Here Is No Why, 1979, and the Cherry Belt Buckle

In the very beginning I thought I had figured out something everybody already knew, I was just able to do it on my own.  Obviously I was very, very wrong...  Not only was I very, very wrong but what I was dealing with gave no indication that I was already playing with something out of place.

It was said that Edgar was timing the actors in this film very specifically.  He clearly had defined goals he was trying to reach, making every moment count.  He was in on every set directing the timing of each scene (and I emphasize timing) much unlike most directors would do.  Cera even mentioned this.  Because no one else has seen this, there is no way to express how much thought has to go into a work this solitary.  The timing element has to be consistent and exact enough to effectively punctuate the sounds of the album, not to mention keeping the root of the film in tact with the story line.  Once you throw MCIS on top of it, it almost abandons the film's version.  It pushes it into a different space.  The movie becomes the music.  Yes the "story" is still there, but it's depth has new levels, and I can't tell you what that does to such a soulful masterpiece like Mellon Collie.  So Kudos to Edgar Wright, he did what no one else has ever even attempted.  Well... that's probably not very true... at least that has been any big deal.  Now on to the sticky situation...

My first experiment was simple and amateurish.  Put my Smashing Pumpkins MCIS playlist of mp3s into my foobar player and play it with the movie.  From the upstart I was mesmerized about the idea.  When I noticed something out of sync, I would incrementally pause and start either the movie or the music depending on which it was that was ahead of the other.  It was so confusing because I really didn't know why it would flop back and forth, and I knew something was happening just ahead, or just behind, and I would start tapping the space bar repeatedly to inch it into the framework of what I was seeing.

By the way, did you know that Knives has a cherry belt buckle?
I know everybody likes to pick out stuff in the record shop like the "SAD-CORE" genre but I think that's obvious...

I'm not even gonna try to make you think too hard about this one but, certain symbolism like this are good for a laugh.  Understand that there are plenty of inside jokes going around, but you are not to be fooled by the innocence of it all.  Actually this one has nothing to do with the music, but I thought I would point it out for bonus points :)

It turns out, Knives actually has some of the most dramatic parts throughout the movie that emulate major landmarks along the way of the film.  Whenever I began to doubt the structure, there was something big happening just around the bend, and Ms. Chau brings unmistakable roles within the sound scape.  Her parts are so obviously, and freakishly, poignant of Billy screaming or James wailing that they "jump out at you".  She's a REAL fan (lol).

So I put 2 and 2 together.  Music with the movie.  Everything seemed to be going along great.  I was excited first, then I had to get into perfecting it, and this, my friends, is when I found out the most misleading quality of this entire mad game.  The fact that I was seeing things come together so flawlessly was a perplexing oversight.  It was not until after screwing around long enough by playing the two side by side that I found the missing link.



First, when dealing with "Zero" I was searching for the gaps.  I took my MCIS album to my car to test my theory.  Sure enough I found the gap track counting down to the beginning of "Zero".  It gave my assumption affirmation.  Then I went on to find even more gaps later on through the complete work.  I jotted down the countdowns for each gap and where they went, and how long.  Later on, I got a video editor and began mimicking the original track layout as if it were being played on a disc, but this was not the only discovery I made.

During this analysis-adventure in my car, I found something strange indeed.  When the fifth track came on, "Here Is No Why" started playing.  It was startling, because I was sure "1979" was about to play.  Why?  Because that's what was playing as the 5th track on my computer this whole time...  I turned the case around in disbelief... yep, sure enough, there it was printed on the back, Dawn to Dusk - TRACK 5, Here Is No Why.  Something finally Dawned on me.

I had been using an out-of-order album that matched up with the movie.  For the past few months, or years, or however long I've had this particular version of MCIS stored on my hard drive, the album was actually playing in a non-traditional order, unbeknown to me.  It became apparent that this was the order that was used to comprise the movie as its alternate theatrical drama.

THIS IS THE SECRET THAT UNLOCKS THE FILM AS WHAT I CAN ONLY DESCRIBE AS
SCOTT PILGRIM AND THE INFINITE SADNESS (THE MOVIE)

Imagine my revalation at this point.  It didn't occur to me that I was listening to a different version of the album this whole time.  I might as well have considered myself a lunatic, because now I was faced with this weird paradox.

This trashed the whole concept of everything.  Who would do such a thing like this?  The only way anybody would be able to figure this out is by accident.  And if I was simply imagining all this, the chances of these two things coming together randomly is a phenomenon on its own.  If that's how Edgar masked this whole bitchin facade, all I can say is, "W.T.F.?" ...The fifth track on both discs flip-flop, which puts "Here Is No Why" on Twilight to Starlight, and in it's place, on Dawn to Dusk, is "1979".  How the hell would anybody know that?

I've been known to believe in crazier shit, but this one inspires a bit of retort.  I don't believe this is a coincidence.  This is not Dark Side of the Moon meets The Wizard of Oz.  This is mapped out with intention, and very specific.  So much that it's difficult to believe unless lined up precisely.  Trust me I've done the work, and the only thing keeping me from opening up this whole can of worms on you is that it's impossible to hand over without instructions.  A ploy like this needs leverage to support what's happening on the technical side of it all, and there's no way to get it unless this information has been passed on, or luckily trounced upon as in my case.

A conspiracy is not the shadowy figure it seems to portray so much in legend.  It simply means there's something you don't know.  More accurately, it's something you don't know about what a small group has conspired to do.

Now here's the beauty of it all.  On Dawn to Dusk, 1979 is the perfect switch for the movie.  Honestly, the scene is so gracefully united with the song, you would have never known the two to be separated before.  In retrospect, I can see why E.W. did it.  And you will too if you figure it out.

While it is astonishing to behold, the method in which Wright defined his silent project has continued to evade all public knowledge of a doubled theme for quite some time.  It's absurd, and I had to ask myself, "Could it be that Edgar seeded a MCIS copy with an alternative track listing for an alternative version of his film into the "internet village" just to see if anyone would figure it out?  And could it have been the same tampered copy that I received?".  Or was he just relying on random chance that someone poked around or messed up the right way to discover his hidden agenda?  Wouldn't Edgar want somebody to find out?  The knowledge of this is a well guarded secret at the end of the day, and since the key to it all is invisible, this is why I call it a conspiracy. (for kicks)

I hope that the fans of either Scott Pilgrim or Smashing Pumpkins take a look into what a strange yet beautiful tale this is.  It's something that truly transcends age and art.  With the posts that I've blogged, or the blog that I've posted (not sure how to correctly define that), I wish to give both the fans of the movie and the music a chance to experience a thrilling exploit of mixed media, one that will no doubt have a profound impact if this were to be publicly realized.

As screw-ball as it is, there is a silver lining here, but it's one that will take effort to understand.  Edgar Wright has never been one for normalcy.  This will surely prove him to be unique as an artist in a way of the story is itself, let alone the endeavours brought on by a multifaceted adoration for the Smashing Pumpkins shared with Bryan Lee O'Malley's telling.

What you're gonna get after this is up to you in a way, but I will keep posting as I see fit about the film and its sister sound, Mellon Collie and the Infinite Sadness.  If you want to know how to set it all up, keep listening...

The Gaps

So you've given it a go, and by now you realize some things really aren't adding up.  Just want everyone to know that I'm not trying to stall for too long.  It's just that Wright really did pull a number on this one and I think really hard about the way to go about revealing things.  I've got a life too, so.  Try not to worry, there's a reason for everything... even if it's a twisted one.

The first thing you should know, is that this monstrosity is probably going to frustrate the crap out of you.  You want to see it work but you reach a point where things just fall apart.  The answer my friends is not one that's going to make you happy, but does add a little adventure to it all.  That's the reason why I'm breaking this up into pieces.

It's hard to make sense of an artist's taste absurdly combined with a major broken arm, but there's a reason why no one has found this out and that is because of two things, one is THE GAPS.  If you have an actual CD, stick it in your computer, and play it on your Winamp, you're going to listen to the program's predefined rules of playback.  Typically this means it's going to ignore the gaps in between tracks.  What's a gap?  It's just a space of time, usually a few seconds, that fills in between the tracks.  It carries no track number, even though it CAN be used to play sound.  Generally it is a manufacturing trick after the mastering process of the album itself, helping define parameters between songs they don't want to "start too early".  

At least that's the best explanation I can come up with.  There's not a whole lot of info on the web about why they're even there, but you will find that on a lot of major label album CDs, they're there.  When you play an original CD in nothing but a standard CD player, it will recognize the gap and begin the next track with i.e. -03, -02, -01, 00.  CD-ROMs will as a basic player I believe, but a media program will ignore them.

What does this mean for S.P.vs.S.P. (Scott Pilgrim VS Smashing Pumpkins as I like to call it)? Well, you have to know that Edgar, in all of his master planning, seems to have included these gaps.

You know what that means?  In case you've tried to start out the movie already, and been somewhat successful playing your MP3s, AS SOON AS YOU GET TO ZERO, IT IS NO LONGER IN SYNC.

Because between track 3 and track 4 there is a gap on the CD.  And while it may appear to keep going, you will be missing the major changes happening together.  If you follow the instructions to the tee on the post titled "Zero", you will see, and hear, the way it should actually sync with the movie.

Now that you know this, just imagine what kind of bloop this has to be with the second reason that has destroyed the tangibility of a fan's reconstruction of this hidden gem... the last big screw to turn, and a subject for a later date ...the secret of the track switch.

An Ode to No One

How do you know how to play the game if you don't know it exists?  If Edgar didn't want to play an easter egg hunt with everybody,then what's this basket of them doing here?  It looks somewhat to me as though Edgar had a plan he was willing to share, at least at one point, but instead he just left the whole thing to spoil.  It almost appears that some of the eggs are cracked or deformed even (to put it in metaphor).  It's a very ridged and daunting task he's cooked up to have just laying around.  Obviously there has been no leads provided, nothing easily detectible anyway, and E.W. has never slowed down on the way to his next film.  Maybe he's expecting someone to just come out with it (tried that) and I guess that's a little of what I'm doing now, but what can I say?

Not much in regards to that.  I have no idea, and my suspicions are all that account for anything during the process of this discovery.  This is more of an invisible puzzle than an easter egg hunt.  I discovered this via "weird coincidence" that turned into speculations.  One of which is that all parties or individuals involved in this movie were under contract NOT to say anything.  That's the way the movie industry works after all. 

Actors and every participant are forced to sign their name, waving all rights to talk about the film until after it's release typically.  In this case, somehow I feel there must have been a clause scripted about it that may mean even the actors know but can't say a word.  There's no telling until this has become proven by enough people that it becomes fact, but it makes sense to me. 

Could it be that Edgar did the final editing himself, so as to mask his creation under utmost secrecy?  That's really not likely.  A director's cut is still only coupled with the skills of the film editor, and to have full control over the final product without anyone else "in" on it is a pretty ridiculous notion.  The final cut is laid out very precisely with the musical backdrop in play, and it has still taken ME many, many hours to just sync it up correctly.  Video editors will know what I'm talking about.  And a sound technician knows that a millisecond can make all the difference in the world.  In other words, that's a ton of work for one man who doesn't want anyone to know what he's doing.

But this just furthers the strangeness of it.  It's been 4 years and not a word.  He had to have had helpers and there must be some circle who know.  That's enough to incite conspiracy in the mind isn't it?  Is it possible this project was dropped?  Or did Edgar not expect it to be so long for someone to find out?  Why are there no leads?

To be honest, I would still like to get a word from Edgar Wright before it's all completely out there.  Alas I am but a silent star who's mail get's put in a stack with the others.  If I was more on my game I'd be riding his coat tails as much as the next trendy, but as I said before I'm not that pop savvy.   

"Love"                                         courtesy of Jerology

 

Even without any foreknowledge as to how this came into existence, the evidence is there, and it does not detract from the experience earned when seeing it come together.  I WILL post a detailed map of the whole thing and how it works, eventually, but I really think unless you do the hunt yourself, you won't get the pleasure of discovering it on your own.  This is kinda like the new Wizard of OZ and Dark Side of the Moon.  The only difference is it's not an accident, and in many respects it's going to be way cooler.

Wright was very specific about the scene changes, amongst everything else, so you might want to do some experimenting with what appears to be the video to the music.  Ultimately this will lead you to find out a major discrepancy with the track layout, and once that happens, hopefully something will click and you will find the missing piece of the invisible puzzle. 

So I got a new method for you to find out how this all works.  The scene above depicts where the song "Love" appears in the film.  But before this battle comes into play, I want you to start ahead of the game with one of my favorite MCIS pieces, "An Ode to No One".  You're gonna have to feel it out some.  Maybe you'll get it wrong the first few times, but you'll see something going on.  There are obvious theatrics playing a part of the music if you can just get it to be in harmony.  The setting of where to start will be when Scott and Ramona first spend the night together after their first date, on the morning after...
  
Good luck

The Road that Leads to The Infinite Sadness

So far all you've been given are hints.  I feel like I'm robbing people of the experience.  The disbelief, however valid, has surely toppled over any suggestion of this album/movie fusion absurdity.  Now it's time to see it for yourself.

I had been listening to MCIS for days at the time I was watching this film, and something about this scene with "THE INFINITE SADNESS" stirred something in me.  It wasn't anything to do with the comic, it was the timing.  Some natural instinct kicked in, and something was telling me that this was placed very peculiarly at a moment in time.  Something somber and melodic came to mind.  It was the first moment I had some nagging feeling about it, and I had to find out if my feelings were more than just nostalgic wondering? 

I love nostalgia.  I thought it out realistically about the only way it would happen if my assumption was correct.  What does the beginning of the film and the album have in common? 

Kim knows

The answer is a slow beginning, and then it begins a glorious rocking introduction. 
Kim is the leader.  This you must pay close attention to.

But before that, here's a really big tip.  If you don't have the MCIS album, get it.  Push play and start the movie.  Depending on what medium you're using to watch the film, differences on starting time must vary.  But I've found that the general idea is about a 7-8 second head start on the album.

That's right, track 01"Mellon Collie and the Infinite Sadness" begins at -00:07

movie time.  What does that mean?

That means this movie is literally inside the album's start to finish. (both discs)

Huh.. I wonder why no one has figured it out...

Don't worry you're not blind, there's more than one way to completely pull the wool over the public's eyes, and Edgar Wright and whoever else behind this did just that.  We'll get to that later...

So if you don't want to screw around with watching the beginning, this is the short cut.  In fact, it was the only logical way to first see it to believe it.

The next track is the one and only "Tonight, Tonight"

If you start at track 02, you follow Kim's lead and she will begin the whole symphony.  All of a sudden the band is transformed.

Prepare yourself, you might get goosebumps.

Here is your first real viewing of the great Scott Pilgrim VS The World, the way it was meant to be seen.

But that's not all there is to it.  There is some room for interpretation about how the scenes are being played out, but some parts can deteriorate the consistency if not properly lined up.  So to be fair, I should mention that if you're following Kim's lead, the moment she strikes the cymbal on her drum kit is when the music should begin.  What this means for your music player is that any delay in beginning the track will effect the outcome.  In other words, you might need to play earlier.  Secondly, THERE IS a delay on the track itself, so you DO need to hit play early enough for the beginning of the song to land on her first beat.  It's little things like these that make this experiment a rocky climb in the beginning.  The trick is, don't get too technical about it, go with your gut.  Maybe hit play on Kim's "THREE!" to get the head start.  Whatever works for you.

1-UP

When you get it all right, you will find the beauty of this well kept secret and know the ecstasy in seeing the music come alive in the film for the first time.  Every scene, every move, every splash of sparks, even eyes darting in new directions have been plotted out to accompany the sounds of MCIS.  Screaming voices, the wailing of the guitars all become real.  Love becomes an emotional roller coaster in the griping melodies of the Pumpkins, while Scott and Ramona travel down the winding path of complicated romance together.  The epic battle awaits beyond the digital stuffing the movie is seemingly comprised of, fueled by the most aggressive songs.  Visual and social puns consistently turn up, contrasting expression and demeanor, even putting words into mouths.  Corgan speaks through all of them, Edgar jokingly extracts visual metaphors.

That is the way it is.  I know it's a rough to get there, as rough as Scott's life, but I'll do my best to help you out.  There is a formula that makes it all come together, and you are going to figure it out through trial and error. Unless somebody wants to ask me personally about it, then I guess I could be a little more insightful...

You Weren't Supposed to Know

This piece of work seems to me to be a unique blend of alienated attractions.  On the one hand, the film is going to be mostly enjoyed by a younger generation than the Smashing Pumpkins fans who, like me, have a dated coming-of-age story of our own.  That's why it took me a couple of years before I even watched the movie.  I haven't the attention span, nor the type of friends keeping me well informed of the pop culture going on.  These differences in taste and generations, no doubt, will leave a rift flowing between the uninformed and any phenomena to to be experienced.

Even Pumpkins fans have moved on to a certain degree.  It's a given, no matter how great an album is, it's easy to wear it out, and I wouldn't expect anyone to be looking for this to suddenly rise out of the moist graves of the 90's because of a trippy flick characterized as a live video game.  The movie is a blindside any associating fan base of the Pumpkins.  Although I find it interesting that just after finding out this hidden movie game, there has been a certain revival of their "exclamation mark" alt-rock juggernaut.

I don't know if this means there will be a new upsurge for the pumpkins, but Wright's experiment definitely adds some interesting new flavor to the pallet.  Watching a reenactment of Mellon Collie and the Infinite Sadness is fucking crazy.  The way the director associates the visual with the audio is so esoteric at times, you feel like the emotions are forming words in a language of impulse.  I have trouble differentiating the two from each other now.  When I hear a MCIS song, I think of Scott Pilgrim fighting for his life.

Edgar has managed to make a story out of the album, that's the bottom line.  He immortally disguised this film triumph however, and its a wonder that it even exists.  It's simplified organization, jutting up against a cocky decisive move, creating an inflexible code for a feature that has a strange breadth of land to cover.

You see kids, dear Edgar picked a big twist of track... did I say track? I mean fate... to chunk his melodrama into.  It's a cypher wrapped up in an enigma, and considering which accidental circumstances that must crop up to be able to detect such hidden treasures... well, that's to be debated.  In this case, it has to do with a screwed up meta-tag because, yes, I downloaded the album because, yes, I already bought it five times probably.

You're not gonna believe this, but Scott feels like a RAT IN A CAGE
You can play Bullet With Butterfly Wings to this video and see for yourself

I cut this clip EXACTLY 8 seconds before where the 00:00 mark of the song should be.
In other words, when the video hits 0:08, that's the time to play the song.
I would do it for you myself, but EMI doesn't like it when you upload their copyrighted stuff.

The Evil Xs

You may of noticed, of course, that there is some bit of circling around this frequently used mark, but it is important not to get confused about the number.  It's the placement of that mark that should stand out.  Here's one you might have missed:

If you know anything about film editing with ACTUAL film, that is, cutting and splicing frames together in a series, you'll know that this is one way to keep track of the millions of frames and their correct order.  In theaters long ago, switching reels during the middle of a film was the job of that guy in the window behind everyone's seats.  They'd have to mark the corners of the frames, sometimes circles, sometimes x's, to signal when the end of the reel was coming up.  This is a frame from the opening credits.  As the background whizzes by, this appears as fast as a flash, but instead of a little corner, it fills the screen.  Your eyes will see it though most likely its nothing to remember.  

How is any of this relevant?  It's not.  But it is a BIG chalky X I wanted to talk about.  In fact it may be misleading in the end.  There is actually something very striking about this X, but it's not the one in Sex Bob-Ombs. 

The funny thing about eyes and ears is they can work together in so many different ways, but if they don't harmonize, a lot can be missed.  People generally use their eyes first before any other sense, that's why consciously we discard so much visually.  Eyes need more than light to effect the brain in much more moving sorts of ways.  Like the "tale" of a tree falling in the woods, only the other way around. When things are appropriately in sync will your ears tell your brain that what you just saw was coming from what you heard.  

Take the twins for instance.  They never say a damn word! ...and now they're dead.  The twins take the Sex Bob-Ombs on with their hair and pop-synth.  Pretty evil.  As big and loud as the electromagnetism that's bringing down the house, they try to "scorch" the band.  Oh but the comeback is epic.  Scott proves his heart is bigger than emo!

As silly as it seems, this ninja-move-X is right in the middle of an audio-visual masterpiece.   You will know the tree has fallen to the "earth" then.

Now, I know what you're thinking... but if I told you there were 7 Xs hidden through this movie that tell you what to do and that was your way to find everything you need to know about this film, I'd at least be fooling you in a good way.  Luckily Edgar Wright has already done a good enough job at that already.  His confusing placement of symbols and mood will throw off even the most perceptive. 

3 unmistakably direct incursions of bold Xs positioned to line up with the album is more-so the truth.  And these 3 unmistakably obvious placements of Xs will drive you prematurely insane if you're up for it.

If you're a "night" person like me, playing into the wee hours of the morning is a little more like prime time.  There are less distractions anyway. 

Zero

When I first "fell" upon my discovery I went searching online for support only to find that there was actually NO talk about this whatsoever... besides that E.W. likes to do weird movies ...Specifically that he took special care with this particular film, which for some reason most assumed it to be of an unimportance.  (I'm guessing this because no one has come up with any idea why.) 

The Internet is full of talk about the video game mostly, which is something I still have never looked into.  All the information that seems to surface across various websites are quotes about Edgar Wright stylizing his films by placing hidden Easter eggs in them, so people could uncover them and point them out, trending as people do about trivia and whatever.

The merchandise and consumerism have almost created a wall between the deeper content laying hidden beneath the slapstick heroism performed by Michael Cera.  The role of his character is in a play, a musical drama if you will, and a shrouded and non-detectible one. 

Following the film, The video game's release takes precedence over other topics.  Fan's have looked more to the "spin-off" game as the continuation of the film's legacy. I have to say, those are just distractions to the real underpinnings this film was being envisioned as.

Underpinnings...
or maybe under-torpedo. Take your pick.

 Push play, skip ad

Push play at 7

If at first you don't succeed, try again

Yume Kōjō: Doki Doki Panic

Take a look at this...

Why does it seem as though these titles are all getting switched up?
Which came first, the chicken or the Easter bunny?

Perhaps the first clue goes back to before the movie was made...
The comic, from which the film was based, features a title that alludes to another familiar title.  Turns out, Bryan Lee O'Malley's "coming of age" comic series, has Smashing Pumpkins references all over the place. That's because he was heavily influenced by them growing up.  Here's a helpful review with the author: http://www.fluxblog.org/2010/08/interview-with-scott-pilgrim-creator-bryan-lee-omalley/

In it he mentions briefly his influence by the band, as well as other life situations gathered around him at the time of writing his epic SP story.  He also talks about Edgar Wright getting a hold of it and beginning the brainstorming process that would eventually become his famous title.  This has no real relationship with what I'm going to tell you though.  It says nothing about the gigantic cock-up Edgar Wright was really dreaming about.

HAVE YOU SEEN SCOTT'S SHIRT?

That heart shaped SP doesn't stand for Scott Pilgrim, in case you didn't know.  That is one of the first logos for The Smashing Pumpkins if not THE logo.  Was it just intended to be a pun for Pilgrim's initials?  Or because of some wacky connect-the-dots symbolism Wright decided to throw in? 

I don't know about anyone else, but there's a cliff hanger here to me, a drop off, a silence hushed over with a finger neatly pressed against it's lips.  But then perhaps that's because I know something you don't.  If Edgar wanted to put parallels between his film and the original, then why leave it empty?  The problem is that there is discontinuity in referencing a reference from a comic book when there's a lack of content in the film.. I mean...  HE'S JUST WEARING THE SHIRT!

Perhaps fans have taken this in stride for only being a hint of the idolization Scott carries for the Smashing Pumpkins.  Or maybe it's just the director's simple stylization after the comic itself.  Either way, it's vague.

What I'm trying to point out is that, to the viewer, Edgar's only playing with the idea behind the comic series.  So far the relationship with the Pumpkins is comical, and I do mean that as only having the comic series to support any notion about the band.  It's Bryan Lee O'Malley's love affair with the Pumpkins that's shining through, but only on TWO T-SHIRTS?

There's no context without the dialog as is featured in the printed series.  By all rights it appears to be a shoddy attempt to link the two works together.  It's almost as if it's a joke.  A weak one.  If you read any kind of source from the Smashing Pumpkins side of the fence, you might find that to a real fan of their music, this is a turn off.

In the movie, Scott doesn't really talk about his interests.  Apart from being goo-goo for Ramona, there's not a whole lot to go on as to why Scott's a Smashing Pumpkins fan, or anything else attributed to them for that matter.  After knowing how much time Edgar spend on the set directly with the actor's parts, creating very specific parameters for them to work in, it would seem that he would of put a lot more though into it. 

Why would the director so explicitly include such references as vague as the ZERO shirt?  Is it to compliment Bryan O'Malley's love of the Pumpkins?  Is it because Scott like's Coke Zero so much?  Does the movie not deserve to get the same transcendental love experienced by the comic author when he was first writing the series?

Could it be that there's more to it than it appears?

Edgar Wright and the Infinite Sadness

For some reason, Edgar Wright has intentionally hidden the meaning behind an obscure relevance between the star of the film, Scott Pilgrim Vs the World and The Smashing Pumpkins.  The relationship of the comic, which the film is based upon, and the Pumpkin's hit album, Mellon Collie and the Infinite Sadness, has trickled into the foreground without detailing any secure intentions.  What those intentions were have remained somewhat of a mystery, and I am thus far the only person to my knowledge outside of "the know" who has figured it out.  Fans who have scavenged the film for the so-called Easter eggs Edgar repeatedly drops into his works have turned up only mild speculations.  This is a work in progress to reveal the true nature of Wright's take on O'Malley's tale of epicness.

It's been years, and although the hype has dissolved and interests have cooled, perhaps there is another scale to this supercharged, musical adventure.  One that just may bring the whole thing into another deeper, explosive and heart-driven manifestation that reveals a master-work far more worth the consideration than it's previous form.  The film itself is a remarkable piece of work, delving into an uncategorical genre and pulling off a unique view of a pre-to-post coming of age story.  But everything sought after to enjoy about this rouge film has been completely checked off, thus far, and all of the current reviews seem to be, at best, a weakly supported afterthought when it comes to any hidden languages appearing within the film.  What I want to do is start the fire on a major oversight that I believe the world has sadly accepted, so that this amazing discovery that I have been thrilled to uncover may finally make it's glorious début.

However, as hard as it was for me to believe that I was viewing solely by myself this phenomenon, it has been even harder still to piece together the combination of clues with the strange.  I discovered the reasons why this has escaped the public for so long; without fate playing a part, it would have never happened.  Because of the nature of the beast, there is no easy way to show anyone not personally nearby, so the best way that I can deliver the notion is by giving everyone the chance to pick it up for themselves.

Look at it this way, Edgar left a trail of egg shells for you to hunt, but he was more worried about the end result and so the pieces got half buried in the path.  I am simply going to point them out the best I can.  After getting such great satisfaction from discovering something of this magnitude myself, I'd hate to deprive anyone of the same opportunity anyway.