Chicken Run: Dawn of the Nugget

Geez Louise.

Am I to understand that the British Isles released a mass marketed children's film in/directly promoting vegetarianism as a major theme, as opposed to ye olde traditional "beefy" pub fare, which also presents a framework for revolution? 

Am I also to understand that Chicken Run: Dawn of the Nugget is a sequel to a film which promotes the rebellious aforementioned with equally family friendly camp stratagems (meaning the original wasn't crushed by the American Meat Eating Colossus)?

Almost 50% of the British population voted to remain part of the European Union, and I imagine the Chicken Run franchise wholeheartedly showcases their progressive impeti.

Indeed, as Dawn of the Nugget began and I noticed the controversial subtext, I figured there was no way the film was made in the U.S, and that it might have come from Scandinavia. 

Brainwashing is even a prominent theme as chickens are tricked into thinking their lives are wonderful, just before being transformed into nuggets, it unconsciously upholds critical eviscerations. 

By doing so, it fights the trillion dollar ad industry as it routinely promotes ye olde chicken nuggets, by inadvertently suggesting we've been brainwashed as consumers again and again and again.

It's a film created by Adorno's Culture Industry which works within that industry itself, to once again bring to life the alternative continuums Sanders's Oligarchs would destroy (imagine the Democrats had gone with Sanders [it hurts too much!]).

Thus, we "feel compelled to consume these products even though we see through them", and if one pays close enough attention, occasionally they're rewarded as they consume films that help them realize that they've been compelled to consume products that are intensely cruel and mean-spirited (for further viewing see They Live).

Usually, there's an overt declaration within them that nothing can stop or modify the master narrative, the animals missing life in the zoo in Madagascar, the pigs turning on everyone in Animal Farm.

That doesn't happen here however the film ends with even stronger revolutionary tendencies. 

And a preference for hard fought freedom.

From the relentless American machine.

*Choose Europe! The EU is much stronger with Britain!

Aguirre, der Zorn Gottes (Aguirre, the Wrath of God)

As colonialism expands in the jungles of South America, the Indigenous inhabitants engage in trickery, wholeheartedly convincing several of the invaders that a vast city of gold exists deep within, the tale too tantalizing to ignore, soon a diverse outfit departs in pursuit.

Unaccustomed to the haunting jungle with its sweltering heat and bugs and mud, the ensemble makes slow progress initially until confronting a hostile river.

Here the group splits up with many of the party remaining behind, as a courageous group virtuously led bravely sets out alone down its course.

Virtuous ideals clashing with blunt pragmatism such strained relations when people don't value life, ironically tormenting the high-minded colonialists who had already instigated so much Native carnage.

Conflict abounds as the lethal Aguirre soon disagrees with his captain, and plans a much less sympathetic voyage weak on heart and strong on ambition.

He's able to persuade most of the company to boldly adhere to his brutal methods, as they drift deeper into the jungle on their adventurous own without knowledge or know-how.

Their rafts are detected by Natives hoping not to suffer like their enslaved brethren. 

Arrows picking the Spanish off one by one.

As Aguirre's madness irascibly intensifies.

A remarkable feat of filmmaking which took considerable risks to accomplish its goals, hats off to the daring cast and crew (plus Herzog) who set out on the river expedition.

It mustn't be as dangerous as it looks or else I doubt anyone would have agreed to do it, and how did the camera crew get all those shots as the wild river raged with absolutist fervour?

A former prince even travels amongst them and bitterly complains about his newfound bearing, not much is made of the dynamic character but he does show up from time to time.

Adorable animals occasionally adorn the blood-soaked verse with contradictory tender, but at times they aren't treated humanely most notably the awkward rebellious horse scene.

Music also interrupts the flow of augmented acidic despondent mutiny, as mellifluous sounds generously erupt from an endemic pipe playfully attuned.

When you stare into Kinski's eyes it really is like you're sailing through an abyss, it's like he spent so much time furiously exclaiming when they weren't filming that he forgot to radicalize his lines on set.

A marvel of cinematic industry that likely never would have been made if the mechanics had been scrutinized, I can sincerely applaud its visceral fortitude assuming the cast and crew knew what they were getting into. 

📽🎞

Ant-Man & the Wasp: Quantumania

It's fun to observe the natural world.

There's so much compelling detail interests revitalize. 

With imposing potential - sprawl and industry - the presence of nature remains paramount, and it's always exciting to actively see turtles and raccoons and skunks and deer.

The dire forecasts of a concrete jungle ubiquitously consuming so much more vital space, keeps current animal sightings aflush with wonder as extant natural environs tantalize.

I worry about the metaphorical dimension the infinite interpretive subconscious bedlam, that accompanies fertile thought throughout its playful inquisitive trajectories. 

I generally assume that people understand that I'm just writing about the Natural World, because it's fun to actively engage with agile integral insects and beasts.

Thus, through the art of fair play multilateral matriculations merge and metastasize, without claiming elaborate authority which may have nothing to do with what whomever intended. 

As curiosity matures and mutates.

Ants and bees, fascinating creatures, I try my best not to impede them, and wish we could communicate with them directly, I bet they would make thought provoking observations.

That's what happens in Quantumania ants evolve in the Quantum Realm, and learn to communicate with Dr. Hank Pym and help him out as he battles a tyrant.

Instagram posts note that bees learn arithmetic and their ingenious waggle dances demonstrate intricate thought, ants no doubt communicating in similar ways as they actively engage with their surroundings.

Both species highly adaptive and found in abundance throughout the world, it's cool to see ants treated with so much respect within the versatile Quantum Realm.

Interspecial communication remaining a compelling possibility, bees might think we're boring because we can't fly.

Ants may think we're impractical seeing how much easier it is for them to maintain.

No accounting for beetles and grasshoppers. 

Dragonflies seem to like us. 

Spiderhead

The pursuit of manufactured obedience follows the pharmaceutical path, as Spiderhead's solo unattached dismal warden despotically pursues reckless inactivity. 

Unsupervised with serious responsibility he develops several potential new drugs, and tests them on his prison's inmates every decision he makes of his own free will.

Fret not concerned enthused viewer, he wants to keep things friendly and fun, and even strikes up acquaintances with his test subjects while becoming addicted to the drugs himself.

They're far off so far away inimically isolated from spirited criticism, idyllic mad spontaneous digressions only provocatively questioned by one rogue assistant. 

Seeking to make billions on joy and happiness not to mention free form conversation, he still can't dishonour discreet somnambulism with soporific sequestered sedulity. 

Problem: to make sure the obedience drug works he needs to challenge ethical parameters, and see if people will do horrifying things simply because they've been recommended.

Thus, he convinces a test subject to administer his "paranoia" drug to another, but "paranoia" isn't really the right word, it rather encourages excessive terror. 

The subject's driven to suicide after the dose is accidentally augmented. 

But genuine guilt indeed manifests.

With the mass megalomania in jeopardy. 

Here we go again with the pursuit of hegemony unilaterally applied, attempting to accomplish sadistic ends to alarmingly overwhelm free choice and expression.

Odd how so many people spend so much time consuming arts and entertainment, while also cutting down creative synergies, the 1970s and David Bowie were miracles.

The irony let loose in Spiderhead is that independence itself seeks mindless automatons, who'll listen and follow the guidance of whomever no matter what the proactive cost.

Like the dreamy demagogue preaching equality who locks everything down after the revolution, Abnesti proceeds to definitively ensure no one else like him will ever co-exist. 

As others have likely suggested, is it not better to mal/adroitly attune, independent instincts to constructive endeavours to promote diversity and innovation?

Without such inherent expression does decay not metastasize with fetid impersonality, and prevent the development of sundry alternatives from multivariably delineating enchanted metamorphosis? 

Never stop writing poems just because you're convinced someone else is better. 

Keep writing absurdity ad infinitum. 

Who cares if no one else is interested?

Guardians of the Galaxy Vol. 3

Geez Louise.

The spirit of the '90s lives on.

It hasn't been replaced by some mad bigoted dysfunctional totalitarian complex.

Writers and directors still seeking a reasonable balance amongst the levels harmoniously sustained with heartfelt respect.

Racist discrimination isn't dominating.

Neither is elitist pretension. 

In Guardians of the Galaxy Vol. 3, posthaste, which holds a coveted place within the mass market, and is theoretically quite influential in terms of meaningful intergalactic liberty.

Within an ingenious megalomaniac seeks to reinvent ye olde planet Earth, with genetically modified animals, but the results are not utopian (Chukwudi Iwuji as The High Evolutionary). 

He's such a piece of shit that he doesn't try to fix the ailing society he's created, instead since it isn't ideal, he decides to utterly annihilate it.

He can't accept that the creation of a world has too many variables to cohesively caress, and that manifold multivariable mutations naturally challenge strategic planning.

You can't just destroy tens of thousands of lives if your perfect world lacks ornate distinction, that's tens of thousands of murders on your hands, if you create life, it happens to be living.

That's what he does though, that motherfucker, the Guardians fighting him along the way, while offering glimpses into Rocket's (Bradley Cooper) past, the Evolutionary's most gifted creation.

A ship is self-destructing, everyone must flee and move quickly to avoid oblivion, a voice shouts out to save the higher lifeforms at which point I thought elitism had won the day.

But an alternative voice rich with multilateral concordance soulfully contradicts it with compassionate equipoise. 

And the animals locked down upon the vessel are also freed and led to safety.

In the end, there's an awesome party which looks like it must have been fun to attend, different species from different walks of life exchanging observations and jokes and memories.

We were taught long ago way back when to value life in all its form, and not to condescendingly judge those whose grades lacked brilliant correspondence. 

Not to let them run the show but certainly to give them a salient voice, not everyone fluent in microbiology, but generally aware of ways and means.

Guardians of the Galaxy Vol. 3 cherishes life and celebrates community, regardless of I.Q or test scores, or biological resiliency.

In a wild unpredictable way that isn't preachy or overwrought.

I may have to pick up a copy.

Along with Avatar: The Way of Water.

🦝🐘🐻🦏🦛🦑🐄

Jurassic World Dominion

Back to the old power and megalomania hellbent on global domination, this time having genetically engineered giant locusts which habitually feast on various crops worldwide.

Various crops which happen to have been resolutely cultivated with Biosyn seeds, Biosyn having created a market (like Monsanto?) for its grain, then proceeded to wipe out every form of competition.

Dr. Wu (BD Wong) realizes catastrophe's afoot but can't seek redemption without looking bad, let millions of people starve to death or risk losing face, he wants to make amends but can't think of how to do so.

He's denied by his wicked boss (Campbell Scott as Lewis Dodgson) whose evil intent is rebelliously disputed, as both Jurassic World and Jurassic Park alumni converge on his remote laboratory. 

Doctors Ellie Sattler (Laura Dern) and Alan Grant (Sam Neill) representing scientists generally seeking to promote knowledgeable wonder, like the bourgeoisie they rely on funding to make spiritually prosperous cultural contributions.

Claire (Bryce Dallas Howard) and Mr. Grady (Chris Pratt) are more hands on and take a practical approach to living with dinosaurs, like versatile independent conscientious workers they promote sustainable communal life.

Thus, the mad elitist seeking to monopolize global food production, is courageously challenged by worker and middle-management who daringly obscure his psychotic vision.

But Jurassic World Dominion is also about a world where dinosaurs abound, multiple species fortuitously finding a way to generally adapt to divergent ecosystems.

I suppose it would be a grandiose ecological disaster of intensified colossal invasive magnitude, but thoughts like that kind of spoil the fun, and contemporary and ancient species alike seem to be getting along so well in the film (it's just a movie).

I was almost teary-eyed to see Laura Dern and Sam Neill back at it, after so many intervening years, was but a wee lad when the original came out, I was reading the book at the time, which I thoroughly loved, it's my favourite Michael Crichton.

Apart from the requisite mayhem and the inevitable hoopla of the traditional blockbuster, there are some really cool animal scenes, especially one where Dr. Sattler sees a baby, and says, "you never get used to it".

People who love animals know how true those words are, and that even if you see wild turtles or zebras or water buffalos every day of your life, the experience never gets old or tiresome, it's irrefutably exciting each and every time.

That scene made the film for me and it was also really cool to see the two casts converge.

The likelihood of their plan succeeding: it's up for debate.

Certainly not without the aid of Ms. Watts (DeWanda Wise) and Mr. Cole (Mamoudou Athie).  

Red Sonja

An ancient stone of unknown origin provides power beyond control, if it's left to freely generate blinding inconsolable carnage.

Humble priestesses and a learnéd warrior (Arnold Schwarzenegger as Kalidor) have been tasked with its secret care, and ensure it's kept in the static darkness which greatly diminishes its strength.

But a mad Queen (Sandahl Bergman as Queen Gedren) hellbent on conquering and ruling new cities without much fuss, decides she needs the Talisman's power to proceed unchallenged and absolutely.

Her habitual wanton cruelty has earned her many impassioned foes, none more volatile nor intense than the potent nimble sword fighting Sonja (Brigitte Nielsen). 

It is true Sonja has no equal although many have sought her ruin, her family indeed murdered by the wicked Queen who left her forlorn and destitute.

Now she pursues this imposing nemesis with impeccable irate vengeful fury, but with the Talisman's energy invincibly conjuring victory seems an impossibility. 

Even though Gedren possesses enormous wealth she still seeks ubiquitous dominion. 

The Talisman destroying everything meanwhile.

As she recklessly engages unhinged infinity.

Fair play imagines a level playing field upon which there's equal opportunity, should participants desire some sort of prize by engaging in bold competition.

Through their active endeavours people learn to both lose and win, winning gracefully just as important as losing with composed dignity. 

In recent years, however, a lack of good sportspersonship has been promoted, at the highest levels imaginable it's most distressing not to mention abusive.

As Gedren seeks absolute power through the aid of forces far beyond her control, the incomprehensible proves much too independent but she still keeps seeking more.

It's like a mental illness inanimate greed seeking vast limitless power and wealth, the world's destruction inevitably resulting from the voracious envious lack of fair play. 

While Red Sonja and versatile Kalidor sternly adjudicate counterpoised rhetoric. 

It was so peaceful for so very long.

Acerbic acrimonious avarice.

Thunder Force

The preponderance of superheroic heuristics imaginatively captivating multigenerational audiences, has perhaps left the less scholastically oriented behind in its cultivation of characteristic exception, not to critique the academically inclined, such ambitions are no doubt admirable and praiseworthy, and they'd just cause an uproar every day if there weren't brainy jobs out there awaiting them (love my jobs!), driving people crazy at Wendy's or the Gap, as they struggle within practical boundaries, but a democracy is not solely inhabited by studious ambitions alone, and hands-on tacticians deserve more representation in intergalactic narratives, like representatives from the workforce sitting on executive boards, in order to avoid a surfeit of theoretical impracticality (I am not indirectly critiquing the Liberal's most recent generous beneficial budget which I imagine they made in consultation with their grassroots).  

Captain America has played such a role well in many a Marvel film, his humble origins a sharp contrast to Thor or Tony Stark's, but he still lacks the contentious unconcern humorously invigorated by Thunder Force's Lydia Berman (Melissa McCarthy), who's nimble burger & fries lack of pretension leads to endearing syntheses of experimental know-how.

She's teamed up with a brilliant researcher whose parents were murdered by miscreants, the immodest destructive sociopaths who were mutated and given superpowers by cosmic radiation. 

Emily Stanton (Octavia Spencer) has devoted her life to stopping them by trying to find a way to give superpowers to anyone, through experimental research, childhood friend Lydia accidentally interrupting her experiment on the eve of their high school reunion, taking the transformative medication herself.

Once started the process can't be halted without ruining years of dedicated research, a lengthy arduous treatment program ensuing complete with intricate training exercises. 

Lydia is given super strength while Ms. Stanton uploads invisibility, the two eventually heading to the streets to fight crime, where they swiftly encounter the Crab (Jason Bateman). 

He works for the would be mayor who's currently running a duplicitous campaign (Bobby Cannavale), an authoritative miscreant himself who's promising to emphatically thwart them.

Melissa McCarthy brings raw uncompromised grit and tenacity to the superheroic domain, providing wild unscripted alternative impulse to prescribed elitist reckoning.

Like freelance writers doing their own thing or independent filmmakers authentically crafting, Lydia pursues justice with democratic intrigue while coming to terms with her unexpected powers.

There are a lot of funny moments and a memorable date night with McCarthy and Bateman, an extended scene that goes beyond so many neat and tidy encounters ("This is a trigger environment for me" 😂).

As for creating super soldiers I'll never forget Jacob's Ladder, or that episode of The X-Files, or pesky Khan or steroids in general.

Isn't eliminating poverty preferable to creating genetically enhanced warriors?

Doesn't a multidisciplinary sustainable economy also fight poverty and boredom?

Avengers: Infinity War

Seeing this film made me wish I had been around 7 years old when the first Iron Man movie was released.

And I had been allowed to watch it.

I still loved watching Avengers: Infinity War, and there were moments when I looked on with the uncompromised emotional intensity that rapturously flourished in my youth, but if I had watched every Marvel film with commensurate innocent intensity and then suddenly sat back to watch Avengers: Infinity War around the age of 17, the film that brings them all together, unites them with wild improvised spontaneous universal synergies, the energy from a star even harnessed within for manufacturing purposes, I think it would have seemed like 149 minutes of pure unadulterated joy, even if so much distress accompanies its beloved characters.

I don't mean to argue that there isn't a lot of brilliant television out there, or series is perhaps a better word to use these days, I love The Frankenstein Chronicles, Star Trek: Discovery, and Myths & Monsters for instance, and I'm hooked on Zoo and Frontier, but television is usually trying to be as good as film, whereas exceptionally bad films seem like they should have been released on television, creative mixes of the 2 mediums notwithstanding, Netflix currently attempting to bridge the gap.

But it's like the geniuses at Marvel asked themselves, "what if we create multiple films, always bearing in mind that we're creating films specifically, yet envision their totality like an incredible television series, patiently stitched together over the course of a decade?

That might bear ecstatic fruit.

And simmer the ultimate cliffhanger."

To be young and see so many cherished characters packed into one epic syntheses may have been both shocking and overwhelming, but would it not have also been mindbogglingly awe inspiring, like having millions of recordings from around the world available on your computer for $9.99 a month?

Perhaps I misjudge the intensity of the theoretical emotion.

I'm looking back and imagining what it would have been like if the pop cultural coordinates of the early 21st Century had been superimposed on the late 20th, but if they had been alternatively superimposed before I had acquired knowledge of both timelines, I may not have noticed a difference, and may have assumed frequent loosely unified instalments from a thoughtfully orchestrated pyrotechnic colossus were as natural as Sam falling for Diane, or George moving back in with his parents, since I wouldn't have known that I was taking an alternative timeline for granted, and therefore would have assumed my foundations were unilaterally temporal.

If Marvel is like Star Trek squared, what the heck is Star Trek cubed?

Avengers: Infinity War, if Orwellianly titled, malheureusement, worked for me.

There's the inevitable cheese associated with bringing so so many distinct characters into one film, but the cool smoothly devours it, grates it into an exhilarating intergalactic artisanal soirée.

I especially loved how Tony Stark (Robert Downey, Jr.) immediately decides to just stow away on an alien spacecraft in order to surprise attack the universe's most threatening villain.

Classic amelioration.

Star-Lord's (Chris Pratt) ideas also impress.

As do those of the Wakandans.

Not to mention the inherent self-sacrifice built into the script.

And pairing-up Thor (Chris Hemsworth) with feisty Rocket (Bradley Cooper).

I'm sure there's a plan for the intervening years, but Infinity War boldly erases billions in profit in order to make a more realistic film.

That's damn commendable.

I've been watching a groundhog eat grass for the entire time I've been writing this.

It keeps running back to his hole when people walk past.

And then comes back shortly thereafter.

He'll probably be shyer in Summer.

So I'm lucky I chose this spot for today.

Thor: Ragnarok

Sibling rivalry basks psychotic in Thor: Ragnarok, as the God of Thunder's (Chris Hemsworth) necromongesque sister (Cate Blanchett as Hela) escapes her prison to bring death and destruction to those worlds who would forthrightly oppose her, challenge her, spurn her, mock her.

In possession of seemingly limitless power which Odin's (Anthony Hopkins) death helplessly releases, she ungraciously overwhelms Thor and Loki (Tom Hiddleston) before returning to Asgard to assert her dominance.

Boastfully awaiting their bellicose return.

The defeated brothers find themselves playing different roles upon a chaotic planet, perhaps modelled upon the last days of Rome's imperial pretension, ruled by a comic tyrant (Jeff Goldblum as the Grandmaster [it's the best Goldblum I've seen in years]) who loves gladiating and humiliating, the gladiators themselves intent on revolting, Thor forced to fight and plot amongst them, Loki cleverly seducing the oligarchic elite, with a beautiful Valkyrie (Tessa Thompson) haunted by battles fought long ago, in the heavens, who has taken to drink and collecting random strays, and remains unimpressed upon encountering her devoted liege.

Old friends pop up as Thor remains evergreen, the film's actually quite funny despite its violent extremities, an unsettling kind of apocalyptic autocratic resigned athletic humour that emboldens the democratic subconscious by turning masters of war themselves into subjects of gladiatorial intrigue, to be criticized and championed as they interact cinematically.

It's the best Thor film I've seen, even if it seems like a diagnosis for a mental illness, Heimdall's (Idris Elba) shepherding diminutively contrasting the conquistadorial ostentation, Thor's cheery undaunted good spirits making everything seem stable and safe, frenzies notwithstanding, even if he still needs guidance from his deceased progenitor, new characters introduced and developed with crafty eccentricity, a hulking universal ferocious manifest, in that leather, the world Marvel films has created is expanded with fascinating conspiracy.

It's like they're not just trying to voraciously cash in, they're often delivering high quality products that make going to the cinema so worth it.

Ragnarok's music gives it an oddball artistic touch born of the 1980s.

Like Tron could have been.

Hoping Loki figures prominently in the next Doctor Strange film

How do they choose which characters end up in which films?

It must be fun to make such decisions.

Will every Asgardian have superpowers on Earth?

Snowpiercer

The ravages of global warming have accidentally imprisoned the last surviving members of humanity on an invincible super train, Sheldon Cooper's purist blast of ecstasy, which travels the entire globe over the span of a year, codifying condensed calisthenics, perpetual in its autarkic motions.

Built to function as an enviropolitical scientist's incendiary trench-line, if they like quenching sensationally instructive transistors, a fierce class struggle has erupted within, its boiling point having been reactively reached, crisis, calamity, infraction, the oppressed rebelliously coming into being, extinction, be concisely damned.

It comes down to the food supply.

Mixed in with spatial limitations.

Unprepared perplexing stamina.

Jackass authoritative guidelines.

Why the train's supreme ruler chose to employ an oppressive model to govern his domain after the potential for continuous expansion was obliterated, speaks to the ridiculousness of his model itself, as well as the preponderance of its all-encompassing indoctrinations.

The price of a ticket bears consequences eternal.

The population would have to be controlled, but why one section lives in luxury while the other has to resort to cannibalism makes no sense.

The torches made me think of Plato's cave.

The key is solutions precipitated by a lack of preparation.

John Hurt (Gilliam) is showing up in everything cool these days.

Sheldon Cooper would probably have serious issues with the train.

It would be a great lecture.

At least one other species survives.

Snow White and the Huntsman

A wicked Queen who loathes men kills her husband due to her blind fear that he will cast her off when her beauty fades and then takes psychotic steps to insure that it will remain forever.

But when his daughter whom she has kept prisoner comes of age and it becomes clear that she is even more beautiful, she immediately seeks to put her to death.

But Snow White (Kristen Stewart) escapes and her purity and innocence help her to make her way back to the forces who fought for her father and will still nobly battle for his seed.

A Huntsman (Chris Hemsworth), seven dwarves, and many others assist her during her journey.

Her innocence would likely have not been so pure had she not spent her entire youth locked inside a cell.

Unfortunately, unlike the creators of Mirror Mirror, those responsible for Snow White and the Huntsman seem to have never escaped from the cell in which they were nurtured, and are still struggling to develop genuine tension, emotion, and plot.

At no point throughout this film does it seem probable that Snow will not succeed. Her young curious yet cautious inner light intuitively and instructively guides her steady improvised actions.

As if she was born to lead.

But the film sets up another tired opposition between naturalistic and fabricated extremes with the King's only heir exuding divine rights with every instinctive calibration.

Snow's rallying cry when she's reunited with the resistance lacks depth, character and ferocity.

I really wanted to like Muir's (Bob Hoskins) omniscient observations but they were just too much.

The Huntsman predictably abandons Snow but only for two to three minutes.

And William (Sam Claflin) doesn't hide his feelings at all upon being reuniting with her, going so far as to actually display them.

It just doesn't make sense.

The Huntsman and William do form a pseudo-Jacob/Edward dichotomy for Kristen Stewart which brings in a little Twilight.

But this really only makes things worse, although in the end it seems that she desires Jacob, which is, of course, the correct preference.

However forbidden.