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* ValuesResonance: Krill saying Ryback "hits like a faggot" in 1992 was a pretty standard affront to the latter's masculinity. Today it makes Krill into a full-blown PoliticallyIncorrectVillain.

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* ValuesResonance: Krill saying Ryback "hits like a faggot" in 1992 was a pretty standard affront to the latter's masculinity. Today it makes Krill into a full-blown PoliticallyIncorrectVillain.PoliticallyIncorrectVillain.
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!!About the comic story:
* SpiritualSuccessor: Several of this arc's Masters of Evil lineup would return years later as the original ComicBook/{{Thunderbolts}}.
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** Admiral Bates is one, thanks to being a ReasonableAuthorityFigure who averts the stupid chief cliché of '80s and '90s action movies by authorizing and supporting Ryback's effort to take back control of the USS Missouri. The filmmakers must have agreed, since he is one of three characters to return for the sequel, counting Ryback himself.

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** Admiral Bates is one, thanks to being a ReasonableAuthorityFigure who averts the stupid chief cliché of '80s and '90s action movies by authorizing and supporting Ryback's effort to take back control of the USS Missouri. The filmmakers must have agreed, since he is one of three four characters to return for the sequel, counting Ryback himself.
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** Admiral Bates is one, thanks to being a ReasonableAuthorityFigure who averts the stupid chief cliché of '80s and '90s action movies by authorizing and supporting Ryback's effort to take back control of the USS Missouri. The filmmakers must have agreed, since he is the only other character to return for the sequel.

to:

** Admiral Bates is one, thanks to being a ReasonableAuthorityFigure who averts the stupid chief cliché of '80s and '90s action movies by authorizing and supporting Ryback's effort to take back control of the USS Missouri. The filmmakers must have agreed, since he is the only other character one of three characters to return for the sequel.sequel, counting Ryback himself.
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** Former ''Series/{{Baywatch}}'' cast member Erika Eleniak plays a woman called Jordan Tate... the name of Traci Bingham's character on ''Series/{{Baywatch}}''.
** Tommy Lee Jones plays an evil rogue CIA operative opposed to the CIA director. In ''Film/{{Jason Bourne}}'' he plays the evil CIA director Robert Dewey hunting down rogue CIA operative Jason Bourne.

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** Former ''Series/{{Baywatch}}'' cast member Erika Eleniak plays a woman called Jordan Tate... the name of Traci Bingham's character on ''Series/{{Baywatch}}''.
''Baywatch''.
** Tommy Lee Jones plays an evil rogue CIA operative opposed to the CIA director. In ''Film/{{Jason Bourne}}'' ''Film/JasonBourne'' he plays the evil CIA director Robert Dewey hunting down rogue CIA operative Jason Bourne.
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* FranchiseOriginalSin: This is one of the first films to portray Seagal's character as an unstoppable force who is [[InvincibleHero never seriously inconvenienced]] and [[CurbStompBattle effortlessly destroys every opponent he faces]], traits that would show up throughout his subsequent films and be mocked in his later DTV era as a sign of his oversized ego. The difference is that the actions scenes here were well made enough and Strannix and Krill still effective enough opponents and the film overall enjoyable that it was forgivable and Seagal was physically formidable enough and skilled at fight scenes for it to be generally believable. Later films weren't anywhere near as well made, in regards to action scenes or most other elements, and Seagal had notoriously gained considerable weight and barely moved, often relying on obvious stunt doubles and quick editing, making it impossible to take him seriously as the unstoppable killing machine the films were trying to make him out to be. Ironically, this is wildy considered Seagal's best film to date.

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* FranchiseOriginalSin: This is one of the first films to portray Seagal's character as an unstoppable force who is [[InvincibleHero never seriously inconvenienced]] and [[CurbStompBattle effortlessly destroys every opponent he faces]], traits that would show up throughout his subsequent films and be mocked in his later DTV era as a sign of his oversized ego. The difference here is that the actions action scenes here were well made enough and well-made, Strannix and Krill are still effective enough opponents opponents, and the film overall is enjoyable that overall, so it was forgivable and (and Seagal was physically formidable enough enough, and skilled at fight scenes for it to be generally believable. believable). Later films weren't anywhere near as well made, well-made, in regards to action scenes or most other elements, and Seagal had notoriously gained considerable weight and barely moved, often relying on obvious stunt doubles and quick editing, making it impossible to take him seriously as the unstoppable killing machine the films were trying to make him out to be. Ironically, this is wildy wildly considered Seagal's best film to date.
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* FranchiseOriginalSin: This is one of the first films to portray Seagal's character as an unstoppable force who is [[InvincibleHero never seriously inconvenienced]] and [[CurbStompBattle effortlessly destroys every opponent he faces]], traits that would show up throughout his subsequent films and be mocked in his later DTV era as a sign of his oversized ego. The difference is that the actions scenes here were well made enough and Strannix and Krill still effective enough opponents and the film overall enjoyable that it was forgivable and Seagal was physically formidable enough and skilled at fight scenes for it to be generally believable. Later films weren't anywhere near as well made, in regards to action scenes or most other elements, and Seagal had notoriously gained considerable weight and barely moved, often relying on obvious stunt doubles and quick editing, making it impossible to take him seriously as the unstoppable killing machine the films were trying to make him out to be.

to:

* FranchiseOriginalSin: This is one of the first films to portray Seagal's character as an unstoppable force who is [[InvincibleHero never seriously inconvenienced]] and [[CurbStompBattle effortlessly destroys every opponent he faces]], traits that would show up throughout his subsequent films and be mocked in his later DTV era as a sign of his oversized ego. The difference is that the actions scenes here were well made enough and Strannix and Krill still effective enough opponents and the film overall enjoyable that it was forgivable and Seagal was physically formidable enough and skilled at fight scenes for it to be generally believable. Later films weren't anywhere near as well made, in regards to action scenes or most other elements, and Seagal had notoriously gained considerable weight and barely moved, often relying on obvious stunt doubles and quick editing, making it impossible to take him seriously as the unstoppable killing machine the films were trying to make him out to be. Ironically, this is wildy considered Seagal's best film to date.
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** Jordan is [[BestKnownForTheFanservice the first thing people think about when this film is brought up]], but she's also a memorable character who gets a number of snappy lines and some decent character development as she [[TookALevelInBadass takes a level in badass]]. Hell, she even saves Ryback at one point - this is ''unheard of'' in a Steven Seagal film.

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** Jordan is [[BestKnownForTheFanservice the first thing people think about when this film is brought up]], but she's also a memorable character who gets a number of snappy lines lines, gets a lot of focus on her character early on, and even some decent character development as she [[TookALevelInBadass takes a level in badass]]. Hell, she even saves Ryback at one point - this is ''unheard of'' in a Steven Seagal film.
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* BestKnownForTheFanservice: The scene where Erika Eleniak [[JumpingOutOfACake pops out of a giant cake]] while topless is one of the most-remembered scenes from the first film.

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* BestKnownForTheFanservice: The scene where Erika Eleniak [[JumpingOutOfACake pops out of a giant cake]] while topless is one of the most-remembered scenes from the first film.film, with many fondly remembering as 'the scene that wore out VHS tapes.'

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