Ziggy, mistaking the cockpit for a VIP lounge, climbs in, lights a joint of his strongest "Starlight Kush," and accidentally presses the "Grand Escape" button. The ship blasts off, but instead of a high-G acceleration, the engines hum like a thousand Tibetan singing bowls. The chase begins.
The final sequence features what would be John Williams’s most audacious piece: It starts with a solo cello playing a slow, mournful version of the Star Wars main title. Then, a didgeridoo enters. Then, a children’s choir humming "Three Little Birds" by Bob Marley. As Ziggy flies the Daydream into the heart of the Empire’s mainframe to upload a virus that replaces all tactical data with cat memes, the orchestra explodes into a triumphant, full-throated crescendo — but every instrument is tuned slightly flat, creating a warm, hazy, deeply satisfying dissonance. The final chord is a G-major played by a hundred violins, a gong, and a kazoo. It holds for thirty seconds. Then, silence. Then, a single cough from the back of the theater.
One day, while making a delivery to a decrepit space station, Ziggy stumbles into the wrong hangar. There, gleaming under a single spotlight, is the — a prototype starfighter designed to be piloted by a symbiotic, telepathic fungus. The ship’s AI, voiced by a soothing Fran Drescher or a drowsy Morgan Freeman, is named CALM (Cognitive Autonomous Lagomorph Machine — its design looks like a cross between a 1970s van mural and a white rabbit).
Prudence doesn't chase Ziggy with rage. She chases him with frustrated efficiency . Her theme in the score is a hyper-militaristic march by John Williams — think the Imperial March mixed with "The Rite of Spring" — but every time Ziggy takes a hit of "The Force," the orchestra glitches. The brass section suddenly plays a descending, lazy blues scale. The timpani becomes a bongo solo. The music literally gets high.
Galactic Giggle: The Cosmic Farmer
A directionless but good-hearted space-faring cannabis farmer accidentally steals a sentient starship carrying the last hope of a dying intergalactic empire. Now, with a bag of premium Moon Haze weed, a sarcastic AI, and the relentless Imperial Peace Force on his tail, he must learn to navigate the cosmos without losing his chill — or his mind.
A "Stoner John Williams Movie" is not a parody. It is a love letter to both the epic and the ephemeral. It takes the grand, emotional vocabulary of Williams — hope, adventure, wonder — and filters it through a haze of good-natured humor and cosmic peace. It asks: what if the hero didn’t fight the Empire, but simply offered it a snack and a nap? And the answer, scored by a 90-piece orchestra playing as softly as a lullaby, is: that would be glorious. Pass the popcorn. And the remote. And maybe a snack.
Ziggy is back on Ganja-5, lying in a hammock. CALM the AI is now his roommate, brewing kombucha. A hologram of Admiral Stickler appears — she’s retired, wearing a tie-dye uniform, and asks, "Got any more of that Starlight Kush?" Ziggy smiles. Williams’s harp glissando fades to a single, sustained triangle ring. Fade to black.
| # | Feature | Standard | Pro |
|---|---|---|---|
| 1 | Possibility of creating a limitless number of pairs of virtual serial port | ||
| 2 | Emulates settings of real COM port as well as hardware control lines | ||
| 3 | Ability to split one COM port (virtual or physical) into multiple virtual ones | ||
| 4 | Merges a limitless number COM ports into a single virtual COM port | ||
| 5 | Creates complex port bundles | ||
| 6 | Capable of deleting ports that are already opened by other applications | ||
| 7 | Transfers data at high speed from/to a virtual serial port | ||
| 8 | Can forward serial traffic from a real port to a virtual port or another real port | ||
| 9 | Allows total baudrate emulation | ||
| 10 | Various null-modem schemes are available: loopback/ standard/ custom |
Ziggy, mistaking the cockpit for a VIP lounge, climbs in, lights a joint of his strongest "Starlight Kush," and accidentally presses the "Grand Escape" button. The ship blasts off, but instead of a high-G acceleration, the engines hum like a thousand Tibetan singing bowls. The chase begins.
The final sequence features what would be John Williams’s most audacious piece: It starts with a solo cello playing a slow, mournful version of the Star Wars main title. Then, a didgeridoo enters. Then, a children’s choir humming "Three Little Birds" by Bob Marley. As Ziggy flies the Daydream into the heart of the Empire’s mainframe to upload a virus that replaces all tactical data with cat memes, the orchestra explodes into a triumphant, full-throated crescendo — but every instrument is tuned slightly flat, creating a warm, hazy, deeply satisfying dissonance. The final chord is a G-major played by a hundred violins, a gong, and a kazoo. It holds for thirty seconds. Then, silence. Then, a single cough from the back of the theater.
One day, while making a delivery to a decrepit space station, Ziggy stumbles into the wrong hangar. There, gleaming under a single spotlight, is the — a prototype starfighter designed to be piloted by a symbiotic, telepathic fungus. The ship’s AI, voiced by a soothing Fran Drescher or a drowsy Morgan Freeman, is named CALM (Cognitive Autonomous Lagomorph Machine — its design looks like a cross between a 1970s van mural and a white rabbit).
Prudence doesn't chase Ziggy with rage. She chases him with frustrated efficiency . Her theme in the score is a hyper-militaristic march by John Williams — think the Imperial March mixed with "The Rite of Spring" — but every time Ziggy takes a hit of "The Force," the orchestra glitches. The brass section suddenly plays a descending, lazy blues scale. The timpani becomes a bongo solo. The music literally gets high.
Galactic Giggle: The Cosmic Farmer
A directionless but good-hearted space-faring cannabis farmer accidentally steals a sentient starship carrying the last hope of a dying intergalactic empire. Now, with a bag of premium Moon Haze weed, a sarcastic AI, and the relentless Imperial Peace Force on his tail, he must learn to navigate the cosmos without losing his chill — or his mind.
A "Stoner John Williams Movie" is not a parody. It is a love letter to both the epic and the ephemeral. It takes the grand, emotional vocabulary of Williams — hope, adventure, wonder — and filters it through a haze of good-natured humor and cosmic peace. It asks: what if the hero didn’t fight the Empire, but simply offered it a snack and a nap? And the answer, scored by a 90-piece orchestra playing as softly as a lullaby, is: that would be glorious. Pass the popcorn. And the remote. And maybe a snack.
Ziggy is back on Ganja-5, lying in a hammock. CALM the AI is now his roommate, brewing kombucha. A hologram of Admiral Stickler appears — she’s retired, wearing a tie-dye uniform, and asks, "Got any more of that Starlight Kush?" Ziggy smiles. Williams’s harp glissando fades to a single, sustained triangle ring. Fade to black.