MTVs The Matrix Parody - Ft. Will Ferrell, Justin Timberlake and Seann William Scott (2003)
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THRILL KILL PS1 (1998)
Thrill Kill: The Banned Fighting Game
Thrill Kill is a canceled 3D fighting game developed by Paradox Development for the Sony PlayStation in the late 1990s. Known for its ultra-violent and sadistic gameplay, the game was set to push the limits of mature-rated fighting games but was ultimately banned before its official release.
Gameplay & Mechanics
4-Player Fights: Unlike traditional 1v1 fighting games, Thrill Kill featured up to four fighters battling in a single arena.
Brutal Combat System: Instead of a traditional health bar, fighters built up a "kill meter" by landing attacks. Once full, they could unleash a gruesome finishing move.
Gory Finishers: Every character had unique, excessively violent execution moves that made Mortal Kombat look tame.
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The Craft (1996)
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Remembering ‘Celebrity Deathmatch’ on playstation
Back in 2003, the outrageous MTV show “Celebrity Deathmatch” leaped from our TV screens to the PlayStation console.
Developed by Big Ape Productions and published by Gotham Games, the game let players control claymation versions of celebrities in over-the-top wrestling matches. With a roster featuring stars like Marilyn Manson, Carmen Electra, and Mr. T, players could engage in comically brutal battles, each character boasting unique special moves and finishers.
Despite the hype, the game received mixed reviews, with critics pointing out its repetitive gameplay and limited features.
However, for fans of the show, it offered a nostalgic trip, capturing the series’ signature humor and exaggerated violence.
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Daria (1997)
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1980s Casio EG-5 Electric Guitar with Built-in Cassette Tape Player/Recorder and Speaker
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In an industry still obsessed with function, durability, and technical progress, Nokia leaned into something softer, more cultural.
Its campaigns and product strategies began to position the mobile phone as part of a lifestyle, closer to a watch or a piece of clothing than a tool. As early as the late 1990s, this shift was already visible. Devices were described and marketed less for what they did and more for what they signaled, tapping into the growing idea that technology could carry identity.
That idea fully materialized in the early 2000s, when Nokia began to experiment with fashion not just visually, but structurally. Instead of releasing isolated products, it introduced the concept of “collections,” borrowing directly from the logic of the fashion industry.
