My partner's father retired from a high ranking banking position a couple of years ago. In the latter years of his service itself he had made certain remarks about feeling like he can't remember names, or that his memory is failing him, but neither he nor others felt it was a big deal and attributed it to work related stress. Since his retirement there have been other symptoms which are obvious to my partner and his mother, but his father has become very closed to the idea of discussing it. Below are some of his behavioural changes. Would be grateful if someone could weigh in on whether these are in fact early signs of dementia or not, and how to convince someone to get themselves checked out if they're in denial/are there any home tests (memory or cognitive abilities related) that can help establish a case for further medical intervention:
1) Examples of Cognitive impairment: They've been working on building a 2-storied house for a couple of years but he does not understand why the flow of different tasks needs to be a certain way and it seems to go over his head when it is explained to him. He then gets irritated n forgets the logic discussed the previous day, and goes ahead with his plan nevertheless
2) Forgetting whom he spoke to about what: will yell at his wife asking her why she doesn't remember the conversation they had the previous day, when in fact he had had that conversation only with the son.
3) Sudden cynicism/paranoia: He is in constant fear that people are trying to fleece him or are ganging up on him or hatching a plot behind his back. This is absolutely new behaviour and he never spoke to people this way before.
4) Increase in frequency of temper tantrums/lashing out
5) Driving skills: momentarily forgot where he was while driving and took a while to remember. Didn't tell wife about it even though she was next to him in the car. Driving skills have also become slightly poor (hand eye coordination) and without admitting he simply asks my partner to be in the car while he drives or asks my partner to drive
6) Not sure if this is relevant, but he is constantly on the phone watching videos/news on YouTube. Never been addicted to a device or any content like this before. They suspect that's his way of escaping/staying in denial about the situation.
He also refuses to talk about anything that's going on in his head, why he suspects people of suddenly fleecing him, is rude and brusque and suspicious of my partner. Mother has always been dependent on the father so she is also having a hard time coming to terms with this behaviour and pushing for testing or medical intervention, or even having a conversation.
How does one broach this subject when clearly the person is not amenable to a discussion. The one time it was mentioned or suggested that he gets himself checked out did not go down well, and internally the fear of it may have added to his downward spiral. Please share any suggestions that may have been helpful for you to deal with a potential patient of dementia in your family.

So I’ve been down the rabbit hole, trying to chase every off-the-cuff reference, stray allegory, allusion, comparison, and tangent. I’m going to need you to bear (hug) with me for a bit because I think I’ve stumbled on some truly insane parallels between this show and the myriad of references it makes and it will take a lot of text to justify to you that I'm not crazy (or that I am, but at least I do my research).
This is a show that employs a ton of intertextuality and what the poet T.S. Eliot (someone quoted frequently throughout the series) calls “the mythic method”: essentially using historical, literary, and mythological allusions to draw parallels between characters on the show and characters throughout history (real and imagined).
This method helps the audience to build both conscious and unconscious associations with each of the characters and, ultimately, underscores the Roys’ (and humanity’s) damning commitment to making the same mistakes over and over again. The show seems to draw a lot from Greek mythology, Arthurian legend, biblical parables, Shakespearean tragedy, and modernist poetry (among many other things).
These networks of symbolism span from the earliest recorded history to modern celebrity culture and yet they reveal frighteningly unchanged elements in the stories they tell. The parallels of these references throughout the show serve to highlight the cyclical (the illusion of progress) and deterministic (the illusion of free will) nature of existence.
While I will be dipping in and out of the existing references, I want to call particular attention to the poetry of the aforementioned T.S. Eliot (who champions the mythic method) and John Berryman’s poem Dream Song 29 because I believe much of their work has served as a foundation for characters.
In the show, Frank makes mention of his poem “The Long Song Of J Alfred Prufrock” more than once. Outside of the show, Matthew McFayden (the actor who plays Tom) references the same poem to describe his character. Jeremy Strong (the actor who plays Kendall) says Eliot’s work The Four Quartets is a huge inspiration to his acting and character. A line from this particular work did strike me as being quite on the nose, which is why I continued to comb the poem for more (which it does deliver on):

"In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf."

This will probably be a monster of a post, so I will attempt to break down the following sections between poetic parallels, visual and dialogic symbolism of eternal recurrence, and an exploration of the historical and mythological allusions. Ultimately, I believe all of these clues point to the overwhelming conclusion that we will end where we began, in some way or another.
Circles & Cycles: Endless Recurrence & The Futility Of Progress
The show toys a lot with the philosophical concept of eternal recurrence, which postulates that “time repeats itself in an infinite loop, and that exactly the same events will continue to occur in exactly the same way, over and over again, for eternity.”
These eternal loops are symbolized visually with mirrors, water, fractal reflections; in the “uh-huh” and “mhmms” of repeated, near-palindromic dialogue; and in the show events that echo and repeat: in-air death scares, asynchronous business deals, family betrayal, weddings, retreats, implosions, family reunions, trauma bonding, baptism, funerals, etc.
In this understanding of time, there is no linear progress — or even progress at all. Time is cyclical. People are cyclical. As are the events that transpire. This is particularly interesting in a show like Succession whose title alone implies the phrase “line of succession.” Viewers would expect to see what comes next — who comes next — but as Logan himself yells, “Nothing is a line. Everything is moving all the time.”
Logan consistently evokes the circle shape in his speech, “Put a circle around him” he tells Shiv. “We’ve been circling for an hour, tell them we’re out of gas,” he complains in a moment of grim foreshadowing on his plane. “Crawl in a circle and close your eyes,” he shouts during the game of Boar on the Floor.
And he is the bright, burning nebulous center of this circle. He’s described as “carr[ying] his gravity. He's not a man, he's a f*cking planet.” And the people around him are described like satellites and moons. Characters exist in his orbit. And every complete orbit (or “revolution”) leaves characters in exactly the same place. There are motions, there is the illusion of progress, but the result is the same. Eliot again:

“every attempt Is a wholly new start, and a different kind of failure”

With this understanding, the show may just end where it begins. Not only in “nothing” happening, but in repeating the same events ad infinitum: A kid tries to take over the family business, they try to align with their siblings, they eventually backstab their siblings, they end out in the cold, and then they reunite, swear not to do it again, until it all repeats.
As most of us are aware, the show has made very direct mention of the John Berryman poem Dream Song 29. The names of the past three season finales (as well as the name of the upcoming fourth) are all direct excerpts from the poem, which deals with grief and sadness and the guilt of killing someone when you can’t even confirm there’s been someone killed at all.
Berryman consistently wrote about the guilt and grief he experienced from his father’s suicide. Berryman himself would eventually end up taking his own life, which on its own is a brutal reminder of the cycles of trauma. It also doesn’t feel insignificant that Berryman jumped off a bridge.
What’s really interesting is how each subsequent finale is named for a line that comes earlier and earlier in the poem. It also toys with this concept that things come full circle and end where they begin. This echoes Eliot’s essential thesis of the poem:

“What we call the beginning is often the end And to make an end is to make a beginning. The end is where we start from.”

But while the speaker of the poem comes to realize he has not murdered “nobody” by the poem’s last line; Kendall, moving through the poem backward, must reckon with the idea that he may have killed somebody even if they were a “nobody.” And while we may encounter this as a moment in which Kendall is genuinely despairing over his season 1 inadvertent murder, I believe we are far more likely to see Kendall embrace this moment.
We see "nobody" and "no one mentioned" a lot when it comes to Logan, who believes most people are "fungible as f*ck," and "pygmies" while he's "1,000 feet tall." When Kendall is involved in the accident, we see him echo "NRPI" or no real person involved.
The reason Kendall couldn’t live up to his father’s expectations is that he couldn’t be the killer his father needed him to be (even if his morality or basis of being a good person is off). This retroactive movement through the poem could be Kendall realizing he is, in fact, the killer his father always needed him to be, enabling him to take the necessary steps of seizing the crown on his own.
Allegories & Allusions: Mythic Comparisons & Determinism
It’s Shakespearean, like Roman says, “I kill Kendall, get crowned king, like we’re in f*cking Hamlet or something.” But it’s not just Hamlet, it’s King Lear, King Richard III, Coriolanus, Macbeth. And it’s not just Shakespeare, it’s Oedipus Rex, The Odyssey, The Waste Land, Thus Spoke Zarathustra, Cronus devouring his children, Romulus killing Remus, Noah cursing his child for looking upon him naked.
The concept of the monomyth was popularized in "The Hero With 1000 Faces" and discusses throughout history, throughout different times and places, different cultures, different religions, different people have developed stories with relatively similar fundamental elements. The show is rife with allusions of stories that follow that same thread. Logan is Cronus who is King Lear who is Romulus who is who is. This is another form of endless recurrence: the inability to break the cycle. Or, in a very Hamlet reference, "maybe the poison drips through."
The themes of patricide, fratricide, and incest in particular are rampant. Rhea (like Rhea Jarell) in Greek mythology is both sister and consort to Cronus. Both are part of the first generation of aptly named Titan gods. Cronus overthrew his father Uranus and learns his children are fated to overthrow him. So he eats them as soon as they are born. Logan does refer to people as food a surprising amount throughout the show, varying from red meat to vegetables. He outright calls for blood sacrifice, which evokes the language of the gods.
Logan is referenced specifically as one of the last real American titans in his obituaries and eulogies. The language around him is frequently god-like. He's known as "the big man" or even "the big man upstairs." Tom tells Greg to "be his representative here on earth"; Roman asks the audience, "who is going to climb Mt. Olympus and be the next Dr. Zeus?" And that's where the myth gets interesting.
The only child not to be eaten is Zeus, who does end up killing his father and was surprisingly interested in marrying his mother. We're familiar with this plot formula through a different archetype: the Oedipus Complex, which we see referenced in the show with “Oedipus Roy,” “Oedipussy,” and “stabbing my eyes out.” The same story is repeated again in Hamlet with brother killing and brother and son yelling at his mother about her milky breasts (something Roman does to Shiv more than once). In the show when Logan says to Roman, “You may want to f*ck your mother but I don’t.” We know none of these stories end well. As Connor muses, “It’s not right to kill one’s father; history teaches us that.”
In the story of Romulus and Remus (whose mother’s name is also Rhea), the two brothers were initially chased out of their city as potential threats to the King (yet again). They were left by the river to die and were saved by the river god (important). After successfully overthrowing the kingdom that left them for dead, they agree to found a new city. They ultimately disagreed on which hill to found it and decided to have a bird-watching competition to see who could see the most omens indicating they had divine approval for the hill. Remus says he saw 6 auspicious birds but Romulus claims to see 12. Romulus kills Remus over this.
It should remind you of Logan visiting his childhood home with Ewan: “I saw a mistle thrush at the bandstand,” and the log book he kept as a child of birds he “saw” that Ewan would cross out if he didn’t believe him. It may also echo a part of The Four Quartets, “Other echoes/ Inhabit the garden. Shall we follow?/ Quick, said the bird, find them, find them,/ Round the corner. Through the first gate,/ Into our first world, shall we follow/ The deception of the thrush?"
There is much to be said about the themes of warring brothers. Also the themes of fathers worried their children would one day overthrow them who take action to thwart or murder their children, which inadvertently sets into motion the very outcome they fear. It happens over and over again in stories old and new. As Panhandle Pete says, “I push him, he pushes me, and around and around we go.” Or as Eliot puts it, “that the wheel may turn and still / Be forever still.”
Much of these works touch on a sort of determinism, or the slow crushing reality that every action you take — even if that action is an attempt to thwart your fate — will ultimately lead to the same inevitable ending. This is the illusion of free will on top of the illusion of progress. And Logan, in fearing his children would usurp him (and also disparaging his children for not being able to), set into motion his own death and his own messy succession.
It’s also a reminder that the greatest men in life are all the same when laid to rest:

"O dark dark dark. They all go into the dark, The vacant interstellar spaces, the vacant into the vacant, The captains, merchant bankers, eminent men of letters, The generous patrons of art, the statesmen and the rulers, Distinguished civil servants, chairmen of many committees, Industrial lords and petty contractors, all go into the dark…"

Structure & Symbolism: Water As Rebirth & Destruction
The show has very much been structured around Kendall, and we watch him move through bodies of water with what feels like different symbolism each time. Is he drowning, is he reborn? We witness Kendall at his lowest point face down in a pool and at one of his highest, splashing into the Pacific ocean. We watch a man drown. We watch Logan beg Kendall for water as they walk through Adrien Brody’s maze. We watch Roman clamor for water at the funeral when he needs to calm down. Poetry has long played with this life and death dynamic in water, like the sailors dying of thirst in Samuel Taylor Coleridge’s The Rime of the Ancient Mariner who cry:

“Water, water, every where,. And all the boards did shrink;. Water, water, every where,. Nor any drop to drink. The very deep did rot: O Christ!”

This sub has noted Kendall’s connection to water, which has been represented over and over visually. But once you realize every metaphor, analogy, and simile he uses is water-based, you can’t unhear it. He calls his father “a tsunami of corruption” and describes things “as more precious than water”; he calls deals “choppy” and “dead in the water,” and asks to “help steady the ship”; he offers to “row back” on business deals, says timing is “high tide,” and that he has “bigger fish to fry.”
Logan is apt to use similar water symbolism, even telling Shiv that she’s marrying a man “fathoms” beneath her. As Rhea tells him, fearful of his own monstrosity, “I can’t see the bottom of the pool. I don’t know if you care about anything. It scares me.” ATN’s major scandal was “death cruises.” Even his operating nemesis is called “Sandy.”
In fact, there is mention of all elements and seasons — in particular, fire from Shiv, air from Roman, and earth from Connor. T.S. Eliot’s The Four Quartets confront these same themes and share some surprising similarities with show scene locations, dialogue, and plot points.
That’s because Succession is an allegory for the micro and the macro: the rise and fall of families, civilizations, monarchies, dynasties, and empires. Ashes to ashes and dust to dust, the cycles rinse and repeat. Eliot modeled the four quartets on the 4 elements and the 4 seasons. And you can see even in Succession a similar manifestation of 4 elements. And, well, 4 seasons of the show. (And what occurs after 4 seasons? A full revolution around the sun, bringing you to where you began.)
Water seems to be at the root of it all. Even Ewan’s eulogy meditates on his and Logan’s journey on a boat. Even their abusive uncle is named Noah. In the show, we watch our nobody die by water, we watch our main character nearly die by water, and then we watch him revive in the ocean. As Kendall and his father wind their way through Adrien Brody’s circuitous Long Island home, Kendall remarks, “I think this leads to the ocean.” Because every path leads to the sea in some way or another.
The overarching narration from T.S. Eliot’s The Waste Land is the Arthurian Legend of The Fisher King. This story is told a million different ways with a million different outcomes, but always boils down to an injured or maimed monarch ruling over a dying land. Or as Ewan refers to his "empire of shit": “He’s built a wasteland and called it an empire.”
He’s looking for someone, anyone, to heal him, rescue the kingdom, and ensure the dynasty survives. This is the myth of the holy grail, which, in this show, can be seen as the throne: The original stories of the holy grail were not Christian/religious but they do employ a lot of the same mythmaking from earlier religions and mythologies to tell their stories and thus construct their new realties. As Eliot says in The Four Quartets:

"The whole earth is our hospital Endowed by the ruined millionaire, Wherein, if we do well, we shall Die of the absolute paternal care That will not leave us, but prevents us everywhere."

I believe Kendall (and the other children) represent the grail knights who try to save the king. (On the same level they stand in for the gods, the elements, or anything at all). When Christianity became more popular, these myths adapted to Christian overtones, but they still had the Celtic and pagan myths at their core: the grail becomes the chalice from the last supper.
That’s why Kendall’s easy comparisons of himself to Jesus feel less blasphemous than revelatory. Jesus is another hero archetype in the show’s mythology. He is willing to sacrifice himself, which Kendall must do in order to become the successor his father wanted. As he says, "this is a culmination of my life's journey to be crucified for you morons."
(It’s worth noting: In some legends, the knight saves the king; in others, he inadvertently destroys him. We know Logan dies, but it does feel less likely that Waystar Royco survives.) Drowning is a constant feature of Eliot's poems, but so is baptism and renewed life. It is difficult to determine the meaning of water in either instance, except that it doesn't discriminate as a life or death bringer, which is both beautiful and terrifying.
Parallels & Predictions: Piecing The Plot & Poetry Together
To repeat again, as this show is wont to do: “Crawl in a circle and close your eyes!” Logan Roy shouts during a game of Boar On A Floor. It’s an allegory, like many games on the series, and proudly says the quiet part out loud: Logan always wins. Here’s a little boar on the floor reference in The Four Quartets:

"We move above the moving tree In light upon the figured leaf And hear upon the sodden floor Below, the boarhound and the boar Pursue their pattern as before But reconciled among the stars."

We’ve seen the L.O.G.A.N. system at work many times and with many people. He dangles a carrot, a morsel of love, as each character attempts to play the game over and over while expecting different results. They are doomed to crawl in that circle, to play that blind game, as Logan angrily shouts, “It’s fun!” And this game doesn't end in death. The children still ask. "What would dad do?"
Games on Succession (which are a consistent refrain), it turns out, are rarely fun and are often designed to humiliate or inflict pain. The same goes when characters say “I’m just kidding” after an eviscerating remark. Logan thinks life is a game, and as he says, games should be taken seriously. And because Logan explicitly makes the rules, there is no winning, just trudging around the board, passing Go, and collecting $200. The games are essentially Sisyphean tasks that the kids wouldn’t be able to win even if they were actually competent enough to run the company. And yet they keep rolling the boulder. It’s endless. The repetition. It ends where it begins.

"Every phrase and every sentence is an end and a beginning, Every poem an epitaph. And any action Is a step to the block, to the fire, down the sea's throat Or to an illegible stone: and that is where we start. We die with the dying: See, they depart, and we go with them. We are born with the dead: See, they return, and bring us with them. The moment of the rose and the moment of the yew-tree Are of equal duration. A people without history Is not redeemed from time, for history is a pattern Of timeless moments."

Please also note the use of “the rose” and “the yew tree,” which are the names of Logan’s siblings Rose and Ewan, which derives from yew-tree. Other important name comparisons include Kendall’s association to spring/river valley; Siobhan’s nickname either a knife (Shiv) or Pinky (a variation of the name Rose); Roman’s connection to Romulus/Corialanus; Tom’s name meaning “twin” because there was already someone named Judas in the bible HELLO; Logan’s name meaning little hollow, which recalls another Eliot poem, The Hollow Men.
We know this show is a game, one that isn't fun at all, and one whose rules Logan made up. Even when there's a winner, there's no winner. So it's almost futile to play at all. That said, it’s impossible to make sense of any of it all without the ending — to confirm this ball has been rolling toward an inevitable conclusion, but given the show’s ending has probably occurred already, here are my thoughts:

• Kendall drowns

This may feel a bit on the nose given we’ve already seen this almost happen to “the Kurt Cobain of floaties,” but it would certainly be poetic. This could be sad (launched from a bridge); empowering (a la The Awakening); or metaphorical (a drug overdose). At some point Kendall says, "If dad didn’t need me right now I wouldn’t know what I would be for." The kids exist with Logan as their sun; they are moons, satellites, in orbit. And when their sun dies out, they repeat the motions in the cold, slowly losing their patterns and motions. The term is science is a rogue planet and the following lines from the poem remind me of Kendall and his broken, hollow stare.
“It would be the same at the end of the journey, If you came at night like a broken king, If you came by day not knowing what you came for, It would be the same, when you leave the rough road And turn behind the pig-sty to the dull facade And the tombstone. And what you thought you came for Is only a shell, a husk of meaning From which the purpose breaks only when it is fulfilled If at all. Either you had no purpose Or the purpose is beyond the end you figured And is altered in fulfilment.”

• Kendall is king of the ashes

Any victory feels like it will be a Pyrrhic victory regardless when you've had to systematically take down everyone you love to achieve it. The same lines above can echo here "the purpose is beyond the end you figured/And is altered in fulfilment." A hollow victory. The Fisher King question Logan poses is, "Who can replace me?" Logan wanted each of his children to display the killer instinct. Kendall’s backwards journey through Dreamsong 29 may very well see him realize he is, in fact, the killer his dad always wanted — with open eyes. This will probably involve taking down his siblings. In this version, winning is a lot like losing, which feels very Succession.

• Mattson wins it all

These Shakespearean histories and tragedies rarely end well for existing houses. With Richard III (the-multiple-lineage-ending war of the roses) and Hamlet (the-whole-house-dies-but-a-norwegian-king-swoops-in-to-take-it-all dynastic struggle) references abound. We may just see a new house rise up and rinse and repeat. This would probably also occur if the kids take each other down and leave it open for another party. We saw last season that Roman thought he had an in with Mattson until it didn’t serve Mattson anymore. I see the same thing happening between Roman and Mencken. This puts Mencken and Mattson in a position to take over, which may make Mattson win it or…

• Mattson destroys it all

When Mattson is introduced, he is referenced as a trickster. Generally, in mythology, this character is quite intelligent or in possession of secret knowledge, and he uses it for trickery and commandeering situations. (Is that blood thing real???). Hamlet concludes with every major character killing the other with their own tragic flaws until a third party Scandinavian comes in to take the crown with no necessary action or bloodshed at all. We already know he's unscrupulous; what is his end game? It reminds me of one of his early lines to Roman, which would be an eerie foreshadowing:
“Success doesn’t really interest me anymore, it’s too easy. Analysis + capital + execution. Fucking, anyone can do that. But failure, that’s a secret. Just as much failure as possible as fast as possible, burn that shit out, that’s interesting.”

• Tom betrays Shiv

We’ve seen it happen before (which is why it should happen again). We’ve also seen Tom remove the thin veneer of his ambitions to the point where he almost feels like Richard III. He has played the fool, which is Shakespearean estimation, is often equivalent to the trickster. This would be a fun and distorted parallel to Shiv offering this job to him for Logan to offer it to her. This would probably happen in conjunction with Mattson winning. As I mentioned earlier, the name Tom means “twin” and the apostle Tom was only called as such because there were already one too many “Judas” in the mix. He's also from Minnesota (the twin cities!), so this is becoming very real, you know???

• Greg betrays Tom

While we know Tom has betrayed Shiv before, we also know Greg betrayed Shiv and Tom when he spoke to Geri in the first season about Tom having a press conference on cruises. He leads Tom to believe Shiv has betrayed him, getting one over on both of them. There may also be something with the Rule of 3 and being betrayed 3 times that feels biblical. The show also makes TONS of references to holding on to blackmail for opportune moments. Will we see something like this?
I’m not a big believer that Greg will fail so far upwards that he will win (this would feel like a betrayal in its own right), but do I believe there’s a world where Greg gets himself on a piece of paper with a question mark. Maybe???

• Geri finally beats Tom

This is my personal hope because I want the Tom and Jerry allusion to be real more than any other I put together (we love a good cat and mouse game). If Mattson wins, he needs a US CEO. Geri has collected a massive amount of dirt on everyone. And to call back to season 1’s interim CEO discussions, Shiv says, “I don’t like Geri. But I don’t hate Geri either.” It would feel particularly good given how much time and effort Logan spent clarifying Geri would be terrible at the position. Especially as Logan disparaging someone generally means he’s afraid of what they can do.
I’ll end at the ending. Or conclude where Eliot did on The Four Quartets:

"We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, unremembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. Quick now, here, now, always— A condition of complete simplicity (Costing not less than everything) And all shall be well and All manner of thing shall be well When the tongues of flames are in-folded Into the crowned knot of fire And the fire and the rose are one."

PS. Given ‘Pinky’ is another name for ‘Rose’ does this mean Shiv wins??? JK let’s just watch the show tonight and laugh at our predictions in the morning.

1. Lobbies are purposely designed in a one-direction way that the Killer should be able to see and pick perks depending on what the survivors bring on the table. With survivors coordinating to hide their items, or mislead the killer by hovering the wrong item, only to then fudge the item on the last second, they destroy this level of information gathering that Killers need.
2. A killer only gets to pick 4 perks, some of which are in response to (an) item(s) that survivors bring such as measures against full Healing, Genrush or Flashlight crews. Survivors being able to mislead the killer into counter-building the wrong perk(s) by destroying the lobby's intended direction of information, renders at least 25% of the killer's perk build to be completely useless.

The March of the Machine and Multiverse Legends showcase frames pay homage to past booster fun releases associated with their corresponding plane and previous set releases.
The showcase legends from Ravnica (Aurelia, the Warleader, Judith, the Scourge Diva, Juri, Master of the Revue, Niv-Mizzet, Reborn, Teysa Karlov, ) and Tarkir (Goreclaw, Terror of Qal Sisma, Anafenza, Kin-Tree Spirit and Taigam, Ojutai Master) introduce new variant frames we haven't seen before.
I'm skeptical that Wizards of the Coast would spend the time and energy to create new frames solely for a handful of cards variant promos. Considering Wizards of the Coast tends to work at least 2-3 years ahead of the scheduled releases that we see, I believe we can interpret these frames as hints of what is to come in the near future.
We are long overdue for a return to Tarkir (it's been nearly a decade since the release of Khans of Tarkir) and by the time it's 2024, it will be 5 years since we've had a set on Ravnica (Dominaria and Eldraine returns were scheduled in a shorter time frame).
I believe that there are already new cards being worked on internally that will use these frames for planned Tarkir and Ravnica sets. I anticipate we'll see returns to these sets sometime in the years 2024 and 2025. I also believe the player reception to the frames on these cards could influence if they are tweaked or modified at all.
Additionally, I believe the upcoming The Lost Caverns of Ixalan set (scheduled for release later this year in Q4) will use the new showcase frame from March of the Machine (i.e. Captain Lannery Storm, Ghalta and Mavren). My understanding is this has been confirmed by Wizards already.
Here are some questions to consider for discussion:

1. Do you expect Magic will return to Tarkir and/or Ravnica sometime in the next two years or so? Why or why not?
2. What do you think of the showcase frames for Tarkir and Ravnica in the March of the Machine set?
3. If we were to return to Ravnica in a future set, what would you like in that set (i.e. characters, mechanics, lore points, tropes)?
4. If we were to return to Tarkir in a future set, what would you like in that set (i.e. characters, mechanics, lore points, tropes)?

Note: This post is a crosspost from the official Magic subreddit from a few months ago.

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Maleficent 4K iTunes (ports 4K to MA/Vudu) (2 Available) $3
Minions 4K iTunes (ports 4K to MA/Vudu) $3
Mission: Impossible – Fallout 4K Vudu $3
News of the World 4K MA/Vudu $4
Patriots Day 4K iTunes $2
Pitch Perfect 4K iTunes (ports 4K to MA/Vudu) $2
Saw (Unrated) 4K Vudu/iTunes $3
Sicario 4K iTunes $3
Snow White & the Huntsman 4K MA/Vudu $3
Star Trek Into Darkness 4K iTunes $1
The Twilight Saga: Breaking Dawn Part 2 4K iTunes $1
Warcraft 4K MA/Vudu $3
Warm Bodies 4K Vudu/iTunes $4
A Wrinkle in Time 4K iTunes (ports 4K to MA/Vudu) $3
xXx: Return of Xander Cage 4K iTunes $2

HD

Anchorman 2 HD iTunes $2
The Apparition (2012) HD MA/Vudu $2
The Avengers HD GP (ports HD to MA/Vudu) $2
Avengers: Age of Ultron HD GP (ports HD to MA/Vudu) (5 Available) $2
Avengers: Endgame HD GP (ports HD to MA/Vudu) (4 Available) $1
Avengers: Infinity War HD GP (ports HD to MA/Vudu) (12 Available) $1
Beauty and the Beast (2017) HD GP (ports HD to MA/Vudu) (3 Available) $2
Beauty and the Beast: The Enchanted Christmas HD GP (ports HD to MA/Vudu) $3
Before I Fall HD MA/Vudu $2
Call of the Wild HD GP (ports HD to MA/Vudu) $1
Coco HD GP (ports HD to MA/Vudu) (2 Available) $1
Cutthroat Island (1995) HD Vudu $3
The Divergent Series: Insurgent HD Vudu (2 Available) $1
Doctor Strange HD GP (ports HD to MA/Vudu) (2 Available) $2
Dragonheart 3: The Sorcerer's Curse HD iTunes (ports HD to MA/Vudu) $2
Dragonheart 3: The Sorcerer's Curse HD MA/Vudu $2
Dumbo (2019) HD GP (ports HD to MA/Vudu) $2
Escape Plan HD Vudu $1
The Expendables 2 HD Vudu $1
The Expendables 3 HD Vudu (2 Available) $1
Fast & Furious 6 Extended HD MA/Vudu $1
Fast Five - Extended Edition HD iTunes (ports HD to MA/Vudu) $1
Fast Five - Extended Edition HD MA/Vudu $1
Fifty Shades of Grey (Unrated) HD MA/Vudu $1
The Fighter (2010) HD iTunes $2
Fifty Shades of Grey (Unrated) HD MA/Vudu $2
Finding Dory HD GP (ports HD to MA/Vudu) (8 Available) $1
The Fox and the Hound 2 HD MA/Vudu/iTunes $2
Frozen 2 HD GP (ports HD to MA/Vudu) $1
Frozen HD GP (ports HD to MA/Vudu) (6 Available) $1
God Bless The Broken Road HD Vudu $2
Hansel & Gretel Witch Hunters HD iTunes (2 Available) $2
The Hateful Eight HD Vudu $2
Hocus Pocus HD GP (ports HD to MA/Vudu) (2 Available) $2
Hugo HD Vudu $2
The Hunger Games HD Vudu (3 Available) $1
The Hunger Games: Mockingjay Part 1 HD Vudu (2 Available) $1
Ice Age HD MA/Vudu/iTunes $3
Inside Out HD GP (ports HD to MA/Vudu) (2 Available) $1
Interstellar HD Vudu $2
Iron Man HD GP (ports HD to MA/Vudu) $3
Joy HD MA/Vudu $2
Joyride 3 (Unrated) HD MA/Vudu $2
Jungle Cruise HD GP (ports HD to MA/Vudu) $2
Jurassic World: Fallen Kingdom HD MA/Vudu $2
Jurassic World HD MA/Vudu (2 Available) $1
Kung Fu Panda 3 HD MA/Vudu/iTunes $2
The Last Witch Hunter HD Vudu $1
The Lion King (2019) HD GP (ports HD to MA/Vudu) (2 Available) $1
The Lone Ranger HD GP (ports HD to MA/Vudu) $3
Looper HD MA/Vudu $3
The Lords of Salem HD Vudu $2
The Lost City HD Vudu/4K iTunes $3
Lucy HD MA/Vudu $2
Madagascar 3: Europe's Most Wanted HD MA/Vudu (2 Available) $2
Maleficent HD GP (ports HD to MA/Vudu) (3 Available) $1
Mama HD iTunes (ports HD to MA/Vudu) (2 Available) $2
Mary Poppins HD GP (ports HD to MA/Vudu) $2
The Maze Runner HD MA/Vudu or 4K iTunes (ports 4K to MA/Vudu) $2
Men in Black 3 HD MA/Vudu (2 Available) $2
Mission: Impossible - Ghost Protocol HD Vudu (2 Available) $1
Mission: Impossible – Rogue Nation HD Vudu (2 Available) $1
The Mortal Instruments: City of Bones HD MA/Vudu $3
Mortdecai HD Vudu $3
The Mountain Between Us HD MA/Vudu or 4K iTunes (ports 4K to MA/Vudu) $3
Mud HD Vudu $2
Mulan (2020) HD GP (ports HD to MA/Vudu) $1
Now You See Me HD iTunes (2 Available) $1
Now You See Me HD Vudu (2 Available) $1
Oz the Great and Powerful HD GP (ports HD to MA/Vudu) $2
Parental Guidance HD MA/Vudu $2
The Pirate Fairy HD GP (ports HD to MA/Vudu) $3
Pirates of the Caribbean: Dead Men Tell No Tales HD GP (ports HD to MA/Vudu) $1
Pitch Perfect HD MA/Vudu (2 Available) $1
Pixar Short Films Collection Volume 3 HD GP (ports HD to MA/Vudu) (2 Available) $3
Planes HD MA/Vudu/iTunes (2 Available) $2
Planes: Fire and Rescue HD MA/Vudu/iTunes $2
The Rescuers Down Under HD GP (ports HD to MA/Vudu) $3
Rogue One: A Star Wars Story HD GP (ports HD to MA/Vudu) $1
Rush HD MA/Vudu $2
Saving Mr. Banks HD GP (ports HD to MA/Vudu) $3
Scrooged HD iTunes $3
The Secret Life of Pets HD MA/Vudu $2
The Shack HD Vudu $2
The Shack HD iTunes $2
Shaun the Sheep HD iTunes $2
Sleeping Beauty HD MA/Vudu/iTunes $3
Spider-Man: Homecoming HD MA/Vudu $2
Star Trek Into Darkness HD Vudu (2 Available) $1
Star Wars: The Force Awakens HD GP (ports HD to MA/Vudu) (8 Available) $1
Star Wars: The Last Jedi HD GP (ports HD to MA/Vudu) (4 Available) $1
Star Wars: The Rise of Skywalker HD GP (ports HD to MA/Vudu) $1
The Strangers: Prey at Night HD MA/Vudu (2 Available) $3
Taken 2 HD MA/Vudu (3 Available) $2
Terminator 2: Judgement Day HD Vudu $2
Thor: Ragnarok HD GP (ports HD to MA/Vudu) (5 Available) $1
Transformers: Dark of the Moon HD Vudu (2 Available) $1
True Grit (2010) HD iTunes $2
Turning Red HD GP (ports HD to MA/Vudu) $2
The Twilight Saga: Breaking Dawn Part 2 HD Vudu (2 Available) $1
Victor Frankenstein (2015) HD MA/Vudu $3
Winnie the Pooh: A Very Merry Pooh Year HD MA/Vudu/iTunes $3

SD

Act of Valor SD iTunes $1
The Cabin in the Woods SD iTunes $1
Divergent SD Vudu $1
Dying of the Light SD Vudu $1
The Hunger Games SD Vudu $1
Ice Age: Dawn of the Dinosaurs SD iTunes (ports SD to MA/Vudu) $1
Immortals (2011) SD iTunes $1
Mirror Mirror SD iTunes $1
Star Trek (2009) SD iTunes $1
The Twilight Saga: Breaking Dawn Part 2 SD Vudu $1

I’ve been thinking about leaving for a couple of months now. I am a CEC and the pressure of cards is getting to be too much. I usuallly get one or two a shift. Two weeks ago I got 7!! In a day. And I’m still being criticized from my SM about these stupid cards.
About two months ago I went to my SM about a raise. I brought him concerns that I wasn’t getting paid the extra $1-1.50 more than other associates who don’t have a coordinator position. Because I know I am not. And all he said to me was “don’t worry about what other people are getting paid, I know what you’re getting paid and that’s all that matters” 😐like wth ?!
So a week later he comes back to me and denies me a raise. One reason being I don’t work on sundays. Before I got my CEC position I told them Sunday will not be on my availability, just due to me being in college full time and working. I need a day off to just catch up on homework and life. Management knew this, and still gave me the position anyways. And now he’s using this an excuse to not give me the raise I should have, mind you I only asked for $0.25 more.
So in the end I’m very frustrated with him, I’m sick of these stupid cards. And I’m just done! I have and interview somewhere else this week and I am ready to put my two weeks in if I get a new job.

I'm a relatively new player and I mostly play aviation. I want some tips to just improve my game play. Some important information is that I play on x box 1, I haven't changed around any of my controls, I play arcade, and my current planes are the p38 e, the b-34, the f4u-1a, the a-36, and the p-40e-1.

I am looking to buy my first diecast model plane and I am not sure where to get it from. I noticed that you can buy them from the official Gemini Jets site but also from other places. I think I want my first plane to be a 1:200 Air Canada A220-300 and I found one for sale at diecastairplanestore.com. Is that a reliable site? Also if anyone has any other advice at all I would greatly appreciate it.

today I played some sim in the Sea Harrier FSR.1 on SINAI if you where one of the Phantom pilots that I have teamkilled, I'm genuinely sorry I thought the Sea Harrier had IFF and I did not check the Teams and what planes/nations are on them. I'm still fairly new to sim and havent everything figured out yet.
I will do better next time.

"The Legend of Zelda: 100 Swords Battle Royale" takes the Zelda franchise and introduces an intense multiplayer experience in the form of a battle royale. In this game, players are thrust into a massive arena where they must fight against each other, utilizing their swordsmanship, strategy, and Zelda-inspired abilities to become the last hero standing.
Gameplay:

1. Hero Selection: Players can choose from a variety of Zelda franchise characters, each with their unique abilities, strengths, and weaknesses. From the courageous Link to powerful villains like Ganondorf, players have a wide range of options to suit their playstyle.
   
2. Map and Environment: The game features a vast open-world map with diverse landscapes, including dungeons, forests, deserts, and more, inspired by iconic locations from previous Zelda games. The map shrinks over time, forcing players into intense encounters.
   
3. Sword Combat: Swordplay is at the core of the gameplay. Players engage in fast-paced, skill-based combat, utilizing precise strikes, parries, dodges, and special moves to defeat opponents. Swords can be upgraded, enchanted, or even transformed into mythical weapons, granting additional powers.
   
4. Items and Power-ups: Classic Zelda items make a return, scattered throughout the battlefield. Players can discover and utilize familiar tools such as the boomerang, bombs, hookshot, and more, to gain an edge over opponents or overcome environmental obstacles.
   
5. Rupees and Shops: Rupees serve as the in-game currency, which players can acquire through defeating opponents or finding treasure chests. In special areas, players can visit shops to purchase upgrades, weapons, and consumables, adding strategic depth to the game.
   
6. Shrines and puzzles: Scattered throughout the map, players can discover ancient shrines, each housing unique puzzles and challenges. Solving these puzzles grants players valuable rewards or unlocks hidden areas with powerful artifacts.
   
7. Cooperative and Solo Modes: Players can team up with friends in duo or squad modes, strategizing and coordinating their efforts. Solo mode allows players to test their skills against the entire field of competitors.
   
8. Character Progression: As players engage in battles, they earn experience points, unlocking new abilities, passive buffs, and cosmetic rewards. This progression system allows players to customize their characters and create unique playstyles.
   

Plenty of alternate skins could be offered via DLC or by unlocking them through normal gameplay.

execute if entity u/r[x=-14,y=-38,z=-4,dx=0,dy=2,dz=0] run say hi
execute as u/a[x=-14,y=-38,z=-4,dx=0,dy=2,dz=0] run say hi
It's in repeat command block, always active, unconditional but when I stay at this coordinates (-14,-38,-4) it's not detecting.
I haven't played in a while but i'm sure that in 1.16 these commands worked perfectly.

As some may know, I am working on an open source SLS scanner which accommodates arbitrary number of cameras and projectors.
I have a working prototype, but I am still unclear on why I am doing things the way that I am. I watched the following lecture, which is absolutely one of the clearest and best I've seen on a topic:
https://www.youtube.com/watch?v=uHApDqH-8UE
at 56:44, he speaks of inverting the mapping between image plane and the actual sensor, to account for nonlinear distortions by the lens system.
My question is, Do we need to iteratively solve from camera sensor pixel coordinates back to the image plane? What I see typically done with OpenCV examples, is the image is undistorted first into a new image, you also get a new camera matrix. Then you can treat it as if it were a perfect pinhole camera with the given new intrinsic matrix. At least this is my understanding and the current way I am doing things.
Is the lecturer just speaking of going from the sensor directly without first undistorting the image?
Also, is the step of first undistorting, getting new camera matrix- is it introducing significant error that would be avoided by just using the original image and the iterative procedure described in the lecture?