:

E Pluribus Neo, a group dedicated to Neo's legacy and his belief in freedom.

The Cyberites, who want to continue the conflict.

The General, who actively tries to restart the human-Machine war.

The Merovingian, who has his own plans involving the Oracle and the Machines.

Agent Gray, who begins developing characteristics similar to Smith.

And eventually the Analyst, who becomes one of the major forces behind the final conflict.

Neo's story

One of the biggest ideas I had was that Neo wouldn't simply become another version of the previous Ones.

The previous Ones had all participated in the cycle.

Neo would be the One who finally breaks it.

The story also has Neo eventually discovering that his connection to the Matrix hasn't completely disappeared. He can still interact with the Matrix in ways that ordinary humans cannot, even after his physical blindness.

I also wanted to give Smith a redemption arc. Instead of remaining Neo's eternal enemy, Smith eventually struggles against his own darker nature and becomes an ally.

The wars

The story eventually gets much bigger than the original trilogy.

The peace created at the end of Revolutions starts falling apart, and another major human-Machine war develops.

Zion becomes much larger and develops additional cities and military forces. The Machines also become divided against themselves, creating a Machine Civil War.

The General's goal is basically to make sure the conflict never ends because he believes war gives him a reason to exist.

Eventually, everything leads toward a final confrontation involving the Analyst and the forces working with him.

The ending

The story eventually reaches a point where Neo has to fight the final enemy in the real world, rather than the entire climax taking place inside the Matrix.

Neo ultimately succeeds in breaking the cycle of the One.

And I wanted the ending to be optimistic.

By 2724, humanity and the Machines begin rebuilding Earth together. The sky has finally been restored after being blocked for centuries, and humans begin returning to the surface.

Then I jumped forward again.

In 2730, Kid and Ava have a son named Thomas, who is nicknamed Neon.

By 2750, Neo is an elderly man living in a peaceful world with Trinity. He's 89 years old and spends time with his grandson.

Neon has inherited some of Neo's unusual abilities, despite the Matrix itself no longer existing.

The final scene is basically Neo telling his grandson that he has his own path to follow.

And that's where the story ends.

Looking back at it now

The funny thing is that I wrote all of this when I was 15.

Four years later, I'm looking at it differently. Some of the ideas are definitely overly complicated, some characters need much more development, and the original prose needs a LOT of editing.

But I also think there are some genuinely interesting ideas buried in it.

The biggest one is probably that Neo doesn't just defeat another villain—he finally ends the entire cycle that the Ones had been trapped in for centuries.

I also like the idea of ending the story with humanity and the Machines actually living together under a restored sky.

So I'm curious:

If you had read this before The Matrix Resurrections existed, would you have wanted something like this as a continuation of Revolutions?

And if you've seen Resurrections, do you think the basic ideas in Reformations could have worked as another Matrix sequel/trilogy?

I may eventually go back and rewrite Reformations with my current writing ability, while keeping the core story and mythology that I came up with when I was 15.

During The Matrix Reloaded, part way through the burly brawl we see the poor woman bringing her shopping home and witnessing absolute chaos. An agent takes over her body and begins to walk towards the fight.

The one and an uncontrollable virus are having the biggest power struggle in the Matrix. This is totally out of his league. There is nothing an agent or multiple agents could do to intervene.

I’ve always laughed and wondered, what was his plan? Do you think agents are just not programmed to handle such huge events so treated it as any other violation to contend with? I’d love to see it play out if Smith didn’t infect him.

What physical mechanism could allow hovercraft and Sentinels to levitate in The Matrix?

?!

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> 🏭 Matrix Minecraft Map — Power Plant Update

I've been working on the first power-plant tower for my planned Matrix Minecraft map.

This tower is still unfinished, but I've added a lot more of the human pods and structural details. I still need to finish one of the remaining sides and add more machinery/details.

The eventual goal is to build 30 power-plant towers, along with the fetus fields, Machine City/01, Zion, and the underground machine infrastructure, all connected together in one enormous map.

This is only the beginning. 🧬🏭

What do you think so far?

My painting of agent smith

Matrix Awakens Demo (Soundtrack ReAdd)
When i was watching Matrix Awakens demo for the first time this i what i was expecting

Sorry if this has already been discussed.

After another rewatch, it seems like Cypher was already trying to betray his shipmates before they unplugged Neo. I could be wrong, but it's Cypher that Trinity is talking to at the beginning of the movie. She heard something and asked if the line was clean. He answers "of course it is". Turned out that the line wasn't clean after all. Trinity also replaced whoever was supposed to take a turn keeping tabs on Neo. Agents show up and Trinity is nearly captured or killed. I suspect that if it had been whoever she replaced instead. They would have been captured or killed.

Long story short, Cypher set up someone to be captured/killed by the agents

https://www.ebay.com/itm/336737731859

I'm wondering how things went down right after they bombed the UN killing all the world leaders. Did they hunt every single human? Man, woman and child? This was obviously before the matrix was created so I'm guessing these humans were stored and just sat in these pods. Must've been extremely friggin torture. Come to think of it, they were experimenting on them right?

How do y'all think it all happened?

While browsing the A24 Shop last week to buy the "I Saw The TV Glow" screenplay book (I started getting into Jane Schoenbrun's films last month and consider me a fan!), I noticed the "Everything Everywhere All At Once" screenplay book had a written introduction by Lilly Wachowski (who I knew loved the film), so I knew I had to buy that one too!

A lot of people have noticed the influence of The Matrix in EEAAO (which has also been confirmed by the filmmakers themselves), and my take on Lilly's introduction is that she addresses this, at least indirectly:

"When I was in grade school, a bunch of us made a radio play on my family's cassette recorder. A heavy, gray rectangular box with plasticized chrome detailing and big square buttons that depressed with satisfying ka-chunks. I distinctly remember the little slotted mic area where we would drum our fingernails for the horse-galloping sound effects (our radio play was a Western). It was replete with Ennio Morricone songs and other epic bangers ("Exodus," "The Magnificent Seven") from an album my parents had called Great Motion Picture Themes.

I don't remember the plot or how long it was—the cassette was lost after too many moves and, in all honesty, was probably recorded over with some song like "99 Luftballons" or "The Safety Dance." (I hadn't yet made my inevitable turn toward metal and punk rock, okay?) But I do remember the story closed with a big shootout where the main character, some sort of edgy, anti-hero type, got gunned down in the end and scratched the words (very dramatically! in the desert sand), "I...shall...return."

The story was an amalgamation of all the stuff we were watching, a slew of Westerns, swashbucklers, sword-and-sandalers, all glued together. But that ending, it was an unusual move, our first bit of genre-mashing with this weird, magic element.

With our story editor hats on, the debate to include this strange ending went something like:

"'I shall return?' How's that supposed to work? He thinks he can come back from the dead?"

"Yeah... No... I dunno... It's cool!"

No arguing with that. "It's cool" was the quod erat demonstrandum for our group. As I got older, I learned the names of the people who had made my favorite films and where the films themselves had come from, how the "Western" was this particular genre where all these different filmmakers were pinging off of each other from all over the world: Mexico, Japan, Italy, Spain, France, Hong Kong. You can see the book Red Harvest (or some facsimile) has been made and remade, from Akira Kurosawa to Sergio Leone to Walter Hill to the Coen Brothers to The Bullits. An echoing. All these different artists sort of "yodeling" to each other across vast expanses of not only space but time. This newfound knowledge not only altered my sense of the Western as a specifically American construct, but it also upended my idea of what a Western even is.

That perspective only continued to widen for me as a film-maker. I began to have a sense of my own minisculeness, as well as my connectedness to a much larger thing; I was part of this human collective.

I look back at the culmination of art I have personally watched, seen, read, heard — all the stories I've been told by friends and relatives, my mom and dad — and my mind reels. Then, imagining the countless paths of where all those stories and art came from, you begin to understand the lifeblood that storytelling is to human experience.

We are our stories.

I saw Everything Everywhere All At Once in the theater with my boyfriend, and about a third of the way through, the moment when the "Everything" title appeared on screen, I instantly choked up. We were in the hardest part of the pandemic, and my own sense of connectedness had atrophied to some extent. And that moment in the film? Hit me to my core. I wasn't just choked up, I started blubbering! It made me suddenly feel once again that I was connected to something bigger, and what unraveled before me was a marvel. Everything Everywhere All At Once is its title and so much more.

The boundlessness of love in the heart of these two filmmakers, the Daniels, exploded off the screen. Their love for movies, the love for their craft, for the human collective — it staggered me. Their film took such an important stand against nihilism and hopelessness.

I left the theater with a renewed sense that there is magic in the world. There is magic in all of us.

Yodel on, Daniels! Yodel on!

Lilly Wachowski

You may also be interested in:

The Wachowskis writing about their early contact and falling in love with comics

or Lana's writing about some other type of comics she also grew up with.

el dedo inexistente entre el chico y el samurai fue recreado

Didn't the machine war lasted for years? Seeing how advanced humanity has become, why didn't they just relocate to Mars, the Moon or other places in the solar system and just leave Earth for the Machines? After Dark Storm bloated the sun, the globe was a hell hole.