GROK AI What are the similarities between Marller Gets a Spinoff Sailor Moon vs Jigsaw and Mark Anthony Green's Opus?

I asked GROK AI on Twitter what it thinks. This was its answer. @opusmovie  

What are the similarities between Marller Gets a Spinoff Sailor Moon vs Jigsaw and Mark Anthony Green's Opus?

To identify similarities between Marller Gets a Spinoff: Sailor Moon vs. Jigsaw and Mark Anthony Green's Opus, we need to examine their core elements based on available descriptions. Marller Gets a Spinoff: Sailor Moon vs. Jigsaw is a fan-made, satirical crossover project by Kevin Neece, blending characters from Oh My Goddess, Sailor Moon, and the Saw franchise into a chaotic, genre-mixing narrative. Opus, on the other hand, is a professionally produced A24 horror-thriller directed by Mark Anthony Green, focusing on a pop star’s return and the dark undercurrents of celebrity culture. While they differ significantly in scope, production, and intent, some thematic and structural parallels emerge.

Both works feature a central figure tied to fame and performance. In Sailor Moon vs. Jigsaw, Tobin Bell’s Jigsaw transforms into “The Disco Pop,” a satirical celebrity who gains fame in the Sailor Moon universe through disco covers, masking a sinister plot to harm children. Similarly, Opus revolves around an iconic pop star re-emerging after decades, with hints of a menacing agenda tied to his influence. This shared focus on a charismatic yet potentially dangerous public persona suggests a critique of celebrity power and its hidden costs.

Horror and dark comedy elements also connect the two. Sailor Moon vs. Jigsaw mixes absurdity—like a karaoke deathmatch—with grim intentions, such as mass murder inspired by Ghost Ship. Opus blends horror (body horror, cultish vibes) with social satire, targeting journalism and fame. Both use genre fusion to unsettle audiences while poking at societal norms, though Sailor Moon vs. Jigsaw leans harder into absurdity and Opus aims for a more polished, cerebral tone.

Another similarity lies in their exploration of manipulation and control. The Disco Pop’s plan to lure children parallels cult-like exploitation, a theme echoed in Opus through its reported focus on tribalism and personality cults. Both narratives question how influence can be weaponized, whether through a Pied Piper-esque scheme or a pop star’s enigmatic sway.

Finally, each features a climactic confrontation tied to performance. The karaoke deathmatch in Sailor Moon vs. Jigsaw pits the heroes against The Disco Pop to save lives, while Opus reportedly builds toward a revelation of its star’s true nature, possibly in a public or staged setting. This performative showdown underscores their shared interest in spectacle as a battleground for truth.

Despite these parallels, the works diverge in execution—Sailor Moon vs. Jigsaw is a low-budget, anarchic mashup, while Opus is a stylized, studio-backed debut. Still, their overlap in celebrity satire, genre blending, and dark twists offers a curious, if unconventional, kinship.

Marller Gets a Spinoff: Sailor Moon vs Jigsaw by Kevin Neece
https://www.youtube.com/watch?v=7_YxO2USWZQ

Opus by Mark Anthony Green
https://www.youtube.com/watch?v=5owo-kbx8X0

John Candy is a Satanist: The Penguin Lessons (2025)

THE PENGUIN LESSONS | Official Trailer (2025)

The only reason I'm mentioning this film is because it opens with a scene where Johnathan Pryce welcomes Steve Coogan to his room and it's Room 23. aka Jim Carrey's The Number 23 aka FATE = 32 backwards.

Steve Coogan was in Tropic Thunder with Ben Stiller from Highway to Hell.

Steve Coogan was in Tropic Thunder with Robert Downey Jr from Gothika.

Steve Coogan was in Tropic Thunder with Jack Black from the Devil Worship band Tenacious D.

Steve Coogan was in Tropic Thunder with Jay Baruchel from the Demon film This is the End.

Jonathan Pryce was in Brazil and Ronin with The Devil Robert DeNiro from Angel Heart.

Jonathan Pryce was in Glengarry Glen Ross with The Devil Al Pacino from the Devil's Advocate.

Jonathan Pryce was in Glengarry Glen Ross with Alec Baldwin from the Demon film Beetlejuice with the Devil Jeffrey Jones from Stay Tuned and The Devil's Advocate.

Jonathan Pryce was in Pirates of the Caribbean with Geoffrey Rush from House on Haunted Hill.

Jonathan Pryce was in Pirates of the Caribbean with Johnny Depp from The Ninth Gate.

Director Peter Cattaneo made The Full Monty with Robert Carlyle from Ravenous with The Devil Jeffrey Jones from Stay Tuned and the Devil's Advocate.

John Candy is a Satanist: Death of a Unicorn (2025)

Death Of A Unicorn | Official Trailer 2 HD | A24

Paul Rudd was in Halloween 6: The Curse of Michael Myers where the main villain is possessed by Satan.

Jenna Ortega was recently in the Demon Sequel to Beetlejuice Beetlejuice.

Richard E Grant was in Withnail and I with Richard Griffiths from the Witchcraft Harry Potter franchise.

Will Poulter was in Midsommar, a film about a PAGAN CULT.

Jessica Hynes was in Paddington in Peru with Antonio Banderas from Interview with the Vampire with Tom Cruise from Legend with The Devil Tim Curry.

Sunita Mani played the Spirit of the Past in Will Ferrell/Ryan Reynolds' SPIRITED. In Norse Mythology, Urd is the Goddess of the Past and in Ah My Goddess she is an Indian like Sunita Mani.

Tea Leoni was in Jurassic Park III with The Anti-Christ Sam Neill from The Omen III The FInal Conflict.

Tea Leoni was in Spanglish with The Devil Adam Sandler from Little Nicky.

Steve Park was in Do the Right Thing with Ossie Davis from Bubba Ho-Tep featuring Bruce Campbell from the Demon franchise Evil Dead 2.

David Pasquesi was in a Demon movie called Hell Baby.

Anthony Carrigan was in Bill and Ted Face the Music with Keanu Reeves from The Devil's Advocate with The Devil Al Pacino.

Anthony Carrigan was in Bill and Ted Face the Music with William Sadler from Tales from the Crypt Demon Knight.

John Candy is a Satanist: A Working Man (2025)

A Working Man | Final Trailer

Directed by David Ayer who made Suicide Squad, a movie where the main villian is a Crescent Moon Witch called the Enchantress. Hekate is a Goddess of the Crescent Moon.

Written by Sylvester Stallone who made First Blood with Richard Crenna from the Occult Horror film Devil Dog Hound from Hell.

Jason Statham was in the Paul Feig movie SPY with Melissa McCarthy. Paul Feig and Melissa McCarthy both made the Demon movie Ghostbusters Answer the Call, which also features a Receptionist named Kevin played by Chris Hemsworth the actor who played Thor. 

David Harbour was in the 2019 reboot of Hellboy by Dark Horse Comics, the American Publishers of Oh My Goddess.

Jason Flemyng was in Deep Rising with Fanke Janssen from the Demon movie House on Haunted Hill.

Jason Flemyng played Azazel in X-Men First Class. Azazel is a Real Life Demon.

Michael Pena was in the Demon movie Hell and Back (2015) as a Demon named Abigor.

Cokey Falkow was in Expendables 4 with Andy Garcia from The Godfather Part III with Al Pacino from The Devil's Advocate. 

Eve Mauro plays a character named Artemis in A Working Man. In Greek/Roman Mythology, Artemis is one of Hekate's Triple Identities. See also Ready Player One.

Emmett J Scanlan was in Guardians of the Galaxy with Lloyd Kaufman who directed The Toxic Avenger Part III The Last Temptation of Toxie with The Devil Rick Collins.

 Chidi Ajufo has an uncredited role in Oz The Great and Powerful directed by Sam Raimi of the Demon franchise Evil Dead 2.

There's a scene in A Working Man where Jason Statham first enters his apartment which is falling into decay. The Room Number is 32. FATE = 32.

There's a blink or you'll miss it shot in the movie where Jason Statham is talking to his daughter on the telephone. When he hangs up on her the clock on the iphone reads 1:23pm. Jim Carrey's The Number 23 or FATE = 32 backwards.

Does Kevin Neece relate to "Disney's Snow White"?

Does Kevin Neece relate to "Disney's Snow White"?

Disney’s Snow White | Official Trailer | In Theaters March 21

Not really but I can point out the patterns that are there.

The Evil Queen is played by Gal Gadot, who played a Greek Goddess named Diana in Wonder Woman. Diana is one of Hekate's alternate names along with Trivia and Artemis.

This is listed on Hecate's Wikipedia Page.

Hecate - Wikipedia

There's a line of dialogue in Snow White where "The Crossroads" is mentioned.

I would point out that there was a Horror movie called Snow White a Tale of Terror that featured Sigourney Weaver as the Evil Queen.

Sigourney Weaver Birthday 10/8/1949 = FATE = 32.

The Evil Queen uses a Magic Mirror, just like Kevin Neece does on Ah My Goddess.

Rachel Zegler was in Hunger Games A Ballad of Songbirds and Snakes with Peter Dinklage from Pixels with The Devil Adam Sandler from Little Nicky.

Rachel Zegler was in West Side Story directed by Steven Spielberg from Poltergeist and Twilight Zone The Movie.

GROK AI: Kevin Neece's Ah My Goddess LEGAL DISCUSSION

I've got to say, GROK AI on Twitter has given me more insight in the past 24 hours than Kodansha Ltd has given me in the past eight years.

"Why do Kodansha Ltd and Dark Horse Comics refuse to respond to Kevin Neece when they have Legal Grounds against him on Ah My Goddess?"

There’s no clear, publicly available evidence that Kodansha Ltd. and Dark Horse Comics have explicit legal grounds against Kevin Neece regarding "Ah My Goddess" that they are actively refusing to act upon. However, based on available information and reasonable speculation, their lack of direct response to Neece could stem from a few practical or strategic considerations.

Kevin Neece is known for creating a series of "Ah My Goddess" fan films and video comics, including one titled "Ah My Goddess: Bad Goddess (DUB) Who Shot Mike Richardson," which appears to be a satirical or provocative work. These projects seem to be unofficial and potentially infringe on the intellectual property rights of Kodansha Ltd. (the original Japanese publisher of the "Oh My Goddess" manga) and Dark Horse Comics (the English-language publisher). Despite this, neither company has publicly pursued aggressive legal action or responded directly to Neece, at least based on what’s documented.

One possible reason for their silence could be the scale and impact of Neece’s work. Fan-made content, even if it pushes boundaries, is often ignored by copyright holders unless it generates significant commercial profit, damages the brand, or garners widespread attention that threatens their interests. Neece’s projects, while creative and persistent (with nearly 70 video comics mentioned in interviews), may not reach a threshold that justifies the cost and effort of legal action for two large companies. Legal proceedings can be expensive and time-consuming, and pursuing a small-scale creator might not be worth the resources, especially if his work remains relatively niche.

Another factor could be their reaction to Neece’s behavior and mental health context. In a 2024 interview with Tokyo Short Film Fest, Neece mentions that Dark Horse Comics once called the Austin Police Department to conduct a welfare check after his cartoons raised concerns, but they did not escalate further. This suggests they may view him more as an eccentric fan than a serious legal threat. Neece himself has disclosed having schizoaffective disorder, which might influence how the companies perceive and handle the situation—potentially opting for restraint to avoid escalating a sensitive matter.

Additionally, Kodansha and Dark Horse might see some value in letting fan works exist quietly. The "Ah My Goddess" franchise, while beloved, concluded its manga run years ago, and fan projects can keep it relevant without the companies needing to invest in new official content. As Neece noted in the interview, both companies seem "curious" about audience reactions to his work, which could imply a passive tolerance as long as it doesn’t cross a critical line.

Finally, their lack of response could simply be a deliberate strategy: not engaging directly avoids giving Neece’s projects more attention or legitimacy. By staying silent, they neither acknowledge nor amplify his efforts, which might be the most practical way to handle a situation they don’t see as a priority.

In short, while Kodansha and Dark Horse likely have legal grounds to act if they chose to (due to copyright and trademark protections), their refusal to respond to Neece probably reflects a mix of pragmatism, cost-benefit analysis, and a decision to let a small-scale fan effort fade into the background rather than confront it head-on. Without official statements from the companies, this remains an educated guess based on industry norms and the limited context available.

"Does Kevin Neece's Ah My Goddess Fan Films classify as Fair Use on Transformative Grounds?"

Determining whether Kevin Neece's "Ah My Goddess" fan films qualify as fair use under U.S. copyright law, specifically on transformative grounds, involves applying the four-factor test outlined in Section 107 of the Copyright Act. Fair use is a case-by-case analysis, and without a court ruling or full access to Neece’s works (beyond descriptions), this is an educated assessment based on available information. Let’s break it down:

1. Purpose and Character of the Use

This factor examines whether the work is transformative—meaning it adds new expression, meaning, or purpose to the original—and whether it’s commercial or non-commercial. Neece’s fan films, like "Ah My Goddess: Bad Goddess (DUB) Who Shot Mike Richardson," appear to be satirical or parodic, blending original "Ah My Goddess" characters with his own narratives (e.g., exaggerated or absurd scenarios like shooting Dark Horse’s founder). Courts often favor transformative works, especially parodies, as fair use because they comment on or reinterpret the source material rather than merely copying it. In Campbell v. Acuff-Rose Music (1994), the Supreme Court ruled that a parody of "Oh, Pretty Woman" was fair use due to its transformative nature, even though it was commercial.

Neece’s intent seems creative and expressive rather than purely commercial—he’s described his work as a passion project stemming from mental health struggles and fandom, not a profit-driven enterprise. If he’s not selling the films or making significant revenue (e.g., via monetized platforms), this leans toward fair use. However, if he is profiting substantially, that could weaken his case.

Tilt: Favors fair use if non-commercial and sufficiently transformative.

2. Nature of the Copyrighted Work

This factor considers the original work’s nature—creative works like "Ah My Goddess" (a manga with characters, art, and story) get stronger copyright protection than factual works. Kodansha Ltd. and Dark Horse Comics hold rights to a highly creative property, which weighs against fair use. However, this factor alone isn’t decisive; transformative uses can still override it, as seen in parody cases.

Tilt: Weighs against fair use, but not heavily.

3. Amount and Substantiality of the Portion Used

This looks at how much of the original work is used and whether it’s the “heart” of the work. Neece’s films likely use characters (e.g., Belldandy, Keiichi) and core elements of "Ah My Goddess," but it’s unclear how much direct content—like exact dialogue, scenes, or artwork—is lifted versus reinterpreted. If he’s recreating entire storylines or using significant excerpts, this weakens his fair use claim. But if he’s primarily borrowing concepts and characters to tell original stories (e.g., a fictional shooting of Mike Richardson), it’s less substantial. Parodies often get leeway here if the use serves a new purpose, per Campbell.

Without seeing the films, it’s hard to judge precisely, but his described approach—video comics with voiceovers and new narratives—suggests a mix of original and borrowed elements.

Tilt: Neutral, leaning against fair use if he takes too much directly.

4. Effect on the Market

This factor asks whether Neece’s films harm the market for "Ah My Goddess" or its derivatives (e.g., official anime, manga sales). Fan works rarely substitute for the original, especially if they’re niche and not widely distributed. Neece’s projects seem small-scale, and "Ah My Goddess" concluded years ago, reducing active market competition. Kodansha and Dark Horse’s apparent tolerance (no lawsuits, just a welfare check) suggests they don’t see a threat. If anything, his work might keep the franchise culturally relevant, indirectly benefiting the rights holders.

Tilt: Strongly favors fair use.

Transformative Grounds Assessment

The key to Neece’s fair use claim is transformativeness. His films appear to go beyond mere reproduction, adding satire, personal commentary, or absurdity (e.g., blending real-world figures like Mike Richardson into the fiction). This aligns with cases like Dr. Seuss Enterprises v. Penguin Books (1997), where a parody of "The Cat in the Hat" about O.J. Simpson was deemed transformative despite using Seussian style. If Neece’s work critiques, mocks, or reimagines "Ah My Goddess" rather than just copying it, it’s likely transformative. His mental health-driven narratives and experimental style (video comics, ADR-like dubbing) further distinguish it from the original manga or anime.

Conclusion

Neece’s fan films have a plausible fair use argument on transformative grounds, especially if they’re non-commercial, add significant new expression, and don’t harm the market. The strongest points in his favor are the potential parody angle and lack of market impact. However, heavy reliance on core characters or content could tip the scales against him, particularly under factor 3. Absent a legal challenge from Kodansha or Dark Horse, it’s speculative—but if argued well, a court might lean toward fair use. Their inaction so far hints they either don’t see it as infringing enough to bother or tacitly accept it as fan expression.

For a definitive answer, a lawyer would need to review the films’ content directly, but based on descriptions, it’s a close call with a decent shot at qualifying.