Henchwomen Fight

For those who don't know, x-commissions is a comic book artist, one of the most talented ones I've ever known, with very unique style, he stopped doing art for years now, and I'm happy to see him back on discord again, so check his channel on the discord server. 

It's not AI art, it's "traditional art" which I really appreciate, no offense for those who create art using AI, I personally use AI from time to time for things like thumbnails and such, yet I prefer the form of art that is genuine, no matter if it's a written story, a painting, a movie.. I always prefer art made by an artist, not a committee, not AI. 

A friend from the community on discord just sent me behind the scene photos of Striking Rescue, which I've seen it for the first time, so I will share it with you.

Here's the original link from weibo.

In tv show La Casa De Papel season 1. Actress Úrsula Corberó plays as villainess Tokyo.

Yep, I'm re-watching a TV show I watched for the first time few years ago, not only that, I watched it two more times with both my friends and family, and now, I watch it again, because watching it for the fourth time is way more enjoyable than watching a modern trash.

The show started with Tokyo narrating the story, I really missed you, Tokyo.

It shows how she was a suspect on the run, who manged to escape after her partner was shot and she manged to escape.

  So, while on the run, Tokyo contacted her mother unaware that cops are all over her, and her mother is setting a trap for her, yet, that was the first time for her to meet El Profesor, who went to warn her, and offer her to join his crew.

Their first encounter was kind of funny as she pointed her gun on his balls LOL.

I swear, that's a show that happens once in a lifetime, you would never get such a show under modern thought police.

 So, the villains decided to have code names instead of using their real names, at first they were thinking about numbers, planets, then they settled on cities. 

Damn, thinking about it, with this introduction, Denver feels more like Joker, like the original one, not the thought police trash, god, I loved his laugh.

Here comes my favorite intro song, really feels nostalgic.

The villains started taking over the house of paper around 24 minute time mark, and damn, I really miss that, sadly many people wouldn't even get to experience how good creative freedom is, and all what they would know about entertainment would be Hollywood thought police trash.

  God, I miss Berlin, and I mean the real character, not the watered-downed moral trash they made the character be, they can take their moral trash and shove it.

   When they first opened the vault, I was thinking, "That's it? It's that easy?", God, I wish if I can watch it again as if it was the first time.

The episode ending with Rio telling Tokyo he has feelings for her during their 5 month training for the job, poor Rio 💔💔💔. 

In 2004 movie Moscow Heat. Actress Mariya Golubkina plays as villainess Masha.

I found this thread written by one of the community members on the discord server, so I'm gonna leave it as it.

Masha Kozlova (portrayed by Maria Golubkina) is a villainess from the 2004 B-rated Russian-American action movie Moscow Heat.

As both the romantic interest and merciless enforcer for main antagonist Nikolay Klimov, Masha embodies the deadly femme fatale archetype through her brutality and sadism. Her most brutal moment occurs when she tortures and murders the helpless, incapacitated mobster Oleg. But what makes Masha truly unforgettable is her sadistic dominatrix aesthetic: donning a striking black sadomaso latex outfit, walking in towering over-the-knee boots with six-inch heels, and displaying a menacing penchant for knife-play. Her eroticism culminates in the final interrogation scene, where she straddles the protagonist Roger Chambers with the intent to sexually violate him, before meeting her demise in the form of a swift, 180-degree head twist by police officer Vlad.

The Story

When Roger Chambers' detective son Andrew is killed during a botched operation, the grieving father embarks on a vengeful quest to hunt down the man responsible - arms dealer Nikolay Klimov. Partnering with his son's former colleague Rudy Souza, Roger travels to Moscow to pursue his quarry. In the Russian capital, they meet with local mobster Oleg, who sells them Nikolay's location for a substantial sum.

Their first attempt to apprehend Nikolay at a Moscow bar ends disastrously when Rudy is discovered, shot and hospitalized, while Roger finds himself detained by Russian police. But Roger's grief-fueled determination cannot be contained by mere steel bars - he escapes detention and resumes his hunt. Desperate and alone, Roger returns to Oleg seeking more information about Klimov's whereabouts. The cunning and greedy mobster provides him with the address of Klimov's girlfriend, Masha, but demands Roger's memento ring as payment.

First Scene - The Apartment Encounter:

Roger arrives at Masha's apartment at Novaslabodska Street, where he encounters the stunning blonde in an elegant, sequined chinese black dress. When he inquires about Nikolay's whereabouts, Masha displays visible annoyance and coolly denies any recent contact, claiming she hasn't seen him in years. However, their brief encounter is violently cut short when Oleg's henchmen storm the apartment to eliminate both Roger and Masha. In the ensuing gunfight, the assassins fail to kill their primary target but brutally murder Masha's roommates. The approach of police sirens forces the henchmen to retreat, leaving Roger and Masha as unlikely survivors.

Masha's debut may seem harmless and innocent. Her composed demeanor, casual smile, and occasional impatience all suggest she is merely an ordinary woman, caught up in a gunfight beyond her control. The little black dress accentuates her svelte figure while reinforcing the image of sophisticated femininity. Yet this carefully constructed facade masks the true nature of a woman who will prove to be far more dangerous than her gracious exterior suggests.

Final Scene - Masha’s Demise:

The final act of the movie arrives after Roger and Vlad are set up and captured by Nikolay’s gang. While a black market deal takes place elsewhere in the hideout, our latex-clad vixen Masha is interrogating Roger. Here, we see her full repertoire: circling her captive, flexing her knife, taunting her defiant victim, and finally, asserting her domination - physical and sexual - by straddling her toy’s lap.

Her voice, filtered through a thick Russian accent, echoes slightly in the vast, empty room. There sits Roger Chambers, bound to a chair, a lone island of defiance in the center of her predatory orbit. Notably, Masha's tone shifts from nonchalantly imperious ("Who are you?") to playfully curious ("So, what do you want with him?") to contemptuously amused ("You're an incredible nuisance") and finally to ecstatically aroused ("I'm starting to really enjoy this").

Unlike Oleg, Roger does not break before the cruel dominatrix. While Oleg was whimpering and screaming, Roger is meeting her gaze directly, retorting her every question. He refuses to give her the fear she feeds on. This defiance, this "nuisance," is inconceivable to Masha. It disrupts her standard script. For a sadist like Masha, who thrives on psychological domination, this is not an irritating setback; it is an intriguing challenge. It is the grit that will produce the pearl of her sadistic pleasure. She is beginning to sense that this will not be a routine execution. This could be special. This could be art. She is, as she puts it, "starting to really enjoy this." A spark of genuine, perverse delight is seen on her face.

Masha glides towards Roger and, in a movement that is both graceful and utterly violating, she straddles his lap, claiming his body as her throne. She is not just going to kill him. She is going to possess him, to humiliate him, to unmake him from a position of ultimate dominance. Masha leans in close, her face filling the frame with Roger's. She uses the flat of her knife to contemptuously lift his chin, forcing him to meet her gaze. Her playful, breathy voice becomes a low, guttural snarl. Here, she reveals her own motive, her own story of retribution: "Inna was my girlfriend, and I hold you responsible for getting her killed."

Maybe consumed by rage, maybe drowned by grief, or maybe totally absorbed by sadistic enjoyment, Masha has become blind and deaf to the real world, unaware of the larger predator approaching from behind.

Vlad's hands enter the frame, seizing Masha's head and ponytail with terrifying strength. There is no struggle. The camera becomes a blur of chaotic motion as he executes a single, violent twist. We see Masha's blonde ponytail whip through the air. Snap, crackle, pop. The camera then gives us a glimpse of the grotesque result: her head is twisted at a physically impossible angle, her body still slumped on Roger's lap. The queen has been dethroned and broken in a single, fluid, artless movement. Her fall from the throne to the floor is unceremonious, the thud of a broken doll.