The same 5x5 bingo generator as before - now with more death:
All bingo options have now been merged into one sheet, this means that the sheet can be used to select any number of actors and mix and match options between them, there are a variety of other options relating to the host and era of the show, with some options pre-selected for a more streamlined process.
This update introduces a few new bingo squares, many of which relate to death. A general 'murder' square has been added, as well as specific squares for the most (and least) offending actors.
The sheet will generate a 5x5 Bingo square, with squares colour coded based on likelihood. The spreadsheet can tell you which actors appear in each episode, but if you'd rather dive straight in without specifying an episode you are free to do so.
Please Download 'MMNBingoBuilder' and open it in EXCEL
This will not work in google sheets or LibraOffice you can try out other options but im doubtful, I will probably get round to that at some point
Patch notes, Q&A & Credits under the cut:
See here for my original post
Patch notes
Added squares:
Kills someone: Dave, Harry & Mike
Dies: Harry, Sue, Rhyanna, Laura
Josh uses a cane
Ellie eats something
Ellie brings up birds
Nancy eggs someone into a difficult/impossible task
Hen says the title of the movie
Murder
Whispering/off camera speech heard
Changed squares:
Adjusted probability: Hen carries someone & Harry gets a name wrong
Changed category: Actors visibly out of breath & Actor pretends to be an object
Q & A
Q. How do I play?
A. Its bingo, you know how to play bingo, but weve been treating it as a drinking game so do whatever
Q. How do I use the spreadsheet?
A. Follow the instructions in 'using the spreadsheet' in the 'instructions' sheet of the excel book, you may have to press the little arrow in the bottom left hand corner to see it. The basic gist is enter things into white boxes and you cant go too far wrong
Q. Can I play as multiple actors?
A. Sure! Just select which actors you want to play as (this can be all of them) and select whichever squares you like - if you specify an episode the sheet will tell you which actors appear in the episode, but it is not a necessary step
Q. How much do I need to know about mischief to play?
A. Nothing! It certainly helps to be able to recognise your actor/actors but the sheets contain pictures to help you with this and if you play as the host (Emmy/Oscar) you can tell from context anyway, prosaprognosia be damned
Q. How drunk could I get?
A. Look the simple answer is idk, I tried to give an idea with the 'difficulty' and 'fairness' ratings, but honestly theyre largely meaningless and based entirely off my very unreliable 'best guess'. Best I can say is that we got absolutely smashed when we kept a bingo card between games so... maybe dont do that.
Q. I've found a mistake/Where did you get the info
A. The first 3 seasons of episode info were provided by @personinthepalace, in this post, the rest was found just by skipping to the bows in each episode. If you find a mistake with listed cast for an episode you can message me @you-know-your-name or @ [email protected], if you find a mistake with an episode title, I dont really care sorry lol, you can message me anyway but its not really a priority
Q. How do I play without Excel?
A. Get a time machine? Idk I dont have that set up yet sorry, but as far as I know it should work on the free online version of excel just fine, though you might have issues with older builds of excel
Q. I Broke it! What do I do?
A. Usually a little control Z action should rescue things, but if its gone really badly you can redownload the sheet fresh from the link above. If you think you've found a bug you can message me @you-know-your-name or @ [email protected]
Q. I dont like how my bingo squares are organised, can I change them?
A. Yep, Its a little fiddly I'm afraid but you can change them around in 'seed'
Q. Can I still use the old bingo versions?
A. Yep, they're in the legacy folder, but I will not be updating them any further with new bingo squares or episodes
Q. Can I add my own bingo squares?
A. It'll require you to go into the back end a bit but feel free, theres very vague instructions on how to do it in 'Programming info' but you may have to use some ingenuity because I couldnt be arsed to go into to much detail. Please let me know what you added! I'd love to get community suggestions for the bingo squares
Q. How can I suggest a Bingo square?
A. you can message me @you-know-your-name or @ [email protected] , I might run a form at some point to get the submissions all in one place, but no promises
Q. Theres an episode not listed/I want to add an episode
A. The easiest thing to do is just enter the relevant actors and Oscar/Emmy, since entering an episode isn't required, but you could always go digging for secrets, or follow the vague instructions in the hidden sheet 'programminginstructions'
Q. When will X be fixed/updated
A. idk, im very busy but this frequently takes over as lead hyperfocus so it depends, fixes and things will probably happen in batches though
Q. This is somehow still not enough info for me
A. More info can be found under 'Random Info' in the 'instructions' section of each bingobook, have fun nerd
And the ever increasing credits:
Thankyou to:
@vinecovered-mech for providing the original inspiration for mmn bingo
@personinthepalace, for this post, which gave me enough info to start this project in the first place
@cornleykillercanary & @trashpidgeon48 for inspiring and providing useful information for the death update
& @this-usher for inadvertently reminding me to publish this update
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I feel like simply calling JK Rowling a transphobe isn't strong enough anymore. Like. This is not your grandpa calling you by your deadname at a restaurant kind of transphobic. This is her wanting to eradicate all trans people (with an extra special hatred towards trans women specifically). This is her trying just that by personally funding transphobic hate groups with millions to push around laws in the UK. It is not hyperbolic to call her a dangerous, genocidal maniac.
It's not about cancelling a problematic writer. It's about literally trying to save lives by denying her as much money and power as possible.
"Our last trip was a great success. We went to the Pencil Museum in Morecambe."
I can smell whatever chaos went down with the OGs at that pencil museum. They lose their communicators and accidentally pick up pencils on display from the museum, so Lenny loses track of them (and they lose track of each other). Stewart just so happens to pick up one of these communicators, but thinks that it's the work of the museum, so he doesn't bat an eye when one of the others starts talking to him through it. They're all lost, it's awkward, and they're honestly in disbelief that they're investigating a pencil museum. Nobody is taking the tour of the museum seriously enough, to the point where even Ms Templeman is like, "What are we doing here?"
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in hindsight, growing up as an aromantic person who didn't know aromanticism was a thing...it woulda been really easy for me to assume that something was wrong with me, that I was "broken" or "missing" some piece of humanity.
luckily I was autistic, oblivious, and had a huge ego. it literally never occurred to me to frame it as a "me" problem. i just thought every single person i knew was a dumbass
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Okay so I've got a relatively working - if off the walls - theory for in universe mischief movie night, this is gonna be a long one, so prepare yourselves, there will be definitions (at the end):
We'll get the big piece out of the gate first. Time travel. Oscar/Emmy use time travelling notebooks. We'll cover why later, but as for evidence:
Emmy/Oscar having the films prepared already when the audience arrive
The ownership of movies for literally any suggestion
Some audience members have seen the films before
Emmy/Oscar does not accept real-world movie titles (This creates a distinction between the two sets of movies, despite ostensibly claiming that both are 'real' in-universe, if I do a good job at explaining this, you'll understand why later)
Theory continues under the cut, because, well, there's a lot of it:
Secondly then, and stick with me here, the Oscar's and Emmy's that we see are part of a network of home cinemas doing these strange screenings. But how are they connected? The clue is in the name. The Oscar awards.
I'm taking some artistic license here and saying that in-universe, Oscar & Emmy awards are basically interchangeable. Real-world history is not my strong-suit and I covered way more of it researching for this than will probably be noticeable reading it or than I would normally be bothered to, forgive me.
So the practice of announcing them has died out in recent movie nights, but for a very long time (real-world since at least 2010) the opening of a movie night would announce the awards a film had won. These awards, by and large, are completely ludicrous. It reminds me of the "which best" categories, but that's a tangent for another day. The point is, there is no way these awards can be selected in an unbiased manner, not the winners of the awards, the awards themselves. I mean who on earth would come up with 'most inappropriately timed haircut' as an awards category for movies? Absolutely nobody. The awards have to have been selected posthomously, theres no other way. Unless time travel were involved...
And so we reach the crux of the theory. The awards are won because they have to be won. Because the present Emmy/Oscar wrote it down in their notebook and that notebook is more-or-less the word of god. This is deterministic time travel.
So the notebooks travel in time. But to when, and where?
Well to call it evidence would be pretentious, but we do find out some interesting information in the 'Oscar Biopic'. I don't believe it to be entirely representative in the way you might assume, for reasons that will hopefully become clear, but lets see what we can get from it:
Oscar was introduced to movies by his parents, who told him they would 'change his life'
As a teenager, Oscar enjoyed watching art-house films
During his teenage years, Oscar was inspired to become a creator of movies (presumably a writer or director)
Oscar was inspired to make movies when he was spoken to through a movie he was watching
(Oscar might be ace, and I might be projecting)
So a movie told Oscar to go and make some movies, sounding like time travel yet? Okay so a movie, not a notebook, but the Oscar in the Biopic is being played by Henry Shields, not Jonathan Sayer, so, artistic license. And if I were to say that the movie directed him towards the location of a notebook? What then?
So Oscar receives, in some form, a notebook from the future, detailing 10s if not hundreds of movies, including their titles, characters, awards they will win, and on some occasions special features left by the creatives. Left by him. There are dates listed too, but he's not sure what those are yet.
But how will he fund these movies? Who will star in them? Well who better to seek aid from than the Oscar awards, after all, these movies are a sure thing. They've won awards!
(showing my hand here, I'm more of the opinion that the Oscar awards studio approaches him but I don't think there's any reason it has to be that way round, and the way I was writing it the former sounded more satisfying)
And so working with the Awards studio Oscar makes his way through creating the movies in the notebook. They are released (as many movies in the real world are) to generally coincide with awards season, but he's still surprised for a while when every single movie is awarded exactly what the notebook predicts. It's almost as if the studio is doing it on purpose...
But as was always inevitable, the notebook runs out of pages. There are no more movies left for him to create. He doesn't get time to panic. The studio demand his notebook back (readers choice whether he knew they were aware of it to begin with), they hand him a blank one. He tries to explain that he has no idea how to start a movie from scratch, he needs the ideas from the notebook. He's going to be fired.
But something strange happens next. Nobody asks him to make a movie, quite the opposite in fact. He's handed a dvd and directed to a part of the studio's he's never been to before. Directed - I should add - by a performer from a lot of his previous films - he's not sure how to feel about that. Ruins the dramatic tension a bit to say that he watches the movie on his own first, but the timeline doesn't really work without it.
Eventually he's taken to a part of the studios made up from the outside to look like an ordinary house (or street, pick ur poison on the scale of this operation), but inside, the only furnished room is the largest 'home cinema' anyone has ever seen. There are more than a hundred seats! And an incredibly demanding audience. The walls are lined with DVD's, he remembers many of them from his days of obsessive interest in art house cinema, he figures he'll play along.
He quizzes the audience on what they're after, he's sure he can find something here to their taste. He's not sure why he's on stage or why he's doing this at all, but something about if feels right. Since he has it to hand, he writes down the audiences suggestions in the blank notebook, and, noticing the blank template for it in the corner, notes down the date as well. His feelings are only confirmed as, to his astonishment, answer after answer from the audience coincides perfectly with the DVD already in his hand, up to and including the title.
Puzzled but relieved, he makes a joke about having the dvd already prepared, and sets it up to play, settling into a chair with his name on it to rewatch the movie alongside the audience. Over the run of the movie, he settles into his role with the audience, sometimes pausing the movie to give his thoughts. He recognises a few of the actors in the movie, he's been working with some of them for a while now after all, and writes their names and characters down in the notebook to ask them about the roles later, one or two of them grin at him from across the room.
And so Oscar falls into a new routine, receiving a dvd from the collection in the morning, having a few hours to review it, asking the audiences suggestions in the evening, noting them down, watching the movie with them, on rare occasions he'll put on a 'movie extra' that tells him who the director or writer of the movie was, he makes sure to take a special note of that. At some point someone probably explains to him what's going on, he needs a little reassuring that the audience aren't in on it, but then, he has experience with time travel doesn't he?
This time when the blank notebook is filled, he doesn't move instantly to panic. He returns it to the studio, and, beaming, the receptionist hands him back another notebook, this one full of the exact same sorts of suggestions, and tells him to have fun.
He does.
And finally, why? What is the benefit to this entire charade of nonsense. I mean, basically, money, makes the world go round doesn't it?
Essentially, by having a unbeknownst audience give suggestions, you're able to break the chain of determinism just enough to give the ideas for the movies an origin point. But the origin point is in the future, after the film based on it suggestions has already been made. This allows the awards studio to capitalise on the ever narrowing windows of fad-popularity by making films before crazes start, and then releasing them to coincide with such. After that giving the films niche awards isn't much of a hardship, since the audience also function as a tester audience, they can already be pretty sure that the films will be a success.
Determinism: The belief that all our actions are predetermined
Thus > Deterministic time travel: A form of time travel that was predestined and recreates its own conditions, otherwise known as a self-fulfilling prophecy or a bootstrap paradox.
If ur a visual learner, think about it like this, multiversal time travel (probably the more common type of time travel in media as its less depressing) is often depicted like a tree, new lines that break off from the 'main trunk' when you go back to change things. Deterministic time travel then, would be represented like a circle, when you go back to try and change things you simply set them into motion, because you were always going to back to change them, because the outcome was predetermined.
Disclaimers:
There are several elements to this theory, some requiring more suspension of disbelief that others. I know that my sampling is biased. That is the point. To try to do something like this with an unbiased sample would be insane, all of these things obviously have Doylist explanations, I'm just digging for things that at least imply compelling Watsonian reasoning
I would love to hear everyones theories, but please ensure that your theories are equally off the walls, I will not accept 'they are just an improv group', respectfully, ~Join me in Fiction~
TLDR: uhm
The in universe Oscar awards studio is a front for a time travel agency/movie studio exploiting the nature of fads for financial gain
The Emmy's/Oscar's are recruited through family, propaganda, or some combination thereof
They recieve each others notebooks full of audience suggestions from the future, and make the movies in the past
The actors working for the studio also help out at the 'movie nights' (tests screenings), and the Emmy's/Oscar's often cameo in each other's movies.
Okay so I've got a relatively working - if off the walls - theory for in universe mischief movie night, this is gonna be a long one, so prepare yourselves, there will be definitions, and a TLDR (at the end):
We'll get the big piece out of the gate first. Time travel. Oscar/Emmy use time travelling notebooks. We'll cover why later, but as for evidence:
Emmy/Oscar having the films prepared already when the audience arrive
The ownership of movies for literally any suggestion
Some audience members have seen the films before
Emmy/Oscar does not accept real-world movie titles (This creates a distinction between the two sets of movies, despite ostensibly claiming that both are 'real' in-universe, if I do a good job at explaining this, you'll understand why later)
Theory continues under the cut, because, well, there's a lot of it:
Secondly then, and stick with me here, the Oscar's and Emmy's that we see are part of a network of home cinemas doing these strange screenings. But how are they connected? The clue is in the name. The Oscar awards.
I'm taking some artistic license here and saying that in-universe, Oscar & Emmy awards are basically interchangeable. Real-world history is not my strong-suit and I covered way more of it researching for this than will probably be noticeable reading it or than I would normally be bothered to, forgive me.
So the practice of announcing them has died out in recent movie nights, but for a very long time (real-world since at least 2010) the opening of a movie night would announce the awards a film had won. These awards, by and large, are completely ludicrous. It reminds me of the "which best" categories, but that's a tangent for another day. The point is, there is no way these awards can be selected in an unbiased manner, not the winners of the awards, the awards themselves. I mean who on earth would come up with 'most inappropriately timed haircut' as an awards category for movies? Absolutely nobody. The awards have to have been selected posthumously, theres no other way. Unless time travel were involved...
And so we reach the crux of the theory. The awards are won because they have to be won. Because the present Emmy/Oscar wrote it down in their notebook and that notebook is more-or-less the word of god. This is deterministic time travel.
So the notebooks travel in time. But to when, and where?
Well to call it evidence would be pretentious, but we do find out some interesting information in the 'Oscar Biopic'. I don't believe it to be entirely representative in the way you might assume, for reasons that will hopefully become clear, but lets see what we can get from it:
Oscar was introduced to movies by his parents, who told him they would 'change his life'
As a teenager, Oscar enjoyed watching art-house films
During his teenage years, Oscar was inspired to become a creator of movies (presumably a writer or director)
Oscar was inspired to make movies when he was spoken to through a movie he was watching
(Oscar might be ace, and I might be projecting)
So a movie told Oscar to go and make some movies, sounding like time travel yet? Okay so a movie, not a notebook, but the Oscar in the Biopic is being played by Henry Shields, not Jonathan Sayer, so, artistic license. And if I were to say that the movie directed him towards the location of a notebook? What then?
So Oscar receives, in some form, a notebook from the future, detailing 10s if not hundreds of movies, including their titles, characters, locations, genres, awards they will win, and on some occasions special features left by the creatives. Left by him. There are dates listed too, but he's not sure what those are yet.
But how will he fund these movies? Who will star in them? Well who better to seek aid from than the Oscar awards, after all, these movies are a sure thing. They've won awards!
(showing my hand here, I'm more of the opinion that the Oscar awards studio approaches him but I don't think there's any reason it has to be that way round, and the way I was writing it the former sounded more satisfying)
And so working with the Awards studio Oscar makes his way through creating the movies in the notebook. They are released (as many movies in the real world are) to generally coincide with awards season, but he's still surprised for a while when every single movie is awarded exactly what the notebook predicts. It's almost as if the studio is doing it on purpose...
But as was always inevitable, the notebook runs out of pages. There are no more movies left for him to create. He doesn't get time to panic. The studio demand his notebook back (readers choice whether he knew they were aware of it to begin with), they hand him a blank one. He tries to explain that he has no idea how to start a movie from scratch, he needs the ideas from the notebook. He's going to be fired.
But something strange happens next. Nobody asks him to make a movie, quite the opposite in fact. He's handed a dvd and directed to a part of the studio's he's never been to before. Directed - I should add - by a performer from a lot of his previous films - he's not sure how to feel about that. Ruins the dramatic tension a bit to say that he watches the movie on his own first, but the timeline doesn't really work without it.
Eventually he's taken to a part of the studios made up from the outside to look like an ordinary house (or street, pick ur poison on the scale of this operation), but inside, the only furnished room is the largest 'home cinema' anyone has ever seen. There are more than a hundred seats! And an incredibly demanding audience. The walls are lined with DVD's, he remembers many of them from his days of obsessive interest in art house cinema, he figures he'll play along.
He quizzes the audience on what they're after, he's sure he can find something here to their taste. He's not sure why he's on stage or why he's doing this at all, but something about if feels right. Since he has it to hand, he writes down the audiences suggestions in the blank notebook, and, noticing the blank template for it in the corner, notes down the date as well. His feelings are only confirmed as, to his astonishment, answer after answer from the audience coincides perfectly with the DVD already in his hand, up to and including the title.
Puzzled but relieved, he makes a joke about having the dvd already prepared, and sets it up to play, settling into a chair with his name on it to rewatch the movie alongside the audience. Over the run of the movie, he settles into his role with the audience, sometimes pausing the movie to give his thoughts. He recognises a few of the actors in the movie, he's been working with some of them for a while now after all, and writes their names and characters down in the notebook to ask them about the roles later. One or two of them grin at him from across the room.
And so Oscar falls into a new routine, receiving a dvd from the collection in the morning, having a few hours to review it, asking the audiences suggestions in the evening, noting them down, watching the movie with them. On rare occasions he'll put on a 'movie extra' that tells him who the director or writer of the movie was, he makes sure to take a special note of that. At some point someone probably explains to him what's going on. He needs a little reassuring that the audience aren't in on it, but then, he has experience with time travel doesn't he?
This time when the blank notebook is filled, he doesn't move instantly to panic. He returns it to the studio, and, beaming, the receptionist hands him back another notebook, this one full of the exact same sorts of suggestions, and tells him to have fun.
He does.
And finally, why? What is the benefit to this entire charade of nonsense. I mean, basically, money, makes the world go round doesn't it?
Essentially, by having an unbeknownst audience give suggestions, you're able to break the chain of determinism just enough to give the ideas for the movies an origin point. But the origin point is in the future, after the film based on its suggestions has already been made. This allows the awards studio to capitalise on the ever narrowing windows of fad-popularity by making films before crazes start, and then releasing them to coincide with such. After that, giving the films niche awards isn't much of a hardship, since the audience also function as a tester audience, they can already be pretty sure that the films will be a success.
Determinism: The belief that all our actions are predetermined
Thus > Deterministic time travel: A form of time travel that was predestined and recreates its own conditions, otherwise known as a self-fulfilling prophecy or a bootstrap paradox.
If ur a visual learner, think about it like this, multiversal time travel (probably the more common type of time travel in media as its less depressing) is often depicted like a tree, new lines that break off from the 'main trunk' when you go back to change things. Deterministic time travel then, would be represented like a circle, when you go back to try and change things you simply set them into motion, because you were always going to go back to change them, because the outcome was predetermined.
Disclaimers:
There are several elements to this theory, some requiring more suspension of disbelief that others. I know that my sampling is biased. That is the point. To try to do something like this with an unbiased sample would be insane, all of these things obviously have Doylist explanations, I'm just digging for things that at least imply compelling Watsonian reasoning
I would love to hear everyones theories, but please ensure that your theories are equally off the walls, I will not accept 'they are just an improv group', respectfully, ~Join me in Fiction~
TLDR: uhm
The in universe Oscar awards studio is a front for a time travel agency/movie studio exploiting the nature of fads for financial gain
The Emmy's/Oscar's are recruited through family, propaganda, or some combination thereof
They recieve each others notebooks full of audience suggestions from the future, and make the movies in the past
The actors working for the studio also help out at the 'movie nights' (test screenings), and the Emmy's/Oscar's often cameo in each other's movies.
we we’re talking about how we had a mutual friend and how that was so wild and then they mentioned another friend i knew and i was like “yeah i played soccer with them both in the park” and my friend was like “wait does your deadname start with a C” and it turns out she was also there and we just had no idea who each other was this entire time till now
Romcom where two people meet cute and bond over how awful their exes were and plan elaborate revenge schemes but it turns out they both transitioned and are helping to plan revenge plots against themselves
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Free to watch • No registration required • HD streaming
