IF YOU’RE LOOKING for a place where misadventure could begin, you can’t go past Mbargo. The nightclub’s streetfront is painted a purple so bright you’ll see it in your dreams. Strings of giant sequins shimmer in the breeze. Its phonically inventive name is spelt in silver letters that climb its three-storey terrace facade. Inside are strips of burning neon, a few booths, floorboards so marinated in drink that they have an ingredients list. Bristol is a student city on England’s south coast crowded with music and nightlife and street art. This is Banksy’s home town, and the tourism board suggests in rather strong terms that ‘you would be a fool not to see his amazing work firsthand’. The same organisation describes Mbargo as ‘intimate’, which is fair for a place where you can catch an STI standing up. Students cram into its modest dimensions while people with names like DJ Klaud battle for billing with £1.50 drink deals over seven sloppy nights a week. To get a sense of the story about to come, consider that it’s the kind of place open until two o’clock on a Monday morning, and that at two o’clock on a Monday morning, Ben Stokes still thought it had closed too early.
The Ashes of 2017–18 had disciplinary bookends. It was after that series that Australia’s two leaders went off the rails in South Africa. It was a few weeks before that Ashes tour that England’s biggest star windmilled his way into his own disaster.
In the early hours of 25 September 2017, Stokes and teammate Alex Hales were barred from re-entering Mbargo after a night out on the piss. A Sunday thrashing of an abject West Indies in an ignored series at the fag-end of the season apparently required ample celebration. After arguing with the bouncer and hanging about at the door for a while, they wandered off to find a casino in the hope of more drinking. They’d barely made it around the corner before getting in the middle of a conflict between four locals. As is said on the internet, it escalated quickly.
The 26 September reporting was bloodless. Withholding names, police stated that a man ‘was arrested on suspicion of causing actual bodily harm’ while another went to hospital with facial injuries. England’s director of cricket Andrew Strauss separately confirmed that Stokes was the arrestee, adding that he had been released without charge and that Hales had gamely offered to ‘help police with their enquiries’. Administrators had a good chance of hiding behind that investigation, and the next day Stokes was named in the upcoming Ashes squad as expected. But that night the video emerged.
Bristol student Max Wilson had shot it on his phone, then offered it to The Sun. What he thought was playing hardball was actually lowball: his opening price of £3000 was snapped up by a tabloid that would have paid ten times that. The Sun went on to make a mint by syndicating the rights worldwide. From a window above the fray, the vision showed six men on the street below performing the muddled choreography of a melee. One was right at the centre of it. One was waving a bottle, one dipped in and out, one tried to calm it. Two others floated around the edges. The central figure was unmistakable: red hair burning even in the streetlight as he launched into a series of blows against two of the men, falling to grapple with them on the ground, then following both across the street, swinging punches the whole way. Hales trailed behind, repeatedly and impotently shouting ‘Stokes! Stop! Stokes! Enough!’ The ECB could fudge issues that existed only in thickets of legalese, but not those captured in moving colour. Stokes was stood down from the next West Indies match, then suspended indefinitely. It emerged that he had broken his hand during the fight, something he’d done twice before while punching objects in dressing rooms.
The response in Australia was fierce: Stokes was a thug, a lowlife, a selection that would disgrace England. It was not entirely coincidental that a ban for England’s best player would be handy for the Aussie team, but there was also a cultural split. In England, plenty of people still minimise pub fights as lads letting off steam. In Australia, heavy media coverage as a succession of young men were killed had inverted that tolerance. The discourse now saw any punch as potentially deadly and accordingly reckless. This was more poignant in a cricket context given that David Hookes, the dashing Test batsman and state coach, was killed in 2004 by a pub bouncer’s fist.
The PR situation was bad for Stokes as details emerged of the injuries to the men he’d hit, and that one was a young war veteran and father. Stokes wasn’t officially removed from the Ashes squad through October but stayed behind when his teammates left, hoping for police to dismiss the matter in time for a late dash to Australia. His annual contract was renewed on the due date in case that came to pass. Then 29 October brought a twist in the tale.
‘Ben Stokes praised by gay couple after defending them from homophobic thugs,’ ran the headline. Kai Barry and Billy O’Connell had emerged. Not entirely out of nowhere: while Stokes had made no public comment, this story in his defence had initially been leaked to TV host Piers Morgan after the fight, as soon as the video appeared. Police body-camera footage played in court would later show that Stokes had given the same story to the arresting officer on the night. But no-one knew the identities of the fifth and sixth men in the video, and police appeals had turned up nothing.
It was The Sun again with the breakthrough. Kai and Billy were perfect for a readership not keen on nuance. ‘We couldn’t believe it when we found out they were famous cricketers. I just thought Ben and Alex were quite hot, fit guys,’ said Kai, who was memorably described as a ‘former House of Fraser sales assistant’. The paper had the pair do a full photo shoot: layering the fake tan, showing off chest waxes, mixing Ralph Lauren and Louis Vuitton into a range of outfits. Their best shot had them standing back to back, heads turned to the camera, in a mirror-image Zoolander moment.
Suddenly The Sun was the England team’s best friend. ‘Their claims could lead to the all-rounder being cleared over the punch-up and freed to play in the First Test in Australia next month,’ it gushed, then gave a tasting platter of quotes: ‘We were so grateful to Ben for stepping in to help. He was a real hero.’ ‘If Ben hadn’t intervened it could have been a lot worse for us.’ ‘We could’ve been in real trouble. Ben was a real gentleman.’ Would it be known forever as Kai and Billy’s Ashes? No. While the Bristol boys provided spin for Stokes’ reputation they didn’t influence the police. With charges still pending there was little choice – not given Strauss had previously sacked Kevin Pietersen for being annoying. Stokes remained suspended through the Ashes and a one-day series in Australia, and lost the vice-captaincy. It was January 2018 before the Crown Prosecution Service laid a charge.
That charge surprisingly came in as affray, a crime that can carry prison time but is classified as ‘a breach of the peace as a result of disorderly conduct’. The men he had punched, Ryan Ali and Ryan Hale, faced the same count, charged as equal participants in a fight rather than Stokes being charged with assaulting them. Alex Hales was not charged, despite being seen in the video to aim several kicks when Ryan Ali was lying on the ground. Given the underwhelming standing of the offence, Stokes was cleared by the ECB to tour New Zealand, and kept playing until his trial in August 2018, which he missed a Test to attend. None of the three defendants would be convicted.
The reasoning behind the charges was never released and was attributed vaguely to ‘CPS lawyers’. The service gave the case to Alison Morgan, a prosecutor of a class known as Treasury Counsel who usually handle serious criminal matters. Morgan had a scheduling clash and never ended up court for the case, but in 2018 and 2019 she would go on to win damages and admissions of libel from The Daily Mail, The Times and The Daily Telegraph variously for incorrectly reporting that she had been responsible for the inadequate and inconsistent charging decisions.
Morgan’s successor on the case was Nicholas Corsellis QC, who on the first day of trial was permitted by the CPS to request two assault charges be added against Stokes. ‘Upon further review,’ claimed a CPS statement, ‘we considered that additional assault charges would also be appropriate.’ This was patent nonsense from the service that eight months earlier had chosen the lesser charge. Any lawyer knows that no judge will allow new charges once a trial has begun, because the defence hasn’t had time to prepare. But such a request could deflect criticism of the prosecution service by technically making the judge the one who disallows the charge.
Working through the story from the trial and the tape is complicated. You had a Ryan and a Ryan, a Hale and a Hales, a Billy and a Barry and a Ben. You had several versions of events as to who knew whom, who was drinking with whom, who had insulted whom and who had merely engaged in ‘banter’, a word that in modern Britain has to do an unconscionable amount of lifting. The reporting had constantly mixed up the Ryans as to who had which injury, who was in hospital, who had played which part in the fight, and whose mum had which stern words to say about it.
Let’s agree that from now Ryan Ali is Ryan One, the firefighter who ended up with a fractured eye socket and a cracked tooth. Ryan Two can be Ryan Hale, the soldier who scored concussion and facial lacerations. Mr Barry and Mr O’Connell are best known per The Sun as Kai and Billy. In scorecard parlance we’ll leave the cricketers as Stokes and Hales.
Amid the confusion, Stokes and his lawyers built his case in a straightforward way. The UK legal definition of affray is ‘if a person threatens or uses unlawful violence or force towards another person, which causes another person of reasonable firmness present at the scene to fear for their safety’. That means it doesn’t account for violence that harms a target, but violence that might frighten a theoretical bystander. The wiggle room for Stokes was with ‘unlawful’, because the charge excuses violence in defending oneself or others.
This interpretation hinged on the beginning of the video, where Ryan One waves a beer bottle about and takes a swing at Kai. The version from Stokes was that he was minding his own business walking down the street when he heard homophobic abuse. He intervened verbally and was threatened verbally by Ryan One – something that Ryan One denied but that couldn’t be proved or disproved. In fear for his safety Stokes had to nullify that threat by bashing Ryan One before it went the other way. He registered Ryan Two in his peripheral vision as another possible threat, and again had only one recourse.
Stokes also had to convince the jury to disregard testimony from Mbargo’s bouncer that he had been looking for a fight. A solid lump of a man, Andrew Cunningham had not enjoyed his patron’s attempts to get back into the club after the bouncer declined an offer of a bribe. ‘He got a bit verbally abusive towards myself. He mentioned my gold teeth and he said I looked like a cunt and I replied, “Thank you very much.” He just looked at me and told me my tattoos were shit and to look at my job.’ Cunningham described these words as coming in ‘a spiteful tone, quite an angry tone’, and said that Stokes still seemed angry as he walked away.
These were details the doorman had nothing to gain by inventing, but each of them Stokes denied. By his own accounting he had drunk a beer at the game and three pints at his hotel, then ‘potentially had some Jägerbombs’ along with half a dozen vodkas at the club. He insisted that after all of this he was not drunk.
If I may take a moment here to call upon the wisdom of experience – a person who cannot definitively say whether they have had any Jägerbombs has definitely had some Jägerbombs. A Jägerbomb is an experience that does not pass one by. Further to that, a person who says they have ‘potentially’ done something has definitely done that thing and doesn’t want to admit it. A person who has had between 15 and 24 standard drinks in one evening is shitfaced. A person who tries to bribe a bouncer £300 – three hundred quid! – to get into Mbargo – Mbargo! – is beyond shitfaced.
If Stokes admitted that he was drunk then the prosecution could say he was out of control. He claimed clear recall of assessing a threat, feeling fear and deciding to protect himself with force. He confidently denied details from the bouncer’s testimony, like using the word ‘cunt’ or mentioning gold teeth. Yet on other details he claimed a ‘significant memory blackout’. He didn’t remember the punch that saw Ryan One taken away by ambulance. He didn’t remember what the Ryans had said to Kai and Billy, only that those words were homophobic. With no head injury, as one of the few people who hadn’t been hit, he had supposedly suffered this memory loss despite being sober.
The version from Kai and Billy was compatible but vague: they had been walking along, they ‘heard … shouts’ of abuse from an unspecified source, then Stokes ‘stepped in’ and thus they avoided possible harm. They claimed to have been bought a drink by Stokes at Mbargo, although CCTV showed them meeting outside. The overall implication from both accounts was that the cricketers had been pals with Kai and Billy, while the Ryans as per The Sun’s headline were a roving band of thugs.
The reality though is that the Ryans were the ones hanging out with Kai and Billy at Mbargo. Police discussed CCTV from inside the club in questioning and at trial. On that footage the four Bristolians bought drinks for one another, danced together, and Kai was noted to have variously touched Ryan Two’s crotch and Ryan One’s buttock. Ryan One told police that all of this was taken lightheartedly and wasn’t a problem. Indeed, when the Ryans called it a night the other two left with them.
This much is clear from footage out the front of Mbargo, which shows Kai and Billy exit the club and start talking with a subdued Hales and a demonstrative Stokes, who are stuck outside. The vision was played in court to determine whether Stokes was antagonistic towards Kai and Billy, as he appears to impersonate them and to throw a lit cigarette their way. More interesting is that after a few minutes the Ryans emerge, and all six actors in the fight video briefly form a prequel in the one frame.
Ryan Two pats Billy on the chest in friendly fashion with his right hand before clapping him on the back with his left. He moves past and does the same to Kai before leaving the shot. Ryan One stops to speak to Kai. They lean in for a moment, talking, then Kai turns and they walk out of frame together. Billy hangs around for a few seconds at the door and then looks after them and races to catch up. Stokes and Hales remain outside the club to remonstrate further with the bouncers. Whatever discord develops around the corner is between four men who left amicably together minutes earlier.
There’s no way to know what caused that friction. If Ryan One did use homophobic slurs, he might have been drunkenly obnoxious for no reason. He might have had an insecure macho response to some extra flirtation. He might have thought unkindness was funny – ‘banter’ once again. Or he might have said something that was misunderstood, as both Ryans insisted in court that they had not used nor had the impulse to use any abusive language.
What clearly didn’t happen was an attack by bigots on random passers-by. This kind of crime is regular enough that an audience understands the horror of it, and this is what was evoked by the public accounts of Stokes, Billy and Kai. All we know is that there was some verbal dispute among the Bristol locals, and that Stokes came along behind them and put himself in the middle of it. Ryan One responded to the interference aggressively and away they went. There are plenty of reasons to look sideways at the idea that Stokes was a saviour. Foremost, neither Kai nor Billy was called upon as witnesses in court. You’d think it would be ideal to have Stokes’ story backed up by those who benefited from his selflessness. But his defence team had developed the impression that the pair had shown a changeable recall of events amid a hard-partying lifestyle, and would be dismantled by the prosecution on the stand.
That raises the question of whether The Sun coached their quotes for the 2017 interview. Despite missing court, Kai and Billy clearly enjoyed the attention. In 2018 after the trial they did a follow-up spread in the same paper about how poor Ben had been mistreated. They got a television spot on Good Morning Britain and glowed about his heroism. In 2019 The Sun wheeled them out once more to say that Stokes should get a knighthood. In 2017 they had ‘never watched cricket’ but by 2019 were supposedly volunteering sentences like, ‘He saved us, now he’s saved the Ashes.’ Whether they were paid for these appearances is not known, but the chance to be famous for a day can be lure enough.
If you find this cynical, consider that on the night in question, the Bristol boys were so deeply moved and thankful for Ben’s intervention that they left him to be arrested and never attempted to find out who he was. Seconds after the video ended, an off-duty policeman reached the scene. You might think that someone grateful to a saviour would speak on his behalf. Instead, said Kai, ‘it all got a bit scary so we walked off. It was too much for me and we went to Quigley’s takeaway for chicken burgers and cheesy chips.’ They didn’t give their hero a thought for over a month while police issued multiple appeals for witnesses.
As for Stokes, he told his arresting officer that ‘his friends’ had been attacked. After three minutes of chat outside a nightclub, these friends were so dear to him that he has never contacted them again: not after the newspaper piece, not after the verdict. He didn’t want to see how they were or thank them for their support. He didn’t mention them by name in his solicitor’s statement after the trial.
The Stokes defence rested on Ryan One’s bottle, which he had carried out of Mbargo to finish a beer, not to use in a Sharks versus Jets amateur production. But once he turned it over to hold it by the neck it became a weapon. Intent and interpretation can change the material nature of things. Part of Stokes’ justification in court was that the bottle implied that the two Ryans might have ‘other weapons’ hidden away. You can understand how a jury could decide that created doubt.
Not being convicted, though, doesn’t give the contents of the video a big green tick. It does not, as his lawyer claimed, vindicate Stokes. Looking in detail, Ryan One is belligerent but his movements telegraph a bluff. Hales is the person he’s gesturing at, but they’re several metres apart when Ryan One cocks his arm ostentatiously, showing off the bottle rather than bracing to swing. He skips forward but Hales skips back and Ryan One doesn’t follow. Kai stretches out an arm to impede Ryan One, who has a drunken stumble, nearly eats pavement, then staggers towards Kai and hits him in the back. That hand is still holding the bottle, but his strike is a side-arm cuff on a soft part of the body. It’s all pretty tame.
This is where Stokes gets involved. Having moved across to protect Hales, he now takes three large steps to run around Kai and booms his first punch at Ryan One. They fall to the ground and the bottle clinks away. Stokes gets to his feet to punch down at the fallen man, while Hales arrives to kick him ineffectively then runs off across the street for some unknown reason. Ice-cream van? Stokes is soon back in the grapple having his shirt pulled up to show off his Durham tan. Ryan Two steps in for the first time to pull Stokes away, prompting a couple more random punches at this new target, then Stokes trips backwards over Ryan One and sprawls in the street. Hales chooses this moment to return and aim some solid kicks at the head of the man on the ground. Nothing so far is a triumph of moral philosophy or the pugilistic arts. But if it all stopped here, perhaps you could say it was somewhere approaching fair. Ryan One has behaved like a turnip and it’s not an entirely unjust world that would give him a whack across the chops. The antagonists have disentangled, Stokes has some distance, it’s time to dust off and go home. Ryan Two steps forward for this purpose with his palm raised in conciliatory style and says, ‘Settle down, stop.’
So Stokes punches him.
It’s roughly his fifth punch overall, and he really winds up into this one. He misses so hard that he stumbles away into the shadows of the shop awnings along the road.
Hales starts shouting for him to stop. Ryan Two backs into the street, still holding his palm up. Stokes closes on him from about five metres away, six large steps, to where Ryan Two is standing on his own. Stokes pushes him a couple of times, as Ryan Two keeps trying to placate him and saying ‘Stop.’ Stokes throws his sixth punch, largely missing as his target ducks.
Ryan Two keeps pulling away and reversing, into the middle of the street now. Stokes follows him, grabbing his sleeve to drag him back. By this point Ryan One has found his feet and walked around behind his friend. Both of them are in the same line of sight for Stokes, and both are backing away. Stokes aims his seventh and his eighth punches, which Ryan Two tries to deflect, as Hales walks up behind Stokes to grab him.
Stokes yanks away from his friend and switches to Ryan One instead, taking seven paces to grab him before throwing his ninth punch of the night. He grabs again; Ryan One blocks that arm and pushes himself back away from Stokes. Ryan Two again intercedes, putting himself between the two with his palms up and his arm extended.
Stokes throws his tenth punch, a right-hander at the face of Ryan Two, then shoves him backwards. Ryan Two backs away once more, four paces. Stokes follows, steadies, lines up, then launches his strongest punch yet, his eleventh, a proper right hook from a solid base, one that cracks across the man’s head and gives him concussion. Ryan Two ends up flat on his back in the middle of the street, his hands still outstretched for a moment in useless protest until they twitch and drop to the blacktop.
Stokes isn’t done. He once more shoves away the restraining Hales and follows Ryan One, who keeps backing away saying, ‘Alright, alright, alright.’ Five more paces from Stokes before another blow at the man’s head. Kai and Billy are now standing over the poleaxed Ryan Two. The video ends, but seconds later Stokes will punch Ryan One hard enough to knock him out too, before off-duty cop Andrew Spure arrives on the scene to bring down the curtain. When the body-camera footage kicks in some minutes later, Stokes is in handcuffs but Ryan One is still laid out in the street. Ryan Two has regained consciousness, folded his shirt under his friend’s head and is asking police for an ambulance.
‘At this point, I felt vulnerable and frightened. I was concerned for myself and others.’ This was how Stokes described that sequence to the court. An elite athlete with years of gym work and training to snap a bat through the line of a ball with astounding power and precision, swinging fists as hard as he can at men with none of those advantages. Punching so hard that he breaks his hand, and repeatedly shoving away a friend so he can punch some more. Frightened and threatened by two targets shouting ‘Get back!’ and ‘Stop!’
The off-duty officer testified that Stokes ‘seemed to be the main aggressor or was progressing forward trying to get to’ Ryan One, who was ‘trying to back away or get away from the situation’. The student who filmed the video can be heard on the tape at one stage exclaiming ‘Fuck!’ and testified that it was because ‘I felt a little bit sorry about the lad that had been punched and it looked like he had his hands up’. That tallied with the prosecutor’s depiction of ‘a sustained episode of significant violence that left onlookers shocked at what was taking place’.
The defendant stuck to his strategy. ‘No, my sole focus was to protect myself.’ All up, in the 33 seconds of footage after he falls over, Stokes takes 35 steps forward to keep hitting two men who keep trying to get away. Not once is he hit back.
After the verdict, Stokes’ solicitor positioned him as the victim. It had been ‘an eleven-month ordeal for Ben … The jury’s decision fairly reflects the truth of what happened that night … He was minding his own business … It was only when others came under threat that Ben became physically engaged. The steps that he took were solely aimed at ensuring the safety of himself and the others present …’ The statement was impossibly self-righteous and self-absorbed.
If there was anyone to feel sorry for it was Ryan Hale, the second of our two Ryans. He’s the one who emerged from the club with a friendly arm around the shoulder for Kai and Billy. He’s the one who interposed himself to end the fight, then kept putting himself back in the firing line, trying to calm an intimidating stranger while dodging blows. For his show of restraint he got laid out regardless, concussed in the street, then was issued a criminal charge equal to that of the man who hit him, and described in national media as a violent bigot in an untested story to support that man’s defence.
Lawyers for Ryan Two made a more convincing post-trial statement, noting that Kai and Billy, ‘neither of whom were relied upon by the prosecution or the defence team for Mr Stokes, have taken the opportunity to speak with various media outlets about the alleged homophobic abuse that they received in the early hours of September 25. Mr Hale has passionately denied this allegation throughout the course of this case,’ it continued.
‘It is upsetting to Mr Hale that although he was acquitted, the accusation that he was the author of such abuse remains. Both Mr Hale and Mr Ali were knocked unconscious by Mr Stokes, and although Mr Stokes has been acquitted of an affray, Mr Hale struggles with the reasons why the Crown Prosecution Service did not treat him as a victim of an unlawful assault.’Good question. Avon and Somerset police were the investigating force, and they were frustrated by the decision. Ryan Two was filmed clearly not hurting anyone, but police were instructed by the CPS to proceed with a charge. Hales (the cricketer) was filmed fighting but ‘a decision was made at a senior level of the CPS’ not to proceed. Police expected Stokes to be charged with assault but the CPS declined. It doesn’t take a wild cynic to think that placing the same lukewarm charge on three men for vastly divergent behaviour might ensure that none would be convicted, even as the trial would maintain the pretence that a defendant of influential standing had not been given a free pass.
A couple of years down the line, the original interview with Kai and Billy has disappeared. All traces have been scrubbed from The Sun website, its social media history, and even from the Wayback Machine internet archive. Given its headline of ‘homophobic thugs’ and text that names Ryan Two but not Ryan One, the libel liability isn’t hard to spot. Later interviews with Kai and Billy take the passive voice – they ‘suffered homophobic slurs outside a Bristol nightclub’.
The article that was once claimed to exonerate brave Ben Stokes now links only to a missing content page, with a picture of a dropped ice-cream cone and the phrase ‘legal removal’ inserted into the web URL. In terms of consequences, Stokes missed one tour. When he resumed his career in January 2018, the Australians hadn’t yet ruined theirs. Their year-long bans looked much more stringent. But the Stokes case dragged on in other ways. With no criminal liability, the Australians confessed promptly enough for the sporting world to give them the full length of the lash. Their situation was ugly but there was closure. Stokes got stuck in legal stasis, unable to be fully backed or condemned. Instead his issue was always present, a browser full of open tabs that the ECB swore they would read any day now.
Through 2018 Stokes was back but he wasn’t back, in the sunglasses and finger-guns sense. In his return one-day series he nearly cost England a match with 39 from 73 balls in Wellington. His first Test hit was a duck as England got rolled in Auckland for 58. At Trent Bridge while Stokes was injured, England posted a world record 481 against Australia. With Stokes three weeks later at the same ground they made 268. He crawled to 50 from 103, the second-slowest any Englishman had reached that milestone in 20 years. That span covered Alastair Cook’s whole career. It was apologetic batting, acting out responsibility via the scorecard. Stokes was creeping back into the team like he’d been kicked out in a blazing row and was hoping to tip-toe to the sofa.
It was December 2018 before the ECB disciplinary committee ruled on him and Hales. In a ‘remarkable coincidence’, wrote Simon Heffer in The Telegraph, ‘the punishment both players faced in terms of bans from playing at international level was covered by the amount of games they had already missed when dropped by England’s selectors, in the furore that followed the incident’. The verdict compounded the omissions around the case by not addressing the violence at its heart. Nor did Stokes, apologising only ‘to my team-mates, coaches and support staff’, and then ‘to England supporters and to the public for bringing the game into disrepute’.
The implicit next step was to rebuild that reputation. It might have been easier had his court defence not meant that he wasn’t game to admit any fault at all. It might have been easier if he or his advisers had been willing to change tack once the trial was done. Imagine a world where Stokes had stood outside court and apologised for overreacting, for the injuries he’d caused, and for the time and energy he had sucked out of other people’s lives. That would have been a show of responsibility beyond a scorecard. When the time came around to assess forgiveness, it might have meant forgiveness was deserved.

My 2021 Portfolio

Albeit a week late, I want to share my 2021 portfolio for documentation purposes and for whoever is interested. I aimed to balance risk in this portfolio with some growth names and legacy plays. Down to brass tacks, I am putting my money in the highest quality companies (in my view) across a diverse set of industries I find attractive. Some of these names are overvalued in the short term. However, I have realized I am not in the business of beating Wall Street’s pricing, but would rather hold high-quality companies that I believe will grow faster that the market in the long term. In other words, I am totally fine paying a short-term premium for growth and quality. Below is a summary of the portfolio and big picture reasoning behind each investment. I'm definitely open to any feedback.

Company	Ticker	Entry Price	Exposure
ARK Genomic Revolution ETF	ARKG	$93.26	6.60%
CrowdStrike	CRWD	$211.82	11.78%
Disney	DIS	$181.18	10.53%
Enphase Energy	ENPH	$175.47	7.98%
Evolution Gaming Group	EVVTY	$101.02	12.77%
Facebook	FB	$273.16	11.05%
Redfin	RDFN	$68.63	10.41%
Teladoc	TDOC	$199.96	9.60%
Sea Ltd	SE	$199.05	14.09%
Waste Connections	WCN	$102.57	5.19%

ARK Genomic Revolution ETF (BATS: ARKG) - Invests in companies advancing genomics. The companies held in ARKG may develop, produce or enable: CRISPR, Targeted Therapeutics, Bioinformatics, Molecular Diagnostics, Stem Cells, Agricultural Biology.

Innovative industry. Since 2003 the cost to sequence a human genome has dropped from nearly $3bn to less than $1,000. ARK believes that as costs continue to drop, genomic sequencing will become a standard of care in oncology. It will introduce more science into healthcare decision making, enable personalized medicine, and accelerate drug discovery. ARK estimates that genomic sequencing revenues will grow 43% at an annual rate, from $3.5bn last year to $21bn in 2024.
Cathie Wood. She’s a beast stock picker. Out of all the ETFs she runs, her closest competitor trailed by 60%. Her worst ETF still doubled investors' money. Her strategy is to make investments into companies that she considers incredibly transformational and she has seen success doing it.

CrowdStrike (NASDAQ: CRWD) - Cybersecurity technology company that provides endpoint security, threat intelligence, and cyber attack response services.

Best in class technology. Remember about a week ago a bunch of Russian hackers breached SolarWinds? The same hackers also tried to hack CrowdSrike at the same time but were unsuccessful. I’ve wandered on to a bunch of cybersecurity forums, and the general consensus is CrowdStrike has developed the best cybersecurity solution by miles. CRWD is the undisputed leader in cybersecurity.
“Pick-and-shovel” investment into the world’s increasing digitization. Even in the absence of COVID, cybersecurity remains a key component of the world’s increasing digitization as cyberthreats have been an ongoing issue from the onset of the internet. In the last decade we have seen a bunch of hacks where companies have exposed sensitive customer information. It seems companies are just starting to realize the importance of cybersecurity.

Disney (NYSE: DIS) - Worldwide entertainment company that you all are probably familiar with.

Reopening trade. In 2019, parks generated 45% of total operating income for DIS. Full reopening and attendance in parks will be slow, but certainly benefit DIS when it happens. The company has been executing on several other segments in the meantime (i.e. streaming). It has proved competitive, increasing the margin of safety if parks take longer to reopen.
Fast-growing streaming division. DIS has proved agile as it successfully launched a streaming service, Disney+, that has already gained 86mn+ subscribers which was the company’s original 5 year target. This is promising as it shows management can adapt to rapidly changing technology trends.

Enphase Energy (NASDAQ: ENPH) - Designs and manufactures software-driven home energy solutions that span solar generation, home energy storage and web-based monitoring and control.

Shift to clean energy; ENPH emerging as market leader. Going into 2021, sentiments towards solar have been at an all time high. This trend is expected to continue, especially after the Georgia run-off results. Solar firms are expected to benefit from extended tax incentives on both the consumer and producer ends.
Technological advantage. ENPH has developed the industry leading solution and is rapidly taking market share from its primary competitor, SolarEdge. Pricing reflects this, but it's expected to continue. Among key competitors, Enphase has been one of the lowest cost producers. Its low-cost structure is a major contributing factor to its improving margins.

Evolution Gaming Group (OTC: EVVTY) - Swedish company that develops, produces, markets and licenses integrated B2B live casino solutions for gaming operators.

Early mover advantage. Evolution’s lack of competition enables it to rapidly grow in new markets and create a loyal customer base, with high switching costs. The company has effectively grown EBITA margins from 41.6% in 1Q18 to 64.8% in 3Q20. Margin expansion is expected to continue.
Massive untapped markets. Europe is estimated to be around $2.5bn (EVVTY has 50% market share), Asian market is ~15x the size of Europe (150% YoY growth for EVVTY in Asia). North America’s market is ~$210mn, a 42% increase YoY, with NJ and PA the only states currently operating (NY looks promising). Management thinks the US will be the largest in the long-term.
Undetected from Wall Street. Evolution has almost no analyst coverage in the US and very minimal coverage in Europe, presenting opportunity for additional growth as institutional money managers recognize this opportunity and draw attention to the stock. Additionally, Evolution has a founder-led management team that is highly aligned with shareholders (mgmt owns over 30% of the stock).

Facebook (NASDAQ: FB) - Enables people to connect through devices. It’s products include Facebook, Instagram, Messenger, WhatsApp and Oculus.

Zuck. It’s not a question of who is the next Jobs/Bezos/Gates/Zuck, because Zuck is super young. He has a history of being able to execute: IG acquisition / transition from desktop to mobile / denying multiple acquisition opportunities in his twenties.
Undervalued. FB is the cheapest among the FAANG stocks, yet has some of the highest growth rates. This is mainly because of its continuous political scandals. With Trump out of office, I think FB has a chance to stay out of trouble and start to realize higher multiples. The antitrust lawsuit is not a threat imo, it is actually an opportunity. If the govt forces FB to break up, we would get shares in the spin-offs, which would be valued at a higher multiple than FB. For example, if Instagram spun off from FB and traded at the same multiple as SNAP, Instagram’s market cap would be larger than FB’s.

Redfin Corporation (NASDAQ: RDFN) - Provides residential real estate brokerage services.

Digitization of Real Estate (i.e. “iBuying”). Technology in RE is moving from being informational to transactional. Redfin’s iBuying service is dubbed “RedfinNow.” The service basically buys homes from sellers looking for a quick and convenient sale (close deals within 10-30 days). This segment isn’t profitable yet as it is just getting started, but promising as the management adapts to technology trends.
Inter-US Migration and housing outlook. People are moving out of the cities because of COVID / trying to avoid taxes / etc. which increases demand for Redfin’s services. With interest rates extremely low (and no expectation for them to increase), homebuying demand should continue to grow.
RDFN most attractively valued compared to Z and OPEN, with the most upside potential given its market cap ~$7bn. Some are predicting RDFN might start offering rental services as well. RDFN has the best LT margin potential.

Teladoc Health (NYSE: TDOC) - Provides virtual healthcare services on a B2B basis to its clients and provides services to consumers directly and through channel partners.

Competitive positioning in industry ripe for disruption. Healthcare is a huge market yet to be significantly disrupted. COVID has accelerated this disruption. Providers who were once opposed to telemedicine now realize its benefits and several regulatory changes are promising for telemedicines growth potential. Medicare and other government-sponsored coverage is expected to include telemedicine benefits, increasing TDOC’s TAM.
Livongo acquisition. From the consumer POV, this will increase access to healthcare at a lower cost. Teladoc will have access to a larger amount of data it can interpret to refine its services and monetization strategies.

Sea Ltd (NYSE: SE) - Digital entertainment, electronic commerce, and digital financial services. The Company operates three business segments: Garena, Shopee, and SeaMonkey. The Company’s digital entertainment business, Garena, is a global game developer and publisher with a presence in Southeast Asia, Taiwan, and Latin America. Garena provides access to mobile and personal computer online games. Shopee provides users with a shopping environment that is supported by integrated payment, logistics, fulfillment, and other value-added services. SeaMonkey business is a digital financial services provider. SeaMonkey offers e-wallet services, payment processing, credit related digital financial offerings, and other financial products.

Diversified consumer internet company with market-leading position. Sea caters to Southeast Asia and Taiwan, providing its online gaming, e-commerce, and payment platforms. Shopee has overtaken competitors, it is widening its market share lead. ESports is a rapidly growing market (15.7% YoY to $1.1bn in 2020) and Sea is outpacing market growth.
Pay for quality. The best companies keep going up for years in a row, and I think Sea is in the early stages of being classified as such a company. It’s worth $100bn but has effectively proved its ability to identify opportunities and expand business lines.
Still early stages of developing its consumer banking business, so we get the security of a bigger, established company with upside for an additional, lucrative business line such as fintech.

Waste Connections Inc. (NYSE: WCN) - Waste services company that provides non-hazardous waste collection, transfer, disposal and recycling services.

Recession resilient; re-opening trade. The waste management industry is recession resilient, it will always be around.
Non-hazardous waste collection. With a progressive government likely to push climate initiatives, recycling and non-hazardous waste collection are likely to benefit on the back end.
WCN has a large moat; there isn’t much of a competitive threat the way the industry operates. Management’s strategy is to generally only spend what FCF is available. This enables the company to make acquisitions while handling its debt load. Great for stable growth.

P.S. I have two other accounts - one with about 40 growth stocks and another with about 10 big names / ETFs. However, this portfolio has the largest allocation for 2021. My first time trying a more concentrated approach.

Album Of The Year #15: Joji - Nectar

Artist: Joji
Album: Nectar
Label: 88Rising
Release Date: September 25, 2020
Listen:
Spotify
Apple Music
YouTube Music
Deezer
Soundcloud
Background
Not many artists have had a come-up as interesting and eccentric as George Kusunoki Miller, a former YouTube comedian/edgelord turned moody R&B singer. George first got his taste of internet fame as FilthyFrank, a character he described as everything a person should not be, he played the notorious persona on YouTube for over 6 years and eventually had to retire it due to him losing passion for it and suffering from stress induced seizures, which playing the character often caused.
Throughout his time as FilthyFrank however he began experimenting with music, mostly of the satirical kind at the start, his first tracks were under the FilthyFrank persona, the first one being Who's The Sucker, a dumb track where he somehow manages to rhyme "nicer" with "vagina", go figure.
A few years later, alongside the satirical rap, Joji began to make what he would consider as serious music, and this is where the timeline gets a bit messy, as he put out multiple tracks under multiple different aliases and the lines got blurred pretty fast, so I won't focus on aliases too much, but rather on the music he put out, around this era he released the therapeutical Medicine, the slow and melancholy We Fall Again, and Dumplings, which was Joji's best attempt at a trap banger.
In 2015, he birthed the Joji alias, released two singles on Soundcloud under that name, and announced a project called Chloe Burbank Vol. 1, the project was later scrapped and is probably sitting on Joji's hard drive, unfinished, however, the two singles he put out, thom and you suck charlie, were the tracks that put him in the spotlight, not to mention that to this day, there are some of his fans that believe these 2 tracks are his best and will not be topped, but that's a discussion for another day.
Following the overwhelmingly positive reception, Joji began to put out more tracks and singles, both under the aforementioned alias and Pink Guy, which was a character that blossomed into a satirical rap project, but I won't be covering that too much, and will focus on what he did as Joji instead, most tracks Joji put out were met with positive reception, some of the tracks, such as worldstar money, ended up on his debut EP as well.
Sometime around early 2016, Joji ended up signing with 88rising, a label focused on building the bridge between east and west, he explained in an interview that he was initially a consultant for the duo behind the record label, however, once the duo noticed his music and how well it was received, they asked him to jump on board and he instantly took the chance, getting signed alongside the likes of Rich Brian and Higher Brothers.
The label immediately undertook Joji and began distributing his catalog on their YouTube channel and helped him release more music, which was a couple of singles in the earlier half of 2017, and his debut EP in the latter half, the EP, known as "In Tongues", was met with mixed reception from fans and critics alike, with some describing it as his most concise body of work so far that is oozing potential, and others describing it as a bleak project that fails to set Joji apart from the sea of artists on the same wavelength as himself.
Following the release of the EP, Joji began working on his debut album, known as BALLADS 1, the album's first single, YEAH RIGHT, was released on the 8th of May, the track was first believed to be a standalone loosie as it was released 5 months before the album itself, however it ended up being on the album and was confirmed as the one of the singles alongside SLOW DANCING IN THE DARK, CAN'T GET OVER YOU, which features a production credit from non other than Clams Casino, and TEST DRIVE.
The album was well received, and was praised for containing a wider variety of sounds than its predecessor, it felt like a natural progression for Joji's sound and was a step forward towards a more mainstream approach whilst not sacrificing any of the rawness that Joji's older stuff had, which seemed to be what most fans were expecting from him.
Moving forward Joji stayed mostly silent throughout 2019, appearing on the second 88Rising collaboration album, which was negatively received due to it's lack of creativity and sub-par performances from most label signees, he also appeared on Rich Brian's sophomore album, The Sailor, and released which is now known to be as the first single from Nectar, Sanctuary, a synth based poppy track that previewed a vocally improved and more confident version of Joji.
What was assumed to be a loosie turned out to be the beginning of an album rollout, as half a year later Joji released Run, setting a new standard for himself both instrumentally and vocally, and a couple of months later he released Gimme Love, a double sided track with a fun, catchy beginning and a melancholy ballad driven ending, the last single, Daylight, was released on the 8th of August, the instrumental was produced by Diplo and the track itself sounded like Joji's attempt to break into the mainstream.
Without warning, he also released two tracks that he classified as "NOT SONG", the first being Pretty Boy, which actually ended up on the album with a Lil Yachty feature, and the second being FTC, which sadly did not end up on the album, both tracks had videos and it seemed to me at first that the purpose of both tracks was to serve the lore that Joji has built around the album, which I will be touching up on in this write-up.
A day before the album's release, he put out Gimme Cum, an enigmatic track with a mysterious message.
Nectar itself was pushed back from it's original July release date due to the pandemic and Black Lives Matter protests, the album however was released on the 25th of September.
Album Lore
If there's one thing George is no stranger to, it would definitely be worldbuilding, as he has proven time and time again that he has a knack for it, especially with his FilthyFrank YouTube channel, where he managed to create characters, locations, and an entire universe out of a few satirical characters, his lore was adored by many and even though visually he never wrapped up the story he did release a book that served as closure for the FilthyFrank lore.
This album's lore is not as straight forward however, and there are multiple theories doing the rounds on the internet, personally I will go by what sounded most convincing to me in terms of timeline and storyline, however do feel free to expand on what I've said or correct me, George has left multiple things left open to interpretation therefore I would not be surprised if there were multiple different meanings to the same thing.
Our story begins in the music video for Gimme Love, where we see a young Joji who appears to be a small time engineer that is eager to climb through the ranks of the company he is working for, as he rises however he appears to become more stressed out and agitated at all times, lashing out at his coworkers and breaking down consistently, throughout the music video we can see that the more he progresses, the more roadblocks he runs into, which causes his behavior to become more psychotic and manic, as the shots move forward we see him accept awards, lead his very own research team, run failed experiments on his coworkers that causes them to bleed, and eventually receive military covert status, which did not come without sacrifices, as we see him smile less and less throughout the video.
In the second half of the video, we see Joji steal the rocket he helped build by locking out his crew members, and launch himself into space, disappointing everyone he worked with and stabbing them in the back he appears to be quite happy however, eventually his mood flips as he is faced with two choices, engage or eject, the following shot does not allow us to see which one he picked as we are facing his back, all we see is Joji making the choice and gearing up for what's to come.
The lines get blurred around this spot and many people have different theories as to which video is the right one chronologically, personally I believe Daylight comes next, and my theory is Joji is having some sort of fever dream featuring his previous coworkers, most notably the older people who went through layers of plastic surgery, who appear in the music video for FTC, where they are seen wearing badges that features the same organization Joji worked for, throughout the video they are seen rummaging through the wreckage caused by Joji, clearly looking for something specific, which ends up being the award Joji won.
Back to Daylight, Joji appears to be some sort of intern working for the director and the actors, towards the end of the music video we can see Joji waking up from the aforementioned fever dream, clearly in a daze, as the shot widens we see that he is alone, in a barren wasteland, with nothing around him except for a tent and what appears to be a device used for communication, he plants a few seeds in the soil and sits by the device, hoping for a sign of life.
Next comes Run, where we are once again met with Joji having a nightmare, the entire video symbolizes being trapped in a place you don't want to be in, as Joji appears to be in a never ending limousine with people he has no interest in whatsoever, towards the end of the nightmare we actually see Joji running across a massive wasteland, the same wasteland we saw him in at the end of the Daylight music video, throughout the video, we see Joji become consumed by the soil itself, which I would assume is a representation of his fears back then, seeing as he was alone and had little to no hope of being saved whatsoever.
Joji wakes up from this nightmare and appears to be in some kind of spaceship, if the videos were released chronologically, we would be completely lost at this point, lucky for us, we already know what the spaceship is, as we see a picture of the Sanctuary crew in the final shots of the Run music video, I'm gonna go out on a limb here and say that the crew is the ones that saved him from death and picked him up from the mess that he placed himself in, hence the name Sanctuary, which means refuge or safety from pursuit, persecution, or other danger
The crew itself is seen in action in the music video for Sanctuary, where Joji appears to be fighting and defeating some sort of one-eyed alien supervillain at the start, however, once he is defeated, both Joji and the crew themselves become aimless, as they are living monotonously without a goal, thankfully(???), one of the crew members sees this and decides to take matters into his own hands, by surgically removing his own eye, which portrays his transformation into the new supervillain, and following this up by killing a crewmember and escaping on his own, once again giving the spaceship it's own purpose.
Unfortunately the music videos that were put out after the release of the album appear to be too subtle for me to think they are connected in any way, shape or form, there are many theories of course but I can't help but feel like that most of them are a reach.
The most plausible explanation for this lore that I can think of is that the whole escaping from earth on his own, landing in a barren wasteland, trying to plant seeds in it, and eventually being picked up by a group(88Rising, wink wink) is a metaphor for his transition from FilthyFrank to Joji, the barren wasteland stands for how hopeless he felt at the time and the seeds symbolize the loosies he was slowly dropping before ditching his channel to become an R&B superstar, which if true, solidifies the idea that George was done with FilthyFrank long before he actually left the channel itself.
Regardless, I thought the lore was very enjoyable and it was nice to see Joji back in one of his elements at least, most fans would have been disappointed in me if I had not touched up on it a bit seeing as it was a huge part of the albums release and they are intertwined in some sort of way.
Review

When it's lovely I believe in anything What does love mean When the end is rolling in

It is important for me to preface this review with the fact that this Joji album is not like anything we've ever heard from him before, this is not the one man army, garageband using, sample meshing Joji that we knew in the past, this is Joji with an entire team behind his artistic vision, a whole group of people working with him to help him push his sound to the next level, and unfortunately, while the quality of the music has clearly went up, when so many people have their own input on something eventually the lines get blurred and the album loses its artistic direction and cohesion, which is one of my only complaints with this album, and I'm glad I got it out of the way first.
Artistic direction and cohesion aside, this album contains some of Joji's highest highs to date, especially the singles, that's not to say that there aren't some deep cuts on here that shine as well, but once you listen to the album in it's entirety you quickly understand why the singles were chosen as singles, especially when you consider how sonically different they are from the non-singles.
Sanctuary, the album's first single, is a sweet, poppy and synthy track that features a high pitched and melodic Joji, some of the track's lyrics are somewhat abstract but they are quite visually descriptive and that's always a plus in my book, the instrumental itself is quite spacey and has a nice retro vibe to it, already a huge step forward from what we've already heard from George, the track's climax reaches towards the end and gives us a beautiful bridge,with Joji crooning about wanting to be held by a significant other.

I fell for your magic, I tasted your skin And though this is tragic, at least I found the end I witnessed your madness, you shed light on my sins And if we share in this sadness, then where have you been?

Run is one of the more cinematic cuts on this album, the track is truly a double edged sword because although it's one of Joji's best, it has set an extremely high standard for both Joji and the album, leaving fans such as myself worried about whether or not he will ever reach a similar high, the production is clean, Joji's vocal lines are as dynamic as ever, the guitar melody is infectious, the lyrics are better than anything Joji has ever written and he is putting his heart and soul into every word, the electric guitar solo at the end is also something worth mentioning, which sits perfectly right in front of Joji's distant and wide vocals, ending the track on a strong note.

Look into your heart and let me know Do things turn black and gray as they go? When I'm far too gone, can you show me love? Give me love

Gimme Love

The lyrics above come from the album's third single, a 2 sided track that starts as a bouncy, percussive, fast paced, and catchy song, with Joji chanting and pleading to be given love, softly singing about being surrounded by apathetic people, after the second chorus the entire song comes to a halt in order to make room for a mellow guitar and Joji's harmonies, which are absolutely stunning if I may add, the track, much like many other tracks on here, ends on a cinematic strong note with a string section and a grandiose piano.
The final single, Daylight, is no doubt unexplored territory for Joji, the instrumental, which was produced by Diplo, starts off slow and minimalistic, with a simple yet groovy bassline, and reaches its apex on the chorus, when it suddenly becomes extremely lush, heavy, and thick, the track is most definitely a solid attempt at modern day and mainstream pop music, clearly made with the intention of receiving radio play.
All of the singles show up in the first leg of the album, which is absolutely phenomenal, the opener track, Ew, starts off light and easy, with a somber and distant arpeggiated piano backed with Joji's soft vocals, who's singing about heartbreak and the loss of many relationships, sounding as bitter as ever lyrically, the chorus includes a grand string section and a chord progression that is fully panned to the right and sitting all the way behind the mix, and surprise surprise, the track itself ends on a cinematic strong note, much like many of the other tracks on here.

I've got no aim, a million rounds, is nothing real? A hundred pounds of heavy steel, it feels so loud Tied to my chest, it feels so loud I'll take a peek to across the peaks This grass is neat and I'm quite unique But I'd like to be, but I'd like to be

MODUS

Up next comes MODUS, a moody track that has an intro similar to the opener track but later on has Joji melodic rapping to a murky trap instrumental, with Joji of course sounding better than ever, lyrically speaking, many of the themes on this album are similar, Joji is mostly singing about relationships, heartbreak, and the need for a significant other, the lyrics themselves give the album a nocturnal, bitter, hopeless vibe, which is what we've come to expect from Joji's music nowadays.
The third track, Tick Tock, is a plucky banger of an instrumental that has Joji rapping over it with pitched up vocals on the chorus which is something that's a little bit reminiscent of his older, more amateur work, the vocal layering on the verse is also something worth mentioning, really showcases Joji's dynamic range and how much he improved as a whole, the track is nothing groundbreaking in terms of what we've heard so far and remains lowkey for the most part but is without a doubt one of my favorites on this project.

On Nectar, one of the yet-to-be-announced tracks was produced when the artist was only sixteen years old. “I’m excited to see if it sticks out or not to the listeners.” he reveals.

Joji Interview with Schön! Magazine.

While not officially announced by Joji himself, it is safe to say that Upgrade is the aforementioned track, a small interlude that seats itself in the earlier part of the album, the track starts with a grandiose piano, which is quite unnecessary if you ask me, because once we have it out of the way all we get is a very obviously barebones instrumental made from a different time, the telltale sign being non other than the ukulele that we have seen in George's earlier work.
It upsets me that Joji has not made this fact much more known because this track has been consistently the subject of criticism by critics and fans alike, but at the same time I understand, because at the end of the day George left that track in there for the die hard fans, not the critics.
Up until this point there is no doubt that Joji has played it safe, sure the album is much more grand and cinematic than its predecessor, but there's no denying that the signature sound is still there, we still get the hazy and moody slow bangers, if Nectar was only the first half then Joji might have had a strong album in his catalog, maybe even a classic, but I understand him wanting to expand and experiment with other sounds in order to grow as an artist.
The midsection gets a little bit tricky, as Joji begins to get out of his comfort zone and the album features start appearing, to me it sounds like Joji did not know how he could keep the listener interested in the second half of this album and decided to opt in for a bunch of features as a quick fix, some work out fine, some better than others.

Handsome young man, never pull up on time Lookin' in the mirror, lookin' good should be a crime, crime All this pain I'll never let show (No) My real thoughts, you'll never know (No)

Lil Yachty on Pretty Boy

I never really listened to Lil Yachty that much aside from the obvious hits he had over the course of his career, but he clearly shined on this track as the feature, for starters, the track is very light-hearted, definitely one of the more lofi tracks on this album, the highlight for me without a doubt is the bridge, which sounds like something straight out of Pink Season, George was clearly having genuine fun with it, some even speculate that most of the bridge was made using samples from his earlier work as Pink Guy.
High Hopes, which features Omar Apollo, is one of the more lowkey cuts in here as well, the percussion on the instrumental and the detuned guitar on here remind me of some of Joji's stuff from BALLADS 1, unfortunately however the track doesn't stand out much, at least not as much as Afterthought with BENEE, another track where Joji's melodies and vocals shine through once again, and BENEE's feature definitely adds some character to the track, at least enough to the point where the feature made some sense
On Normal People, Joji recruits childhood friend rei brown, in an attempt to capture lightning again after their first collaboration, Once In A While. Unfortunately lightning didn't strike twice here for me and the track felt quite lackluster and uninteresting, especially for such an anticipated track and when compared to their first song, many of the tracks and collaborations on the second part of the album really felt like Joji just trying to recapture the magic of his earlier work, and while some of those attempts did work at the end of the day it does feel like a cheap cop out.

Oh, understand, girl, I'm out of sight To the other side, I don't want no stripes Got my insides loud like motorcycles Girl, don't notice it, I don't notice it

NITROUS

Another example of Joji attempting to recapture magic is NITROUS, which marks Joji's second time collaborating with Clams Casino, the track is very reminiscent of their first track together, both Joji and Clams Casino however killed it, the track's instrumental is very murky and nocturnal, much alike most of the album, but that doesn't stop Joji's delivery, which is very fun-loving and upbeat.

By the way you move, I know you want me to Tell you all the rules, I know I'm searching too Give me all your clues and things to guide me through The end of the world, the end of the world

Mr. Hollywood

Produced by the one and only Kenneth Instrumentals, Mr. Hollywood is one of the more heartfelt and personal tracks on this album, Joji is singing about his evergrowing popularity and how it will never affect what is important for him, which in this case is the girl he's singing about, like many other tracks on this album, you will often hear something that will remind you of Joji's older work, in this case it is the ad-libs on the chorus, which are very reminiscent of his ad-libs on BESIDJU, regardless the song has at least a bit of substance which makes it one of the more commendable tracks.
The final run of this album is where Joji flips the script here, there are a few tracks that have questionable artistic decisions, such as Reanimator, with non other than Yves Tumor, the track serves as an instrumental interlude before the final two tracks, however with a feature such as Yves Tumor I honestly expected much more than what we got, and what we got is basically a 3 minute track, with the first minute and a half being nothing than a drone-y, synthy instrumental, and the second half being quite a lackluster performance by Joji and his guest, much like some of the other tracks on the album, it seems like it received a similar treatment, where the track was initially unfinished and still half-baked, and rather than attempting to finish the track they opted for an easy way out, which in this case was making more than half of the track an instrumental and then calling it an interlude just to be safe.

"that weeknd synthpop track sure is doing huge numbers, maybe i should also make a synthpop track as well"

Joji, probably.

I would be down to argue that if Blinding Lights by The Weeknd had not existed, 777 wouldn't have existed either, Joji's constant attempts at breaking into the mainstream and commercializing his sound have always left a bad taste in my mouth as it felt like it came from a place where authenticity is lacking, nevertheless I find it bizarre to make a track that is very similar to one of the most successful tracks of the year and not attempt to push it at all, that's not to say that 777 on it's own is not a good track, however there's no denying that the sound selection on the instrumental, some of the flows, and the chorus itself hold blaring similarities to The Weeknd's track, I understand why he would make such a track however and find it admirable at the very least.
Thankfully, the album ends on a strong note, the final two tracks are both beautiful even though they're worlds apart, Like You Do, is a quintessential love ballad from Joji, a stripped down instrumental with beautiful piano chords and a laid back vibe, Joji is singing about his current partner and how what they have might not work out, even though he feels like they're perfect for one another, the closing track, Your Man is a massive change in tempo, with an upbeat, electronic, deep house-esque instrumental, we hear a Joji that is optimistic, which is a nice change of pace, especially considering how bitter most of his albums and projects have been up to date.

Since I met you All the gloomy days just seem to shine a little more brightly Consider what we've got 'Cause I can never take you for granted

Like You Do

Conclusion
There's no denying that some tracks on here sound like a bastardized version of Joji's signature sound. Joji is trying his best to commercialize his sound without sacrificing the rawer elements of it, which unfortunately results in a jumble of sounds. This album is not free of criticisms as there are many issues in here that need to be worked on, it's much less cohesive than its predecessor and at times sounds like a bunch of rough ideas put together in order to create the world's most average musical equivalent of a photo collage, but if we were to just set all of that aside and just look at this album for what it is, then there's definitely something in here for everyone. George might have not made a classic, and he certainly hasn't found his sound yet, but this album is an indicator that he's on to something, and once again I am already anxious to hear what he has in store next.
Talking Points

What did you think of this album? Is it a good follow-up to BALLADS 1?
Do you think Joji works better alone or when he has a team behind him?
Do you think Joji will yet again set another high standard for himself next project?
What are your predictions for Joji's sound in the future?
Now that he's more keen on having features, who do you think would compliment Joji's sound the most?
Favorite tracks?

(37M) Just finalized divorce yesterday, and it feels great AMA

I wish I had found this sub years ago. Reading through these posts is really eye-opening and I see so many similarities to my own marriage.
Long post ahead.
I married at 18 for all the wrong reasons. She was 21. We were high school sweethearts. We were in love, but, in retrospect, neither of us were ready to get married. I kind of knew it at the time, but I went against my gut and did it anyway. We were married for 19 years. No kids.
There were so many red flags over the years, but, in my eyes, none of them were worth ending the marriage.
I never cheated. To my knowledge, neither did she. It just became a never-ending cycle of her treating me like a man-child which got progressively worse over the years. I even have a text message thread from several months ago where she claimed I wanted her to be "my mommy" (this couldn't be further from what I wanted) and that's why she treated me like this.
She pushed me (not in a good way, but I'm glad she did) to advance my professional career. Any job I had was never good enough for her, and I never made enough money for her. Red flag. However, this caused me to rapidly climb the corporate ladder in my 20s. At 29 I was able to quit my FT 6-figure job and start my own business, doubling, then tripling, then quadrupling my income over the next couple of years. Certainly no regrets here.
We have also been able to buy several houses, become landlords for 6 years, and pretty much live where we wanted.
But she resented me for it. I was required to be at the office *a lot* and she hated that I wasn't home until 9 pm on any given weekday. Our last house was a solid 2-3 hour drive (depending on traffic) from the city center. So I often had to leave the house by 6:30 am and wasn't back until late in the evening. Yeah, she was lonely. She wanted me to watch TV with her every night (I became very disinterested in TV anyway) which just wasn't possible. I could have kept a somewhat cushy corporate job that wasn't demanding in terms of hours, making much less money, but that wasn't good enough for her.
Rewind back to 2001. I put her through college and sacrificed my own college education for her. I worked 2 jobs, 7 days a week, for years to support us when I was 18-21. We were living in a crappy apartment and barely making ends meet. But she was going to make something of herself, then I was going to go to college and do the same. Like you are supposed to do. I tried to go to college while working 2 jobs for 60-70 hours per week, but it was way too much. My grades made it unable for me to advance, so I dropped out.
She graduated in 2004... then never really tried to get a decent job. The 'best' job she ever had was a retail store manager for a small store (making like $15/hr) and she hated it. She was perfectly capable of making 6-figures at a corporate job, but she never even made an attempt. She hopped between entry-level and minimum wage jobs, never spending more than a couple of months at any of them. Don't take this to mean I ever really cared about how much money she made. What I cared about was the effort she put into being a responsible adult. We were still having trouble making ends meet.
In 2006 (married for 5 years) I got my first big pay jump when I switched companies. I increased my income by 70% overnight and I was starting to see light at the end of the work-till-you-die tunnel. It was finally going to be good with my new income and hers, right? Wrong.
A couple of months into my new job she brought up the idea of her quitting her job to be a 'full-time homemaker'. Remember, we didn't have kids and didn't want any, and she is the one with the degree and the college debt we would be paying down for the next 15 years.
It started as an idea, then over a couple of weeks, it turned into her begging me to let her quit her job for good. I resisted, explaining to her that it made no financial sense. Besides, how was she going to keep herself occupied throughout the day? Laundry only needed to be done once a week, dishes only take a few minutes a day.
So, against my wishes, she quit working for good and never looked back. She did take to cooking more, but she basically sat at home and watched TV.
This went on for years. She knew I was against it. Without her income, we were in a worse financial situation than before I got my new job. But, (her words) because I was the man, "I was supposed to support the family"
She was bored all the time. The free time gave her much more time to find things to get upset about and dwell on. For example, she would start a big fight if I left a single bowl in the sink for *me* to wash later. Or if I used the stove or microwave and she found a single spec of splattered food. Or if I turned a perfectly functional knob on the washing machine to wash my own laundry. She would absolutely blow up -- "I did [insert thing here] on purpose so I could get out of doing [the thing] in the future." Thank god we had our own bathrooms. She resented me for these things and I had no chance for retribution.
She did do most of the housework for a few years, but I always did 100% of the yardwork. And almost 5 years ago we bought and lived on a farm -- got several dozen animals from horses to sheep to donkeys to ducks and geese. Just like in her professional 'career', she helped take care of them for a little while. Until she decided it was too much work. Then I was the one left by myself rounding up the animals, fixing broken fence, thawing out frozen water pipes, etc at 2 am on a weeknight when I had an 8 am meeting the next morning.
As you would expect, the sex decreased significantly over the years. It was good when we were in our teens and early 20s. But she became less and less interested over the years. It went from several times per week, to several times per month, to every few months, to... almost never. She wanted sex to be very mundane. She didn't like it when I went down on her. She absolutely refused to go down on me, and never did. She didn't like it when I tried to use my hand to please her. She didn't like foreplay. She never wanted to do anything other than missionary. We talked about how to spice up our sex life for years. I brought all sorts of ideas from the table from roleplaying to toys to things on the kinkier side, but she never actually wanted to do anything about it. I had also been struggling with PE throughout my later 20s which made the situation worse. And the PE was "my fault" and "I needed to do something about it". I did see a urologist who diagnosed me as perfectly normal and sent me on my way. He suggested both of us see a sex therapist together, which she was not ok with -- because this was "my problem".
Until we separated and I put myself out there, I hadn't had sex in about 4 years.
Fast forward to 2018. I was diagnosed with a rare form of cancer -- like fewer than 100 cases per year in the entire country. The physician knew very little about it -- the hospital hadn't seen a case of it in over 5 years -- and referred me to a specialist in a city a few hours away. It was a few months before I knew anything definitive or could get it treated.
When I told my ex about the diagnosis, she preceded to inform me how I don't "have cancer" (but I did) and made it clear it was my own problem. I had an all-day surgery with the specialist to remove it -- I told her it was going to be an all-day surgery in advance. A couple-hour drive each way. Did she offer to drive me there or support me in any way? Nope. I got to drive myself there and back. Did she help me clean the huge surgical wound (it was like 10 inches in diameter) I had for the next 3 months? I even asked for her help cleaning and dressing it. She refused. So I had to figure out how to do it by myself. Did she express the slightest interest in talking to the specialist about it to get her own answers and put her mind at ease? Nope. She already knew better.
This when it became painfully obvious she didn't care about me at all.
And I still financially supported her 100%. At this point, she hadn't had a job for over 10 years and spent most of any given day watching TV.
In 2017 she started an Etsy sewing shop -- which didn't take much of her time, but it gave her something to do. We were vendors at lots of local festivals together when those were still a thing. We were doing this almost every weekend from April through December. She didn't have more than 200 orders per year until 2020. When the lockdowns and mask shortages started in March she started sewing cloth masks. She did really well for a couple of months, doing 50-100 orders per day. I told her I was proud of her. I also tried to help her when she was having trouble keeping up.
I spent a whole day helping her get caught up on orders. I can't sew, so I was helping her pack envelopes, print shipping labels, and iron decals onto the masks. She showed me how to do the iron-on transfers. It's so easy a 10-year-old could do it. I did a couple hundred of them that afternoon.
She came to inspect them before they got shipped out. And she blew-the-fuck-up. I did it *exactly* how she showed me and they looked great. But she could still see a crease in the fabric where it was folded. It was "my fault" and, as usual, I had done it "on purpose" so I could get out of helping in the future. Sound familiar?
I immediately stopped helping and left. I was done with her acting like a child. She is 40 years old and still acts like she is 12. Did she ever thank me for helping? No. Did she still ship the orders? Yep, so they weren't bad were they? Did she apologize for blowing up again? Nope.
And I forgot to mention -- we have been basically separated for the better part of 4 years. Sleeping in different rooms in the house. I've been living in an 'apartment' in the basement of my own house. She kicked me out of the bedroom when she was throwing a fit about a short business trip I was going on. I needed to "tell them I wasn't going". She threw all of my stuff down the stairs and that was the end of that. I wasn't allowed to use the stove that I paid for. If I had food in the microwave and she wanted to use it, she would throw away whatever I had in there. She would throw away my dishes if I wasn't watching; I found them in the trash all the time.
I spent the next several months thinking about all of this and much more. One thing I came to realize: in the 19 years we had been married I couldn't think of a single instance where she apologized for blowing up about something meaningless or admitted she was wrong. Not a single one. I even challenged her about it. Could she think of a single time she did either one of those? She couldn't come up with one concrete example. BTW, I apologized thousands of times. I never once blew up about anything in our entire relationship -- that's not the kind of person I am -- but I have apologized for things I said that made her feel bad and admitted I was wrong many, many times. At her insistence, I even admitted to doing lots of meaningless things that I didn't actually do just to put a fight to bed and keep the relationship in-tact. There is no point in fighting over BS.
2020 also brought on a lot of financial stress. At the beginning of the year, I had signed contracts that would make this the biggest year since I started the business. Clients were in sports, restaurants, casinos, and live entertainment. I lost all of them, and most of them are unlikely to survive 2021 without a bankruptcy. I laid off my entire staff. Our income took a nosedive. We burnt through most of our savings because she couldn't control her spending habits, and she had zero interest in financially contributing to the household.
This was the straw that broke the camel's back. She made it abundantly clear she didn't care about me, and, at the same time, she expected me to financially support her do-whatever-she-wants consequences-be-damned lifestyle.
I prepared the divorce papers and presented them to her on a whim when she was blowing up about dishes in the sink or something like that. I just couldn't deal with it anymore.
I don't know why she acted surprised. She had told me she wanted a divorce plenty of times in recent years, and a couple of times in 2020. But she never had the balls to do it.
This was something I had been thinking about for a few years, but I was likely to be on the hook for $10k/month in alimony for the rest of my life if it weren't for COVID. We live in a midwest state with divorce case-law which strongly favors women, and I have lots of male friends/colleagues who got screwed royally in a divorce -- even if their spouse cheated. So it was kind of the perfect storm. Depleted savings and drastically reduced income meant there was nothing for the court to grant. All we really had left was retirement savings and home equity. The house sale is closing in 10 days and we already liquidated the 401k, which she used to buy her own house. That was everything.
Sorry for the long post, but I needed to rant to some strangers on the internet. There is obviously much more to tell over 19 years of marriage, but I'll leave it here for the sake of brevity.
This post may sound very one-sided, but I really tried to keep it together. I tried to be a good husband. To give my wife what she wanted. To be there for her when she needed me. To make her happy, at the expense of my own happiness. Happy wife, happy life, right?
As I put in the title, the court granted dissolution yesterday. It was very easy. No attorneys, we didn't fight about any remaining property. We each own our own vehicles free and clear and had no interest in the other's. She stole a few thousand more dollars from our joint account and sold some valuable things without my permission, but it wasn't worth fighting over. I just let it go.
I'm finally free and I feel better than I have in years.
Ask me anything.

(Selling) 4K: Blade, BHC, DanielCraigColl, FMJ, HobbitTrio, Hook, MatrixTrio, Rambo5, Tenet, TotalRecall HD: Bill/Ted, BrokenHeartsGallery, Hunt, IronMask, Popeye, SpaceJam, SmileyFaceKillers, Unhinged, WarGrandpa, TV: BatmanBeyond, BlackSails, GOT, Sopranos, Wire, PIXAR/SW/DC/MARVEL/DISNEY & MANY!!

PLCGDXM

WILL MAKE DEALS IF YOU ARE BUYING MORE THEN 2 ITEMS! I WILL GET BACK TO EACH PERSON, Just sometimes takes longer to reply then usual

PLEASE PLEASE PLEASE AFTER A SUCCESSFUL TRANSACTION, PLEASE TAG ME & BOT TO GET CREDIT FOR THE TRANSACTION! :)

SNY BUFF MOVIE = $5 EACH (HAVE 5)

4K MOVIES/COLLECTION

MOVIES:

TV SHOWS:

DISNEY ANIMATED & LIVE

101 DALMATIANS | MA | $7

PIXAR

DC COLLECTION

MARVEL

STAR WARS

(Selling) 4K Antman, Avengers, Doctor Strange, Rambo, Bond, Zombieland, Back to the Future, Mulan, Marvel, DC, Disney, TONS MORE!

(Selling) 4k/HD (Hobbit 4k, Game of Thrones, Sopranos, Boardwalk Empire, Hitchcock, District 9, Sopranos, Back to Future 4k, Columbia Classic 4k, Batman) and Disney/Marvel (Hocus Pocus 4k, Iron Man, Thor, Avengers , Star Wars ) and MORE For Sale

Will take Venmo, Cashapp, Paypal, or Google Pay as payment.
Selling:
Bundle/Collection/Tv Series
Back to Future Trilogy 4k (MA) - $12
Band of Brothers HD (Vudu) - $9
Band of Brothers HD (iTunes) - $8
Banshee Season 1 ( iTunes) - $7
Banshee Season 3 ( iTunes) - $7
Banshee Season 4 (iTunes ) - $7
Batman Animated Complete Series HD (Vudu) - $25
Batman Beyond Complete Series HD (Vudu) - $24
Boardwalk Empire Complete Series (Vudu) - $22
Boardwalk Empire Complete Series (iTunes) - $20
Cornetto Trilogy 4k (MA) - $16
Dreamworks 10-MOvie Collection HD (MA) - $20
Evil Dead 1 and 2 4k (vudu) - $10
Game of Thrones Complete Series S1-8 HD (Google Play) - $18
Hitchcock 4 Movie Collection 4k (MA) - $20
Hobbit Trilogy (Theatrical and Extended) 4k (MA) - $30
Krypton Season 2 (Vudu) - $8
Jurassic Park 1-5 4k (MA) - $22
Mission Impossible 6 Movie Collection 4k (iTunes) - $15
Predator 1-3 4k (MA) - $15
Resident Evil 6 Movie Collection 4k (MA) - $32
Rick and Morty S1-3 HD (Vudu) - $20
Rick and Morty S4 HD (Vudu) - $10
Rob Zombie Trilogy HD (Vudu) - $9
Santa Clause 1-3 HD (GP, will port MA) - $10
Scorpion 4-Movie Collection (1, 3, 4, and Book of Souls) HD (MA) - $11
Sopranos Complete Series HD (Vudu) - $18
Strike Back Season 4 (Vudu) - $7
Strike Back Season 5 (Vudu or iTunes) - $7
Strike Back Season 6 (Vudu) - $9
The Outsider Season 1 (vudu) - $9
Titans Season 2 (Vudu) - $9
Watchmen Season 1 HD (Vudu) - $9
Westworld Season 3 HD (Vudu) - $10
4k (Non-Disney)
1917 (MA) - $7
21 Jump Street (MA) - $7
22 Jump Street (MA) - $7
47 Ronin (MA) - $8
A Quiet Place (Vudu or iTunes) - $5
Angel has Fallen (Vudu or iTunes) - $7
Annihilation (iTunes) - $4
Apocalypse Now (vudu) - $7
Apollo 13 (MA) - $7
Aquaman (MA) - $7
Argo (MA) - $7
Batman Forever (MA) - $7
Batman and Robin (MA) - $7
Batman Begins (MA) - $7
Birds of Prey (MA) - 7
Beetlejuice (MA) - $7
Black Hawk Down (MA) - $7
Blue Brothers (MA) - $7
Bohemian Rhapsody (MA) - $7
Braveheart (Vudu) - $7
Bumblebee (vudu) - $6
Bumblebee (iTunes) - $4
Casino (MA) - $7
Dark Crystal (MA) - $7
Deadpool 1 (iTunes, will port MA) - $5
Detective PIkachu (MA) - $7
District 9 (MA) - $7
Dr Strangelove (MA) - $7
Dolittle (MA) - $7
Equalizer 2 (MA) - $7
E.T. (MA) - $7
Ford v Ferrari (MA) - $8
Incredible Hulk (MA) - $7
It (MA) - $7
Fifth Element (MA) - $7
Forrest Gump (Vudu or iTunes) - $7
Full Metal Jacket (MA) - $7
Fury (MA) - $7
Gandhi (MA) - $7
Gemini Man (Vudu) - $6
Gemini man (iTunes) - $4
Ghost in the Shell (Animated) (Vudu) - $6
Ghost in the Shell (Live) (Vudu) - $6
Gladiator (vudu) - $7
Gladiator (iTunes) - $6
Godzilla King of the Monsters (MA) - $7
Goonies (MA) - $7
Halloween (2018) (MA) - $7
Hellboy (2019) (Vudu) - $7
Hobbs and Shaw (MA) - $7
Home Alone 1 (MA) - $7
Hunger Games (Vudu) - $6
Incredible Hulk (MA) - $7
Interstellar (Vudu or itunes) - $7
Invisible Man (MA) - $7
IT (MA) - $7
It's a Wonderful Life (vudu) - $5
Jack Ryan Shadow Recruit (iTunes) - $4
Jaws (MA) - $7
Jerry Maguire (MA) - $7
John Wick 1 (Vudu or iTunes) - $6
John Wick 2 (Vudu or iTunes) - $6
John Wick 3 (vudu or iTunes) - $8
Joker (MA) - $7
Jurassic Park 1 (iTunes, will port MA) - $5
Jurassic Park 1 (MA) - $6
Jurassic Park 2 (MA) - $6
Jurassic Park 3 (MA) - $6
Jurassic Park 4 (MA) - $6
Justice League (MA) - $7
Kingsman: Golden circle (iTunes, will port MA) - $5
Knives out (vudu) - $7
Knives Out (iTunes) - $6
Knowing (Vudu) - $6
Lawrence of Arabia (MA) - $7
Logan (iTunes, will port MA) - $5
Mad Max Fury Road (MA) - $7
Mask of Zorro (MA) - $7
Men in Black International (MA) - $7
Mission Impossible:Fallout (iTunes) - $4
Mr Smith Goes to Washington (MA) - $7
Mummy (MA) - $6
Once UPon a time in Holywood (MA) - $7
Overlord (VUDU) - $5
Pacific Rim (MA) - $7
Pacific Rim Uprising (MA) - $7
Pan's Labyrinth (MA) - $7
Parasite (MA) - $7
Pet Semetary (2019) (Vudu) - $5
Pitch Perfect 2 (iTunes, will port MA) - $5
Predator (2018) (MA) - $6
Rambo (2008) (VUDU) - $5
Rambo First Blood (Vudu) - $5
Rambo First Blood part 2 (vudu) - $6
Rambo 3 (Vudu) - $7
Ready Player One (MA) - $7
Requiem for a Dream (Vudu) - $6
Rocketman (iTunes) - $4
Scoob (MA) - $7
Secret LIfe of Pets 1 (MA) - $7
Sherlock Holmes (MA) - $7
Sherlock Holmes: Game of Shadows (MA) - $7
Shining (MA) - $7
Sonic the Hedgehog (Vudu or iTunes) - $7
Split (MA) - $7
Skyfall (Vudu) - $6
Snatched (iTunes, will port to MA) - $4
Sonic (Vudu or iTunes) - $8
Spartacus (MA) - $7
Split (MA) - $7
Starship Trooper (MA) - $7
Star Trek:Into the Darkness (iTunes) - $5
Spiderman Homecoming (MA) - $7
Spiderman: Into the Spiderverse (MA) - $7
Superman: The Movie (MA) - $7
Superman:Man of Tomorrow (MA) - $7
Terminator Dark Fate (Vudu) - $6
Terminator Dark Fate (iTunes) - $5
The Town (MA) - $7
Top Gun (Vudu or iTunes) - $7
Total Recall (Vudu or iTunes) - $7
War of the Planet of the Apes (iTunes, will port MA) - $4
V for Vendetta (MA) - $7
Venom (MA) - $7
Waterworld (MA) - $8
Wonder Woman (MA) - $7
HD (Non-Disney)
Amazing Spiderman 2 (MA) - $4
Batman and Harley Quinn (MA) - $5
Batman vs Superman (MA) - $4
Book Club (iTunes) - $3
Dark Knight Rises (MA) - $4
Deathstroke:Knights and Dragon (MA) - $4
Despicable Me 3 (MA) - $4
Expendables 3 (Theatrical or Unrated) (Vudu) - $3
Fifty Shades of Grey (MA) - $4
Gemini man (Vudu) - $4
GI Joe Retaliation (iTunes or Vudu) - $3
Godzilla (2014) (MA) - $5
Great Gatsby (MA) - $4
Harry Potter and the Deathly Hallows Part 2 - $4
Hangover Part 2 (MA) - $4
Hobbit:Unexpected Journey (MA) - $4
Incredible Burt Wonderstone (MA) - $4
Jack Ryan Shadow Recruit (vudu) - $4
Jurassic Park 1 (MA) - $4
Jurassic World (MA) - $4
King Kong (MA) - $4
Man of Steel (MA) - $4
Minions (MA) - $4
Pacific Rim 1 (MA) - $4
Roman Holiday (Vudu or itunes) - $4
Shiver (Vudu) - $4
Spiderman Homecoming (MA) - $4
Spiderman: Into the Spiderverse (MA) - $5
Spongebob Movie:Sponge out of Water (iTunes) - $4
Superman Doomsday (MA) - $5
Teengate Mutant Ninja Turtles (2014) (iTunes) - $3
Terminator Dark Fate (Vudu) - $4
Transformers Last Knight (Vudu) - $4
Twilight Break Dawn Part 2 (Vudu) - $4
Venom (MA) - $5
Wonder Woman (MA) - $4
World War Z (Vudu or iTunes ) - $4
GP (Google Play) HD Split Code
101 Dalmatians - $4
Adventures of Ichabod and Toad - $4
Aladdin (Live) - $3
Aladdin King of Thieves - $6
Ant man and the Wasp - $4
Avengers 1 - $5
Avengers:Age of Ultron - $4
Avengers:Infinity War - $3
Avengers:Endgame - $3
Bambi 1 - $5
Beauty and the Beast:Enchanted Christmas - $5
Black Panther - $3
Bug's Life - $5
Captain America Winter Soldier - $5
Captain America Civil War - $5
Captain Marvel - $3
Cars 1 - $4
Christopher Robin - $3
Cinderella 3 - $6
Cinderella (Live) - $4
Coco - $3
Dr Strange - $3
Finding Dory - $3
FInding Nemo - $4
Fox and the Hound 1 - $6
Fox and the Hound 2 - $3
Frozen - $3
Frozen 2 - $4
Guardians of the Galaxy 1 - $4
Guardians of the Galaxy 2 - $3
Hocus Pocus - $4
Incredibles 2 - $4
Inside Out - $3
INto the Woods - $5
Iron Man 1 - $5
Iron Man 2 - $5
Iron Man 3 - $4
Jungle Book (Live) - $3
Lilo and Stitch 2- $3
Lion King (Animated) - $4
Lion King (Live) - $3
Little Mermaid 2 - $6
Little Mermaid 3 - $6
Maleficent 1 - $4
Mary Poppins - $4
Mary Poppins Returns - $3
Mickey's Christmas carol - $6
Moana - $4
Monster Inc - $5
Monster University - $5
Mulan (Live) - $4
Mulan (Animated) - $5
Mulan 2 - $3
Need for Speed - $5
Nutcracker and the Four Realms - $3
Onward - $3
Oz the Great and Powerful - $3
Peter Pan - $6
Pinocchio - $6
Pocahontas 1 - $6
Pocahontas 2 - $3
Princess and the Frog - $4
Ralph Breaks the Internet - $4
Ratatouille - $5
Robin Hood - $4
Sleeping Beauty - $4
SNow White - $6
Spies in Disguise - $5
Star Wars New Hope - $4
Star Wars;Return of Jedi - $4
Star Wars:Force Awakens - $3
Star Wars:Last Jedi - $3
Star Wars:Rise of Skywalker - $4
Star Wars: Rogue One - $3Star Wars solo - $3
Sword in the Stone - $5
Tangled - $5
Thor 1 - $5
Thor 2 - $5
Thor Ragnarok - $3
Tomorrowland - $4
Toy Story 1 - $4
Toy Story 2 - $5
Toy Story 3 - $4
Toy Story 4 - $4
Toy Story Tower of Terror - $5
Willow - $7
Wreck it Ralph 1 - $4
Wrinkle in Time - $3
Zootopia - $3
Disney Split MA (Movies Anywhere) 4k Codes - Does not include DMR unless stated\
Aladdin (Animated) - $7
Aladdin (Live) - $6
Ant Man and the Wasp - $7
Avengers 1 - $7
Avengers:Infinity Wars - $7
Avengers Endgame - $6
Avengers Endgame (iTunes, will port MA) - $3.50
Beauty and the Beast Live (iTunes, will port MA) - $4
Black Panther - $6
Bug's Life - $8
Captain America First Avenger - $8
Captain America Winter Soldier - $8
Captain America Civil War - $8
Captain Marvel - $6
Cinderella (Live) - $6
Coco - $8
Finding Dory - $5
Finding Dory (iTunes, will port MA) - $2.50
Finding Nemo - $7
Frozen - $5
Frozen 2 - $7
Good Dinosaur - $6
GOTG 1 - $7
GOTG 2 - $7
Hocus Pocus - $7
Incredibles 2 - $6
Inside Out - $7
Iron Man 1 - $8
Iron Man 2 - $8
Iron Man 3 - $8
Lion King (Animated) - $7
Lion King (Live) - $6
Maleficent 2 - $7
Mary Poppins Returns - $6
Moana (MA) - $7
Monsters Inc - $8
Monsters University - $8
Nutcracker and the Four Realms - $6
Onward - $6
Ralph Braks the Internet - $6
Star Wars:Attack of the Clones - $7
Star Wars:Revenge of the Sith - $7
Star Wars New Hope - $7
Star Wars:Last Jedi - $6
Star Wars:Rise of Skywalker - $6
Star Wars Rogue One - $7
Star Wars Solo - $6
Star Wars Rogue ONe (iTunes, will port MA) - $4
Thor 1 - $8
THor 2 - $8
Thor Ragnarok - $7
Toy Story 3 - $7
Toy Story 4 - $7
Wall-e - $8
Wreck it Ralph 1 - $7

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