#Based off that scene from Tom and Jerry

[neonleon22]

A Classic Love

[wwillywonka]

when you're writing heaven on their minds, what version of willy is in your mind? is it depp wonka or wilder wonka? I know for sure it's not chalamet wonka. or maybe the musical ones? borle or snook?

hi anon! thanks so much for the question!<3

i try to emulate this in heaven on their minds by the very fact that i include bits and pieces from all versions of canon, but my willy is very much an amalgamation of every willy. and when i say every, i mean every, which is why i reward myself (with the self-awareness of its pomposity) with the Wonka Expert title - because i don't consider just one willy wonka to be The willy wonka; they're all him and he cannot exist without every piece of himself.

in terms of physical appearance, i've shared my art of him on here (and on my instagram @/corduroycyborg), and those drawings are about as close as i can get to portraying how he looks in my mind: tall but too thin for his height, mid-length thick curly chocolate-coloured (ha!) hair that he straightens within an inch of its life, deep set electric purple eyes that can increase or decrease in saturation depending on his mood, nose like a rabbit's, perfect teeth and painted nails and gold jewellery and always a thick layer of makeup to hide his insecurities. i also go back and forth a lot in my head about his race considering i myself am mixed asian and pretty much project everything about myself on him. but i like to keep it ambiguous to make him an accessible character for all readers, an intentional choice that plays into the themes in hotm of him feeling like he isn't a person without the media and his fans telling him who he is. hotm (my) willy is definitely more based on 2005 because that is my favorite version (and because i am hopelessly, unfortunately attracted to twink johnny depp for no reason) but also because i feel like that movie does the best job of externalising his inner self through his appearance. wilder wonka is classic, of course, but i've always thought, even as a kid, that he just looks too damn nice, is too charismatic. wilder wonka, while definitely mad (the boat scene>>>), is just a big ol' teddy bear. his hair looks so soft, and the way he picks up charlie and twirls him around is so 🥺🥺🥺. gene wilder himself said that he wanted his wonka to look trustworthy so that he could focus on making his personality unpredictable, which i appreciate and think works well in the 1971 movie - but willy is supposed to be antisocial and scary and off-putting. it makes him so much more interesting to me. the original book describes him as bright and colorful, yes, but also as someone charlie immediately wants to unpack, to study, to understand. and the way wilder wonka doesn't even wear gloves...!! that's a hugely essential part of willy's character and his adversity to the outside world, and it just isn't present in what is typically considered the "best" version.

in chapter 7, i describe willy lounging in a oscar wilde-esque fashion, with a floral robe and lipstick and a french bob. i know this is technically me stretching the femininity of depp wonka perhaps a little too far, but it's my own special charm i've built around the character in the past many years of him being my favorite character of all time. perhaps it's just me being really bisexual and projecting my particular type and relationship with gender onto him; i accept that and own it. i will forcibly feminize my blorbos all i want and that is my right. now, to address gareth snook wonka. tbh the worst wonka look besides the unspeakable tom and jerry movie. THAT BEING SAID, uk tour willy is probably my favorite portrayal of the character ever. he's unpredictable, he's scary, and his attractiveness and charms are so unexpected but make so much sense in the most surprising ways - snook wonka is cunty, i'll say it. mix his personality with depp and that's MY willy!!!

and yeah, definitely no chalamet wonka. i literally don't think about him at all while writing the character unless i'm considering how noodle fits into the story. and i've said this before but i don't care for borle wonka even though i know he's a fan favorite. sorry lol.

TLDR: 93% depp, 6% snook, 4% dahl, and 2% wilder. ("but that's 105%!" yes.)

((p.s. the artist who appears most on the big unpublished playlist i have for him is lana del rey. if that helps paint a picture🎀🍫🐇🍒).

[mollymauk-teafleak]

it's been a long day so I'd like to ask for some more fluffy headcanons of icemav during their secret relationship stage like in should send me running? thank you!!

Ah I'm sorry to hear you've had A Day, I too know how it feels to have had A Day. Hiding in IceMav seems like a good idea, it's what me and my gf have been doing!

So I adore this stage in their relationship and could talk about it forever. I feel like Slider goes home for a weekend to see his wife and children and comes back, dropping in on Ice just to see how he's doing the way he always would. And for some reason, Ice is looking panicked and nervous and seems to be trying to get rid of him. And then Slider hears the shower turn on upstairs and he Stares at Ice like '...please just tell me it isn't Mitchell' and Ice goes so red.

They do get to the point where they'll be making out on Mav's couch and Goose wanders past to raid Mav's fridge like 'evening Tom'. It takes a while for Ice to get used to it

I don't think they know exactly what to call each other during this time? Like they don't consider themselves to be in a Relationship because they think (read: they're lying to themselves) that this is just going to be while they're at Top Gun. So they do just call each other 'my wingman'

The first time Ice calls Maverick 'baby' something in him short circuits, like he finds it unbearably hot

They do go on sort of dates, they just wait until it's dark before Mav coaxes a very reluctant Ice onto his motorbike (he secretly kind of loves it, its just that 10% of his brain is Horny and the other 90% is oh god we're going to die). They ride very very far off base so there's no chance of them bumping into anyone and they'll eat bad diner food thats kind of delicious because its like midnight, they'll walk on the beach together, maybe go for a skinny dip if they're feeling daring. They're yawning all through class the next day but its worth it

Years later, after dadt and they're married, they do go back to the diner where they had these secret dates and Reminisce

Often their arguments in class and after hops will spill over into some very intense, very fun Kinda Angry sex. Its those days especially where Maverick is wincing when he sits down in the cockpit the next day

Ice starts leveraging sex so Maverick will study for their classes, like he'll quiz him and if he gets a question right he gets a kiss from Ice, a whole page correct and he'll blow him

Despite what they say, Goose knows this is for real so he takes as many pictures as he can when they're all together and safe, just the four of them, he knows Mav and Ice will want memories of this time when they're older. And he's right, those Polaroids are so precious to them later

Slider definitely asks Ice for details after these dates (he's curious, he still hates Mitchell, shut up) and Ice is immediately like 'oh yeah, uh, I love him' (no I have not just watched Jerry Maguire to appease my gf and applied every single scene to IceMav...)

[punster-2319]

HAPPY 30TH ANNIVERSARY ALADDIN

Disney’s 31st animated film was released on this day in 1992 and has since become one of the studio’s classics and my personal favorite. Directed by John Musker and Ron Clements (fresh off the success of their previous hit The Little Mermaid) and a phenomenal soundtrack by composer Alan Menken and song lyrics Howard Ashman (his final film) and Tim Rice. Just like with their previous musical films The Little Mermaid and Beauty and the Beast, Aladdin was was a box office hit, surpassing both previous films by grossing over $200 million domestically which was a record for animated films at the time and wouldn’t be surpassed until 2 years when their next film The Lion King grossed over $300 million domestically.

I love this movie. As stated above, not only is it my favorite Disney movie, but it’s my favorite movie period. Running at 90 minutes, Aladdin has the perfect length for a movie (personal preference I know, but something about it being approximately an hour and half just has that right balance of not feeling too long or short). The story is simple but REALLY fun and just flows at a natural pace, again thanks to the movie’s length. This movie more than any other Disney animated feature really takes advantage of its medium and pushes it to the limit. I’ve always been a fan of slapstick cartoons like classic Looney Tunes/Tom and Jerry, Animaniacs, etc so Aladdin fits into that mold perfectly for me. This is also Disney’s best comedy and there’s only two other Disney films I can think of that match this film’s comedic energy (one of them also being directed by Musker and Clements).

I honestly don’t know what else I can say about Genie that hasn’t been said already. He’s the best comic relief/sidekick character, the late great Robin Williams set the bar really high with his iconic performance and paved the way for more pop culture based humor in animated films later down the line (for better and for worse). Even without the Genie, there’s still plenty of funny moments throughout the movie like this moment:

On that note, Jafar is also a great Disney villain. He has that perfect balance of stoic and campiness along with a great character design that contrasts from the other characters but still fits in the world.

Lastly, the songs are great. Aladdin was the last of the Menken/Ashman trilogy before the latter’s death during production of this and their previous film Beauty and the Beast. 3 of Ashman’s songs appear in the final film (Arabian Nights, Friend Like Me, and Prince Ali) and they’re all catchy as hell. Tim Rice took over where Ashman left off and wrote 2 new songs and 2 reprises (One Jump Ahead and it’s reprise, A Whole New World, and Prince Ali reprise) which are also great, especially A Whole New World which won an Oscar for Best Song and was the only Disney song to reach #1 on the Billboard Top 100 for nearly 30 years until We Don’t Talk About Bruno from Encanto accomplished that earlier this year.

There’s so much more I want to say about this movie, but this post is getting too long. Aladdin was a childhood favorite of mine that I watched several times on VHS and later on DVD for the behind-the-scenes bonus features (this is why physical media should never be taken for granted). It’s a part of that era in the 90s when Disney dominated with great animated musicals that also included The Little Mermaid, Beauty and the Beast, and The Lion King, and continue to be beloved classics to this day 30 years later.

What are some of your favorite moments, characters, and songs from Aladdin?

[obscure-skirmish]

Propaganda under the cut!

Itchy & Scratchy: "It's a Tom and Jerry-esque series about a cat (Scratchy) trying to catch a mouse (Itchy) only to get maimed horribly in graphic ways. The characters and the studio that creates the cartoon occasionally stand in for Mickey Mouse and Disney, respectively, in parodies of the entertainment and animation industry. Their first cartoon together was "Steamboat Itchy" in 1928 (dir. Roger Meyers), although both had made earlier appearances-- Itchy was created for a 1919 short "Manhattan Madness" by Chester J. Lampwick (although Roger Meyers would later take credit for Itchy and Lampwick would not be recognized as the creator until well after Meyers's death), and Scratchy appeared in a 1928 short "That Happy Cat". The show is featured a LOT on The Simpsons-- not only are the shorts frequently shown to the viewers, but the production of the show and its impact on the cultural zeitgeist are frequent topics of Simpsons episodes. If you've ever seen the scene that goes "I have to go now, my planet needs me"/"Note: Poochie died on the way to his home planet", that's from an episode where the producers tried to introduce a surfing, rapping dog named Poochie to the show (voiced by Homer), who was short-lived due to his overwhelmingly negative reception. Sorry if this is too much info I am very autistic about both The Simpsons and Itchy & Scratchy"

Bug Rangers: "The Bug Rangers are a sentai team composed of Bee, Beetle, and Moth. Their exploits inspire children all over the world. There are comic books, posters, and even plushies of them. Kabbu is a big fan. The Bug Rangers bear a strong resemblance to Team Snakemouth (the poster is just art of Team Snakemouth with helmets), and there’s a decent chance that Kabbu based his entire shtick off of Beetle. At one point, a wasp mistakes Team Snakemouth for the Bug Rangers (or at least their actors)."

[notajinn]

Top Games Played in 2023 - Number 8: Mario + Rabbids Kingdom Battle

8. Mario + Rabbids: Kingdom Battle (Switch)

It's so weird that this game even exists. It's a crossover of Mario and Rabbids, but the gameplay for some reason is XCOM?

I think this was an attempt to make their own weird Kingdom Hearts style crossover. And all things considered, they did pretty well!

What I Like

The combat gameplay is weirdly really good? Essentially it's a turn-based strategy game on a grid, but every character is a shooter. And making use of the environment for cover is very important.

What really makes the game shine is the weird abilities. First of all, you can dash into enemies to deal damage, so the game encourages getting close to enemies despite having ranged options. Many characters also have melee attacks that deal big damage to further encourage this.

Another big mechanic is the ability to jump off a teammates head to get increased movement distance and height, so this encourages keeping everyone relatively close.

Simply put, the game encourages aggressive play in a genre I typically play defensively.

There's also the fun of seeing things like Peach using a cartoonish shotgun. Presentation is overall done well with bright colours and different environments. Since navigating objects in the environments is critical for gameplay, you also pay more attention to the presentation.

The Rabbids do not talk and are instead Tom and Jerry characters, which makes them less annoying than I feared. And honestly occasionally funny.

What I Didn't Like

The Rabbids are tolerable but still generally a negative. I'd prefer just the Mario cast and some OCs. The story in general is unremarkable apart from Bowser Jr serving as the main villain instead of Bowser.

There are exploration segments and puzzle segments between battles that are incredibly average. They are rarely frustrating, but also rarely fun. Honestly they capture the same "mid" vibe that I find most Mario platformers do. I'd prefer this to play like classic Fire Emblem where you just go from battle to story scene to battle.

The Donkey Kong DLC is completely separate from the main game, so you don't get to use them in the main campaign. Also the only DK character is DK himself (though he's super-fun to play and essentially a playable boss).

The music is unmemorable, and that's always a disappointment.

Final Thoughts

This is an unusual fun game to play during battle, but outside of that its unremarkable. The battle system could have pushed this higher on my list if not for everything else.

[greensparty]

Movie Reviews: Heartbreakers Beach Party / Woman of the Hour

This week I got to review 2 very different movies: a long lost documentary getting a special 2-night screening this week and a new based-on-a-true-story thriller premiering on Netflix this week.

Heartbreakers Beach Party

During the 1982-83 era of Tom Petty and The Heartbreakers they went on their tour cycle for their fifth album Long After Dark (watch for my album review of the re-release later this week) and during the tour, they documented it on 16mm. Some of the footage was featuring in an MTV special, which became a cult classic even though it aired only once. I remember seeing some of the footage pop up years later in the MTV Rockumentary on Tom Petty. This lost 16mm film is finally being released for the first time and it's being presented as "Cameron Crowe's First Film". It's a gray area if that is in fact true or not since Fast Times at Ridgemont High, which he wrote, was released in 1982 and Say Anything, which he directed, was released in 1989, but indeed, the former Rolling Stone writer did direct this documentary and is featured interviewing Petty! The doc, along with 20 minutes of outtakes and modern day recollections of Crowe, is finally being released as Heartbreakers Beach Party in a special 2-night screening at select theaters on October 17 and 20 (which would've been Petty's 74th birthday).

movie poster

For context, in the 1970s when Crowe was a teen he began working as a music journalist for Rolling Stone covering the big acts of the era. This was, of course, the basis for his masterpiece Almost Famous. Music has always played an integral role in Crowe’s prior films, i.e. Peter Gabriel being blasted from a boombox in Say Anything, the Seattle music scene as the backdrop to Singles, Bruce Springsteen’s “Secret Garden” as the romantic heart of Jerry Maguire or in the case of Almost Famous music isn’t just the backdrop, it’s the star of the film, front and center. After getting into screenwriting and later directing in the 80s, Crowe was still in the music world. He directed the 1983 music video for Petty's "Change of Heart" off of Long After Dark. In the years that followed, Crowe even added Petty songs to his movie soundtracks including "Free Fallin'" in Jerry Maguire and multiple songs in Elizabethtown. In the last few years, it's been cool to see Crowe balance narrative films with documentaries, notably his excellent Pearl Jam Twenty, so it's bittersweet to see him look back at his time with Petty. I'm a big fan of Crowe and it's always exciting to feel his passion for music running through his work. One of the highlights of my blog was when Crowe actually liked one of my tweets in 2020.

Crowe and Petty in 1983

The doc, co-directed by Crowe, Doug Dowdle and Phil Savenick (1952-2024), shows the band on the road, promoting the new album and some live performances. MTV apparently pulled it after it's one airing at 2AM because they felt it was too experimental, which is ironic as it seems like a straight-forward promotional special by today's standards. The footage of young Crowe talking with Petty is a joy to discover: a legend talking with a legend as they cruise around L.A. I wish there had been more of that. The live performances are great, but many of them are only snippets and not full performances. I never got to see The Heartbreakers live, but I did get to review the 2022 live release Live at the Fillmore, 1997 (which the Top Petty website actually shared on their website!!!), and it made me wished I had seen them live when I had the chance. The interviews with The Heartbreakers were mostly on the set of the "You Got Lucky" video. As I mentioned I had seen some of this featured in the MTV Rockumentary, notably the on-the-bus performance of "I'm Stupid". The special itself is about 1 hour and then they have about 20 minutes of outtakes interspersed with 2024 footage of Crowe with Petty's daughter Adria (a noted filmmaker I might add) talking about the documentary.

The film itself feels like a DVD featurette as opposed to a fully formed documentary, but the goal doesn't appear to be to make this into more than what it is, but to celebrate the long lost footage and what this moment was for The Heartbreakers at this point and time. This serves as a tribute not only to Petty who died in 2017 but also to bassist Howie Epstein who died in 2003.

For info on Heartbreakers Beach Party

3.5 out of 5 stars

Woman of the Hour

Anna Kendrick has been a secret weapon for quite some time. Mainstream audiences might know her for the Twilight, Pitch Perfect and Trolls movies, but she definitely earned her Oscar nomination for Up in the Air and has also continued delivering solid supporting roles in movies like 50/50 and Drinking Buddies. Now she's made her directorial debut with Woman of the Hour, a based on a real life crime thriller that lands on Netflix and limited theatrical release this week after playing festivals since the 2023 Toronto International Film Festival.

movie poster

Not only does Kendrick direct but she stars as Cheryl, a struggling actress in 1978 Hollywood. After going to auditions and barely able to pay her rent, her agent books her a spot as as the bachelorette on The Dating Game. I know - hard to believe some of the contestants on that cheesy dating game were actors, right?! One of the bachelors on this particular episode is Rodney Alcala (Daniel Zovatto), a serial killer who had already murdered five women by the time of this taping. The film cuts around to various encounters Alcala had before and after that TV appearance. It shows the TV taping as host Ed Burke (a scene-stealing Tony Hale) tries to keep things moving and an audience member Laura (Nicolette Robinson) actually recognizes Alcala as the murderer of her friend.

the movie's set of The Dating Game

The film I found myself thinking of a lot when I was watching this was Jonathan Demme's brilliant thriller The Silence of the Lambs. I'm not saying this is anywhere nearly as good as that, but the genius in Demme's directing is that he had a female protagonist in a male dominated world and it's showing this subtle societal sexism and misogyny in the smallest moments. The story here is very different, but the way that Kendrick is shining a light on sexism even in the smallest ways in the 1970s says so much. Cheryl is giving the Hollywood dream her best shot, but the city is eating her alive and the audience is rooting for her, but within the dating show, where contestants are literally heard and not seen so at to hide who they really are, the sexism is on full display but in the guise of flirty entertainment. But the "you can't write this!" story of this serial killer appearing on a dating show, the undercurrent of terror becomes actual fear not the just suspicious of someone being a little icky. There are still a lot of questions left unresolved, mainly why would a killer go on a TV show, the least inconspicuous place imaginable at the time? But before you have a chance to question it, the film is on to the next victim encounter for you to watch through your fingers. Looking forward to seeing what Kendrick directs next!

For info on Woman of the Hour

3.5 out of 5 stars

[back-and-totheleft]

Oliver Stone talks ‘JFK’ and his trio of Dallas films that capture the city

In the space of three years, Oliver Stone made three films in Dallas, an unusual number for any director but especially one not from Texas. “I know, I’m from New York!” Stone said with a laugh, when I connected with him over Zoom.

The films are quite different, but each captures a facet of the city. The late-night claustrophobia of Talk Radio (1988) is a maze of reflective glass with the neon skyline in the window. Born on the Fourth of July (1989) uses the sun-dappled streets of Oak Cliff to tell a very American story of idealism curdling to betrayal. And of course there is JFK (1991), Stone’s feverish spin on that fateful day in 1963 and New Orleans district attorney Jim Garrison’s doomed crusade to make sense of it.

Stone is coming to Texas Theatre to screen and discuss those movies — in addition to his warped serial-killers-in-love classic, Natural Born Killers, celebrating its 30th anniversary — for a mini-festival called “4 Days in Dallas With Oliver Stone” running Oct. 3-6. He’ll be talking with Dallas-based journalist Matt Zoller Seitz, Vulture critic and one of the preeminent Stone experts, having written a collection of conversations and essays about the director called The Oliver Stone Experience.

It’s hard to imagine better movie programming than watching JFK with Oliver Stone in the theater where Lee Harvey Oswald was caught. I spoke with the director about filming in Dallas, the lone-gunman theory and what Jerry Jones gave him.

Let’s start with your first Dallas film, Talk Radio. How did it wind up being shot here?

We were trying to make Born on the Fourth of July, but it was a big cookie to bite. It was too expensive, it was about a paraplegic and the studios considered it a downer. Tom Cruise and I came together to make that happen, but Tom was doing Rain Man, and we had to wait. [Producer] Ed Pressman saw this play in New York with Eric Bogosian called Talk Radio. The play was powerful. I said, maybe we should take a couple of months, and I’ll shoot it while we’re waiting for Tom.

It essentially gave you a chance to get to know Dallas.

That’s right. Because we had a limited amount of money for Born on the Fourth of July, which was a very big production, and Texas was very attractive. It’s a right-to-work state, and the Texas Film Commission came after us aggressively. Come to Dallas, see our beautiful new studio out in Las Colinas. And Dallas had so many talented extras.

Let’s start with your first Dallas film, Talk Radio. How did it wind up being shot here?

[Real-life Vietnam vet and film protagonist] Ron Kovic grew up in Massapequa, Long Island, but Long Island was being developed, so it didn’t have the kind of emptiness, the open-space skies I found in Dallas. There was a neighborhood that really turned out well, [the Elmwood section of] Oak Cliff. They gave us a whole street.

Texas was good to us. I hated the hospital we shot in, though. We moved into an abandoned hospital, and that was probably the hardest two weeks I’ve ever shot. Those scenes based on the Veterans Hospital in the Bronx are very depressing, but it was necessary, because that’s the truth, of course.

You were reading Jim Garrison’s book On the Trail of the Assassins while you were shooting Born on the Fourth of July. So was it filming in Dallas that sparked the fascination that led to JFK?

I never really made that connection, but I’m sure someone took me to see Dealey Plaza for the first time. When you see it, you realize what a jewel box it is. How small. You don’t realize that from pictures. It’s a perfect ambush site.

Dallas spent decades in denial about the Kennedy assassination. The Sixth Floor Museum didn’t open until 1989, shortly before you shot the film. And the movie JFK blows the doors off history, creating that feeling that something just isn’t right. How hard was it to get permission to shoot in Dealey Plaza?

There was a big fight. A lot of politicking behind the scenes. And Dealey Plaza was our first day of shooting. Can you imagine? With all those cars and the bang-bang echoing through the city. They closed off Stemmons Freeway and gave us the whole square. It turned into quite a circus.

That movie was a nightmare in terms of work. I had to be totally focused and ignore distractions. The Washington Post ripped off a first draft of the script, and we were already on the [sixth] draft, and they came out with a Sunday piece months before the movie opened, ripping us to shreds. I didn’t realize the opposition to the film until I got into it, which is somewhat like what happened to [New Orleans DA and the film’s protagonist Jim] Garrison.

I haven’t gone down the rabbit hole on JFK’s assassination, but friends who have will tell me: The conspiracies are fun, but at the end of the day, it’s just a lone gunman. They often cite Vincent Bugliosi’s book. What are your thoughts on Reclaiming History?

It’s ridiculous. It’s like citing Gerald Posner’s book [Case Closed]. The best refutation is from Jim DiEugenio, who went into Bugliosi’s book detail by detail [Reclaiming Parkland]. It’s sad that people don’t bother to read the rebuttals.

I went back to all this material in 2021 with the documentary JFK Revisited. It’s very clear that Oswald was known to the CIA. I don’t want to get into all the arguments here, but that documentary is worth seeing.

For a non-Dallas filmmaker, you’ve tackled some very essential Dallas stories. You came back to make the football film Any Given Sunday.

We were having a huge fight with the NFL. We couldn’t get stadiums, and we couldn’t get the jerseys or uniforms. We had to create our own parallel world. Thank God, Jerry Jones was a real gentleman, and he said, you’re welcome to use my stadium. Or maybe he said the Dallas Cowboys stadium.

No, it’s his. [Laughter.] So when you come to town, will you go to Dealey Plaza?

Oh, well, sure.

-Sarah Hepola, "Oliver Stone talks ‘JFK’ and his trio of Dallas films that capture the city," The Dallas Morning News, Oct 2 2024

[funkinblues]

Quasimoto is a side project of hip hop producer Madlib, 

(Mind 

Alterring/ Altered

Demented 

Lessons 

In 

Beats)

And animated alter ego Lord Quas from Oxnard, California.

Quasimoto, came on the scene first as a featured MC on Peanut Butter Wolf’s “Styles Crews Flows Beats” 1998. 

Peanut butter wolf is a LA based DJ and founder of Stones Throw Records. He is white. (Just a fact of interest)

Madlib had been experimenting with Quasimoto since 1996.  Initially recordings were meant for his own personal listening.

“When I recorded the album I didn’t use effects, I just spat on the tapes. 

So I went out there and done my first Quasimoto show and my voice was regular in a crazy suit” 

The attitude of Quasimoto is that, of a wild and eccentric lifestyle, told in a fictional creative world where Madlib ties in jazz, soul and hip hop instrumentals incorporating hip hop within illustrations.

Madlib put out Quasimoto’s debut solo album The Unseen  in 2000.

Lord Quas continued to build Madlib’s reputation as one of the most creative and unique creators in hip-hop.

The Further Adventures of Lord Quas (2005). 

Noticeably, Quasimoto’s flow is intrinsic to hip hop, his imagery is that of trouble. 

Lyrics as featured in basic instinct 

Yo, we got the basic instinct to keep the party live

We got y'all niggas open, hit you with the party vibe

I'm cruising like skating in Central Park

With a box portraying the menace

I got the 40 on my lap, my tape playing Boom Bap

The nigga next to me talking about, what up man, that shit not my style

Now we spark it live every day of the week

Keep a nigga from getting tweaked up inside this piece

I fall on niggas like a rain child

When we're wrecking up the scene we bring the pain loud

introduces colour to the cartoon created by Madlib and Jeff Janks.

Quasimtoo is an aardvark. Aardvarks are medium-sized, burrowing, nocturnal mammals native to Africa. They have a long snout, similar to that of a pig, which is used to sniff out food.

Quas among other things represents dirty violence, he's rapped about killing people in more cartoonish and gruesome ways and artwork to amplify a hip hop aesthetic.  Lighter than tom and jerry.

In an interview Madlib was asked if Quas can hold his own in a fight, which he said “nah he’s a wimp, that’s why he carries a brick”

In other interviews (BBC 1 Radio with Benji B) Madlib talks of Lord Quas as a separate extension of himself, like a friend “he uses a brick.” “We might get back in the studio” “he took my last girl” giving life to a picture or concept most people can relate to, escape from or aspire to be like. 

The Quas character we know today was first drawn by DJ Design (credited as Keith Beats) for Quasimoto's “Microphone Mathematics” single.

At the time, Quasimoto was literally supposed to be “unseen” – he’s the semi-invisible figure sitting in the car seat on the cover of The Unseen.

Quasimoto’s lyrics hit personally as Madlib gives the cartoon a personality as well as a voice. 

[the-suicidal-lizard]

I can confirm there is. And quiet a lot.

The dog in the background, smiling? That’s Bimbo. He’s from the Fleischer Brothers Studios, and from Betty Boop shorts. Even the cupcake. It reminds me of “The Cookie Carnival” by Silly Symphony, either the Jolly Rum Cookies, or the Upside Down Cakes.

References Below:

The episode “Ghost Ain’t Real” has a lot of references in. It references Snow White;

Even the song hints to “Pink Elephant’s on Parade” from Dumbo. I’m also certain it’s this episode that references Silly Symphonies “The Skeleton Dance”, and “Bimbos Initiation” again by the Fleshier Brothers. (Ironic, given the fact the reason the Fleshier Brothers lost their business is because Disney ran them to the ground. Literally, in “Bimbos Initiation” Mickey Mouse is the reason Bimbos in that torture place. They had a rivalry.)

Remember when Elder Kettle “died”? And he fell?

Yeah, it’s the Family Guy “Death Pose”.

Remember the scene with The Devil fixing the fence? Reminiscent of Fantasia by Disney. The music gives the same feel, the paint brushes move  much like the brooms.

Cuphead and Mugman kissing Elder Kettles feet? That could be a reference to Tom and Jerry, or Looney Tunes.

Even the intro! With Mugman flying around Cuphead? That’s a reference to the old Universal Studio’s logo!

In the first episode when Cuphead looses, he’s called a “Loser”, which has the same tone as the one used in a Spongebob episode where Spongebob has a mic that calls out “Loser”.

King Dice’s introduction is heavily reminiscent of the song “Minnie The Moocher”, sang by Cab Calloway. Though King Dice IS based off of him. (Not animation fact, just something fun to know.)

Look, there are a LOT of references that I can’t name and I’m not gonna go through with ALL the pictures. Just thought some of this would be interesting to know... okay byyyyeeeee!!!!

The Cuphead Show is a love letter to the 30's "rubber hose animation" and "golden age cartoons", but it also pays tribute to specific animators !

*Clip from season 3 but not a proper spoiler per say*

Just like season 2/ s1b, I have MANY THOUGHTS about this last batch of episodes ! I bingewatched it and enjoyed a lot of things. Will share my highlights later.

Now, it may sound silly, but my attention got particularly caught on a very short and specific moment of animation:

Doesn't Mugman's little head swaggle look familiar to you ?

It's just like the signature trademark of Milton Erwin Kahl, one of Disney's Old Men and supervisory team of animators ! I love when animators have their unique little quirks we can recognize when seeing the films/cartoons they worked on. I think this homage of the famous "Milt Kahl head swaggle" is completely intentional, as he used to do it with characters that are getting a bit too cocky or self-confident. Which is exactly the case for Mugman here (As he should, he deserves to be) !

This proves just how much love, thoughts and efforts the animators put in the creation of the Cuphead Show, with other very remarkable animated scenes through the whole series, and I think it's truly beautiful 🥺

Shoutout to them !

This makes me wonder: are there any other tributes we might have missed ?

[goatpaste]

Has Jojo!Sammi met any other stand users from the canon???

mmm hard to say, part because my brains like embarrassed by the idea of shoving my ocs into canon characters lives, which is silly to an extent lol, and part I havent seen all of jojo yet so idk them all,,

and part of idk if they would!

I have a vague idea for my jojo sammi's lil background and story of like. Being a regular gimmick wrestler who loVEs to fight, then along comes some fucker who see's this big talking show off rowdy boy and goes, oh I HAVE to make him a stand user, I nEED to see this guy acting uP. Which then there's just this wrestler with a huge invisible ghost with him in regular ppl wrestling and he begins to get bored. he loves fighting but he barely has too do anything to win anymore, the only good part is using radio star to perform stupid and even dangerous stunts and moves. So along comes this guy, probably the guy who made him a stand user and is like, hey you love fighting dont you, you stupid pathetic lil guy huh? ofc ofc yES he is. Leading to him being invited into this underground stand user based wrestling ring. Its a lot more violent and less rules, more just letting stand users go ape shit on each other. Radio Star and their user just DOMINATE the scene, their well loved by the crowd and mostly by their boss. Basically coming a lap/guard dog to this guy who runs the who shady ass business. very loyal to them, but mostly only doing work in the fighting ring, once in awhile having to “gopher work” by put the occasional someone "in their place" when their causing problems at their businesses or someone's getting too nosy about how their running stuff, ect, ect. My stand user maybe being a lil purposefully naïve to how kinda dangerous and shady their business is, but he loves fighting and he loves being useful and given task he can complete, and his a job in the fighting ring on a fair playing field where people cheer for him, LOVE him and he can run around showing off his stupid lil moves and the people want MOre. I imagine if any intervention happened between my stand user and any jojo character is be based on getting to their boss who is making and using stand users for their fighting rings and other businesses and Radio Star being this good hearted but loyal cog in the machine, more than certain to get killed off.

BUT beside all that rambling since I dont really have a real answer, so heres a bonus differentish answer of, I really liked DIO in part 1, he was my favorite of p1. was just talking about him in a call with friends the other night.

and I claimed I’d love to sit and watch saturday morning slapstick violent cartoons like tom and jerry with him :) just me and my ugly yellow buddy DIO

[thisismyroadtothethrone]

Y’all I just thought of something crazy and I might just be going insane and I’m sure I am like totally way off base at this point but Jerry yall…

Okay so I think most of us can agree that Jerry seems way too obvious of a choice to be big mouse and that’s why most of us don’t think it will probably end up being him but there’s still reason to suspect at least a little but there’s also reasons to believe that it’s not well I just thought of a possibility of something…

Right so you know how right from the get go Jerry “believed” that changho was big mouse like the man didn’t even question it which to the rest of us that get to see the big picture is suspicious and not to mention the mouse tattoo on his wrist bc what if he wanted everyone to also believe that changho was big mouse to put him in the spotlight for whatever his intentions were which is something I think most of us have thought a possibility well I was reminded today of a couple of scenes that kinda got me questioning certain things…

The main scene my mind keeps going back to is the scene where changho has the other prisoners hang the doctor and I think it might’ve also happened during the scene they were gonna burn him alive but I can’t quite remember but anyways Jerry gives Changho this look while he’s letting that guy hang and to me it almost seemed like he was worried or scared but not necessarily of Changho but of what he had become like Jerry knew that wasn’t who he was and was afraid Changho would go too far but if he really believed he was big mouse then why would he look at him like that???

Also reminder Changho grew up in an orphanage which we didn’t find out until like half way through the drama which I honestly think is a weird time to reveal such information unless it had higher importance of some kind but like it mentions that Changho buys milk for all the kids and he doesn’t get into/start fights bc he doesn’t want the other kids at the orphanage getting a bad rep or having others look down on them…

So essentially what I’m saying is without like any proof whatsoever what if just what if Jerry and his sister were kids at the orphanage bc remember he’s only mentioned a grandma who currently has dementia and they clearly don’t come from money so what if they started off there so he knew who Changho was this whole time and what kind of person he really was and also he’s never given Changho his real name he just goes by Jerry after Tom and Jerry…and somewhere along the way this organization gets started I have no idea how to spin it from there but then the mayor gets Changho involved with the case so now big mouse is partly doing this to save Changho and help him survive but also bc he needs his help…but also I have no idea what all this has to do with the doctors paper…so yeah

I know it’s absolutely crazy and there are a lot of plot holes lol but I just remember seeing that scene for the first time and thinking the look he gave was weird and then this suddenly spawned into my mind so do with it what you will

[laketaj24]

Serotonin

Author’s Note: I finally finished something in my drafts after two months. I feel semi accomplished today! Taglist is open, as are requests!!!! Send them… I want them.

Pairing: Colson Baker x Reader

Warning: Smut, public sex, drinking, language

Inspo Song: Why are you here?

 The eyes searing into you from across the club belonged to Meg Styer; you knew of her well, based on Colson’s Instagram, she was the new arm piece. The well-known model had a reputation of making herself known to the exes, even if that meant starting confrontations when they were not needed. She crossed her long russet brown legs; they shimmered in gold, as did her entire outfit. You felt immediately outdone, thinking of the minimal effort you’d put into the outfit or your makeup today. Tonight's outing was not supposed to be about Colson or this new woman; it was about falling out of this fucking slump you'd found yourself in for the past month.

"It’s lively here.” Eric grinned. Straight edge, Eric.

You cringed inside; if your mother could have created someone on an app, Eric would have been him. Without a doubt, he was handsome, with dark hair, delicate features, and not a tattoo or piercing in sight. The club had been his idea, but parts of you believed he’d gotten the idea from your sister, who knew that there was no way in hell you’d sit at a restaurant and eat. You liked the action; your job called for you to sit in silence and awkward conversations; you didn't want your life to be a damper as well.

“It is,” you looked around, taking everything in, including the abrasive eyes that still remained on you, but it didn’t matter once he entered the room. The black shirt revealed his entire tattoo-riddled chest, even the one of your name he’d gotten a few years back. He looked like he might be up to trying you tonight, so you had to disappear and do so quickly. “We should go to the booth you got.”

“Yeah, sounds like a good idea.”

It wasn’t a good idea; you sat uncomfortably across from the pair watching their every move while trying to suppress the need to end the date abruptly and slap the fuck out of him. Irritating you always was the one thing he did exceedingly well. Meg sat in his lap, draping her arms over his body, throwing her ass on him like she had no shame!  Did he know it was you across the room from him? Did he care? You watched as the waiter brought your third glass of tequila to the table and leaned into Eric, noticing the earthy cologne mixed with the whiskey. He smelled nice, or perhaps you were elusive to the bullshit because being near to him dulled the ache of the scene across from you.

The room to be secluded offered no privacy, so even when you felt alone, you were smothered in the thoughts of what if he saw you kiss or touch this guy- what the fuck was his name again? You uncrossed your legs, clumsily kicking the round glass table in front of you and spilling his drink but thank god not yours.

“I need some air; I’m gonna go get some.” You paused and took your glass. “I’ll be back.” The words scrambled out, and you did too, pushing up from the leather couch and not looking back to see Eric’s reaction to the awkward movements.

Too many people surrounded you, and at the moment, all you truly wanted was to hear nothing and feel nothing, even if it meant you had to get shit-faced. The stairwell didn’t have many people in it; only two women consumed in one another and Colson.

Your heart sunk once you realized it was him, from fear, dread – fucking embarrassment, maybe? He shook his head; you took notice of the three earrings in one ear while the other garnished a seat of crosses that dangled. Colson’s hair was slightly disheveled atop his head; the dark roots peeked out of the platinum blonde tapered cut. He looked great as usual. “I thought you were in for the night?” Colson’s voice carried over the music because he refused not to be heard, especially by you. He looked down at you, nursing the glass of chilled tequila. You’d acquired a taste for it over the years of being with him, Colson drinking tequila like water had rubbed off on you. “This doesn’t look like your place.”

“Did you want something?”

“Why are you here with that broke down,” He paused dramatically, raising his hand as he thought of more insults. “Tom and Jerry looking motherfucker?”

“That’s the best you can do?”

Colson drug his teeth over his lip, “Where you meet him?”

“Where’s that instamodel chick? You know the one with the plastic ass and tits? You leave her in the car just so you can go check on your other hoes, or is she in here with them?”

“Man, stop.”

“I saw her looking at me, don’t tell them about me. I���m not your concern, and I am damn sure not theirs.”

“How’d you catch her looking at you if you weren’t looking at me?” Colson’s cocky smirk sent a rush of anger coursing through your body; even when he lost, he found a sure way to find a confident victory in it.

“Bye, Colson.” Your eyes met his, remembering how blue they were. Even when he was dead drunk, they found a way to still hold onto the Colson you knew was in there somewhere. The sweet one that danced in the rain and stayed in bed with you every free night he could give -- you shook it off. Breaking eye contact with him to look anywhere but the blue crystal stare. You cut down to the ground, admiring your pumps before he turned away from you and left.

The drink was no longer cold, and the tequila didn’t even burn as you chugged down the remnants of the clear liquid. You pinched the bridge of your nose, taking a deep breath, and then leaned against the stairwell.

“Long night?” Eric cleared his throat.

“Already, I’m so sorry. Could we leave here?”

Eric shook his head yes and placed his hand on your shoulder, “Is everything okay?”

“Perfectly, fine. It’s fine.” You swallowed. The hazed state of your mind needed to be cleared, especially before you left with him. “Can I meet you upfront? I’m going to freshen.”

“It’s fine; take your time.”

 You wouldn’t take your time; the quicker you were out of this place, the better. Whenever you were in his element, your mind refused to do the right thing. You moved through the crowded dance floor, carefully avoiding familiar faces. And finally, you were at the restrooms splashing the cool water on your face. You looked yourself over, grateful you hadn’t worn makeup—the trickles of water run down your rich ochre brown skin.  Too many thoughts raced through your mind out there but not in here. It was silence, and your mind was in a stupor. For a second, everything stilled, your heart and breathing were relaxed, and everything was back to normal, that moment as everything else was short-lived.

Colson’s reflection appeared in the mirror before you. “I cannot believe you lied to me?” The door clicked behind him.

“I didn’t lie to you.” The way he casually entered the women’s bathroom to start an argument pissed you off. “And get the fuck outta here.”

“We talked earlier today, and you said you were in for the night.”

“You said you were going out by yourself, and you got a whole entourage. So, same shit, we both just single now.”

“Come here.”

“No, you don’t get to tell me to come here. You don’t get to follow me in the bathroom and talk to me about fucking lying when you-.”

Words ended when his lips met yours, he towered over you, but he didn’t mind the effort it took to get to your lips. He walked you against the wall- steadying your steps to his until he picked you up, and as if your body knew the routine, you wrapped your legs around him. Your lips eagerly kissed him back, tugging on his bottom lip before returning to take more kisses. How were you this hungry for him? You wanted nothing more than him to fuck you, rip this dress and ruin you in this unlocked bathroom. “Y/N.”

“Fuck me.” You pleaded.

He only needed the confirmation to move towards his belt buckle unsheathe his dick. There were two ways you fucked, frantic and as if you would never see one another again and then slow – ironically, they both had the same outcome. Your heartbeat matched his, strumming against your chest, and his matched yours. You loved it. There was no foreplay needed; you wanted to feel every inch of the pain he had to offer. He pushed the black dress up to your thighs, bunching the fabric enough that it revealed your pussy for him. He swiped his tongue over the pads over his fingers and swiped your lips. You were wet for him. You had been the whole night, no matter how much you wanted to deny it. He pushed the long finger into you, curling it to press the soft pad that made you squirm and throw your head back in pleasure.

He moved from the wall to the counters, not giving a fuck if someone walked in or not; he spread your legs wider for him and gripped your curls. Exposed to the world, but all you could see was him. You reveled as he slammed into your hilt deep, muted your sequel with his lips, and paused. “You missed me, didn’t you?” He whispered. “Y/N?”

“Shut up,” Your pussy answered for you, squeezing to pull him deeper as he fucked into you. He wasn’t even deep enough for you; your fingers tug on the black shirt as you thrust to meet him each time. Your skin clapped against his every time, his cock expertly hitting that spot inside of you that made you want to cum right then and there. You held it, panting as it began to build up all over your body. He knew the signals, the way your hands rapt against him, legs quivered, and your pussy throbbed.

“Up.” He said, listening to the door open behind him.

Decency had left when he started fucking you, there was no way in hell you’d stop now, and Colson possessed no fucks when it came to sex. They could watch whoever the fuck it was. He positioned you in front of the mirror, bent over for him. Colson’s heavy hand came down on your ass, and then he pushed into you arching your back before wrapping a hand around your hair and fucking into you wildly.

Your ass bounced back on him, and his moans made you wetter. Your fists clenched as you tried to steady yourself – there was no controlling the orgasm that flowed through you. Your breath quickened, your toes curled, and your eyes snapped closed as his name rolled from your tongue.

“Open them eyes.” He gave an arrogant laugh before leaning over you, pushing himself deeper and flicking his tongue over the lobe of your ear.,

Your eyes opened, and you saw yourself flushed with sweat, mouth open, and him fucking the shit out of you. The scene erotic, beautiful, and shit you wanted it again and again. “Oh shit.” You mumbled.

“You think that fucking clown ass suit gone give you this?” He laughed as he slapped your ass again. “I thought not.” He guided you back on him, taking your hips in his hands, making sure you took every inch. He was greedy himself, watching your breast bounce in the reflection of the mirror, all while hearing you echo throughout the entire bathroom. It was music to his ears. Colson slowed his stroke momentarily, peppering, kissing down your shoulder blade before increased his pace once again, and your body jolted. You ground against him, urging him to cum and the pressure built. He panted against your back for a moment and then kissed your exposed skin. “Don’t go home with him.” He whispered, retrieving your panties from his pocket. Colson lowered himself to his knees and turned you around.

“You can’t tell me that.” You whispered.

“I’m asking.”

“Are you taking her home?”

“I can drop her ass off at her place right now.” He smiled, pointing. “Shit, you can ride shotgun.”

Good memories flooded of his snarky ass sense of humor and late nights. “You’re silly.”

Colson adjusted your dress and then stood in front of you, making sure your hair and lipstick was not smudged everywhere. “Drop Chandler off and come home.”

“Fucking hell mate,” Dom’s voice did not seem shocked. “This other chick is trying to kill me out here. Y/N?”

“Dude, will you get the fuck out of here… like now.”

“Fine. I’m leaving.”

“This was-,” You step away. “Uhm, I don’t know. I’ll call you okay?”

“Tonight?”

“Tomorrow.” You clarified. “Or the next day, just give me a damn minute to breathe?”

“Bet.” He sighed. “Should I go first… so it won’t seem suspect?”

“You’re a 6’4” guy leaving the women’s restroom, you’re busted.” You chuckled.

 A/N: I through Dom (Yungblud) in there because I kinda love him just as much lol might right him too! Hope you enjoyed! Thank you! Please let me know what you think!

Taglist: @taytayize123 @supernaturalvikingwhore @jae-writes-fanfiction @bigsisbria @placeoffreedom @kyla-queen @missdforever @gottatoxicattitude @bang-kim-bap @msreshel @blowmymbackout @titty-teetee​

[ifmywishescametrue]

WAIT I DIDNT KNOW YOU SHIPPED SAMTONY TOO!!! another oneeee #13 "I saw you looking at it last time we were in the store together, so I got it for you." for samtony

samtony is a very pure ship 😌 thank you for sending a prompt, and I hope you like it!

It starts on a perfectly average Tuesday morning.

“Why do I do this to myself?” Sam pants out, folding himself in half with his hands on his knees. “Every damn time I say it's the last time, and every damn time here we are again.”

Bucky claps a hand on his back and almost knocks him over with one touch. “Maybe you're a masochist, Sammy.”

Sam feebly flips him off, walking off the elevator on jelly legs. “I told you not to call me that.”

“You let Tony call you that,” Bucky points out, following him towards the kitchen.

"I actually like him. We're friends."

“That's offensive. I'm literally your best friend. Your favorite person. The Abbott to your Costello. The Tom to your Jerry. The Lucy to your Ethel.”

Sam snorts, “You're not even my favorite hundred year old man in this building. Also, if anyone’s the Lucy here, it’s me.”

Bucky scoffs, but whatever retort he had coming cuts off when they enter the kitchen. “Oh, damn, are those banana pancakes?”

He reaches for one on the top of the stack, and Tony slaps his hand away with the spatula. “Where are your manners, Barnes?”

“You’ve got like ten there,” Bucky whines. “Why can’t I have one?”

“You can have one when it’s your turn.”

Bucky gives him a dramatic pout that has no effect, and Sam laughs at the scene as he collapses into the stool next to Nat at the peninsula. She gives him a raised eyebrow and a quirked lip at the complete lack of grace.

Tony flits through the kitchen, exchanging lighthearted quips with Bucky as he goes. He has on an apron that Clint gave him at Christmas last year, covered in snowflakes and purple hearts with arrows through them in a mimicry of an ugly Christmas sweater pattern. Underneath it is a t-shirt dotted with Captain America shields, and the sweatpants have a cartoon version of the War Machine suit on the thigh. As usual, all of the colors clash.

A mug of coffee is placed in front of Sam with a small smile before Tony returns to the stove, and Sam is still drinking the first sip when he comes back with a plate of pancakes for him, topped with just the right amount of syrup and a dollop of whipped cream. Tony’s gone again before he can even finish saying thank you.

“Why is it his turn before me?” Bucky complains, and Sam laughs again through his first mouthful at how petulant he sounds.

“I like him the best,” Tony says, sending a wink Sam’s way. “And they’re for him, anyway. Your favorite, right?”

Sam’s eyes widen a bit in surprise. He doesn’t remember telling him that. “Uh, yeah, they are. How’d you know that?”

Tony shrugs, “I pay attention.”

He hands Bucky a plate of pancakes with another jab at his lack of patience, and the moment passes as quickly as it came, but it keeps happening after that.

Tony pays attention to him.

Maybe it was happening all along, before that morning with the pancakes, but just too subtle for Sam to take notice at first. Now that he has, though, he sees it all the time.

The next is just a few days later, when Tony knocks on his door holding a small, nondescript black box.

“What’s this for?” Sam asks, taking it from Tony’s hand. He doesn’t get an answer before he opens the lid to a simple, leather-banded watch. It’s nothing overtly expensive, nothing that screams ‘gift from a billionaire,’ but it is exactly something Sam would have chosen for himself.

“I saw you looking at it last time we were in the store together, so I got it for you,” Tony says simply. “Figured it would go well with that suit Pepper picked for you for the gala tomorrow night.”

Later, Sam will realize that Pepper had nothing to do with the suit choice that fit him perfectly, but for now he runs a thumb over the dark brown leather and says, “Yeah, it will. Thanks, Tony.”

“No problem,” Tony replies, and he lingers in the doorway for a while longer, lower lip between his teeth. Sam is about to ask if there was something else he came here for when Tony claps his hands together and says, “Well, I should get going. Workshop things to do and all that. I’ll see you at dinner.”

He disappears quickly, and that becomes part of it, too. Never dwelling on it when he does something just for Sam. Fleeing if he can, but sometimes staying when that’s what Sam needs instead.

“You look exhausted,” Tony says, and Sam manages a grumble from where he’s slumped on the living room couch, rubbing a hand over his bruised abdomen.

The mission took longer than either him or Bucky expected, and the fights were more intense. It was supposed to be a quick in-and-out type of deal. Infiltrate the base, take out the lower level minions, and apprehend the leaders. But the intel wasn’t as accurate as they were hoping, and there were nearly double the number of enemies than predicted. No major injuries for either of them, but he’ll be sore for at least a few days. Bucky’s cuts and bruises healed on the way home.

Sam doesn’t notice that Tony left until he comes back with ice wrapped in a kitchen towel. He places the ice right on the worst spot over his ribs, holding it there until Sam replaces his hand with his own.

“It’s getting pretty late,” Tony remarks. “You should probably head up to bed. You’ll feel even worse if you fall asleep here, trust me on that one.”

It’s somewhere past midnight, Sam knows, but even with how tired his body is, his mind is still wide awake. The mission replays in his mind. Every faulty move, every chance to do better, every little detail both good and bad.

Sam shakes his head, “Not ready for bed yet.”

Tony takes the seat next to him, leaving an inch of space between them. “J, turn on the Saints game from yesterday.”

Sam smiles a little and asks, “Do you even like football?”

“It’s not the worst sport,” Tony replies vaguely. He settles back into the cushions and pulls the blanket off the back of the couch to cover them both.

“Yeah, what’s the best?”

Completely serious, Tony says, “Ping pong.”

Sam laughs, “That’s not a real sport. Pick something else.”

“Of course it’s real. It’s in the Olympics and everything,” Tony grins. “Give me one good reason it’s not a sport.”

“Alright, fine, maybe it’s real, but there’s no way it’s your favorite.”

Tony shrugs, “It’s entertaining sometimes. The professionals get really into it. There’s an awful lot of grunting involved.”

They stay up for a while longer, talking about nothing of importance, and Tony slowly shifts closer to him until that bit of distance is gone. His arm presses up against him, and Sam starts to have a hard time keeping his eyes open, it seems only natural to rest his head against Tony’s shoulder.

“You can go to bed,” Sam murmurs. “You don’t have to stay here with me.”

“I don’t mind,” Tony whispers back.

Sam does regret it a bit when he wakes up on the couch in the morning with a sore back, but there’s a fresh mug of coffee already waiting for him on the table, still warm and exactly how he likes it, and he smiles to himself anyway. That night is a shift to something different, and he knows it right away.

He starts to pay more attention to Tony’s interactions with everyone else, just in case he’s part of the rule and not the exception. Generosity is one of Tony’s best traits, but even so it tends to extend even further to him. More personal and frequent.

“So there’s this place in Brooklyn that claims to have the most authentic cajun cuisine outside of New Orleans. Want to come with me? Tell me if it’s true?”

It isn’t true, and Tony comes to him the next day with another one, until they’re on a quest together to find one that doesn’t make Sam miss home after just one bite. It takes them all over the city and into Jersey once or twice, and Sam doesn’t point out that Tony doesn’t even seem to like crawfish, no matter where it comes from. He doesn’t want it to be over if he does.

“This is pretty close,” Sam says. He thinks it might be place number eleven, but he lost count a while back. “Could use a little more spice, but at least they didn’t try to add their own spin to it.”

Tony’s watery eyes widen. “This isn’t spicy enough for you?”

Sam grins and shakes his head. “Remind me to bring you with me the next time I go home. You won’t know what hit you.”

Tony’s face does something complicated at that, before it settles on a soft smile. “Yeah, that would be fun.”

Sam fully gets it then, what exactly it all means, but he doesn’t quite know what he wants to do about it yet. Tony has taken up residence in a place in his heart that he wasn’t sure was capable of opening up anymore. He did it so easily, sneaking in like a thief in the night and catching Sam unaware.

Now the sound of Tony’s laugh makes his stomach flip. He seeks it out, telling him stupid stories and jokes to make it happen more. He stares a little too much to catch glimpses of his smile, and now he can see just how often Tony looks back.

It isn’t subtle anymore, this thing between them. Lingering looks, too long touches, and every quiet gesture all build up. Bucky teases him and Natasha gives him knowing looks. Steve tells him that he hopes they make each other happy, and Sam doesn’t tell him that nothing has happened between them like that. They’re still just friends, and they don’t talk about what any of it means.

“Do you want to see a movie with me tonight? There’s that weird one with the killer robots playing downtown,” Sam suggests, and neither of them say anything when Tony slips his hand into his in the darkness of the theater. It goes unmentioned, too, when Sam holds tight after Tony almost lets go when they reach the sidewalk afterwards.

It’s another late night when the last piece finally falls into place.

Sam is nursing bruised ribs again after another mission that turned a little sideways through no one’s fault. He’s still sweaty, dirt under his fingernails and dried blood caked around a shallow cut on his cheek, but Sam still asks JARVIS in the elevator to take him to wherever Tony is. It isn’t as surprising as it should be that Tony is waiting for him on the edge of Sam’s bed.

He stands there patiently while Tony looks him over, and he looks his fill in return. It’s strange how days away from him feel longer now. His balance is off center until Tony is around to set him right again.

“I missed you,” Sam murmurs, and Tony smiles softly.

“You were only gone a couple of days,” he points out, but Sam knows now that it’s his way of saying that he missed him just as much.

Normally, Sam would let it move on from here. Tony would lead him into the bathroom, gently clean up his scrapes, and click his tongue at every bruise. It would end with them on the couch, Sam’s head in Tony’s lap or vice versa, depending on what mood it takes. Sometimes he wants to hold Tony and remember that he survived another fight so he could come home to this, and sometimes he needs to be held to forget about everything else that was lost along the way.

But tonight he reaches out to grasp Tony’s hip, and he draws him in a little closer. The room is dimly lit, and each shadow on Tony’s face is accentuated. Sam can’t remember quite the first time he looked at him and thought the word ‘beautiful,’ but it’s all he’s thinking now.

“You love me,” Sam says. “For a long time now, right?”

Tony nods, and he wraps his arms around Sam’s waist, careful not to hold too tight. “You caught up eventually. Didn’t take as long as I thought it would.”

Sam smiles, cupping Tony’s face in one palm and stroking his thumb across his cheekbone. “How long were you expecting?”

“Maybe never,” Tony admits. “I would’ve kept trying, though.”

“Stay with me tonight?” Sam asks, because nothing more needs to be said for now. They both already know.

“How about every night?”

Sam leans in slowly, murmuring against his lips, “Sounds like a plan.”

[seeksstaronmewni]

The Bear Roots of Burbank Cartoons: A Lookback at Boo Boo Runs Wild

5 years ago, [adult swim] aired the greatest of all Yogi Bear / Ranger Smith episodes, “Boo Boo Runs Wild” (1999), on August 13th, 2016 A.D. at 4 AM.

Look and see, kids, how America’s not-so-average bear connects in the wide world of animation that produces many of the cartoons that you love in Burbank, Canada and more!

As and after I saw it, I knew that I found the greatest band of cartoonists out there, and that greatest band of cartoonists out there was none other than...

Spümcø, whose many creatives would end up working at Hanna-Barbera Cartoons, Cartoon Network Studios, and many other popular Burbank and Canadian studios that made the cartoons I grew up and beyond watching.

Obviously, the character design is rather different, but they still look like the right characters, even with the slight color changes...

and with their items of human attire out. Ranger Smith, on the other hand...

Ranger Smith is wildly off model, and probably on purpose, throughout the picture.

Only in one scene appears he with a more familiar face.

Now, I didn’t have to watch Wild Kratts (which, by the way, features 6 Spümcø Canada creatives) to learn that “there’s only one thing a bear likes more than raiding a pic-a-nic basket.”

As the title suggests, Boo Boo loses his temper when Ranger Smith restricts him from tearing bark and decides to go primal in returning to his bear roots: “From this day forth, I’ll not dress in the man’s attire, and I’ll not speak in the man’s tongue. From now on, it’s going on all fours and grunting for me!”

Boo Boo wreaks havoc for the trees with his natural bear roots.

Unlike past episodes, however, the artists went far wilder than the usual Hanna-Barbera cartoon, making the trees alive and screaming in pain! OH, WHAT TOURTUE! Not to mention how I love Boo Boo’s goofy/manical laugh, a beautiful product of John Kricfalusi’s voice (Yes; I know that he was a formerly abusive megalomaniac who still has ADHD, but God knows what cartoons would be like today—at least those produced in Burbank and Canada—if it wasn’t for the many layout artists that he led).

Also unnatural to a Hanna-Barbera cartoon is the extreme levels of slapstick, wackiness and graphic nature of cartoons since such shows as Mighty Mouse: The New Adventures, Beany and Cecil’s DiC reboot, and The Ren & Stimpy Show. Boo Boo and now Cindy Bear are licking away at all of the honey... and bees... with insanely long tongues (may be that they’re sloth bears?). This left Yogi Bear practically speechless.

The mere sequence of dialogue between Yogi and Ranger Smith, discussing what to do about Boo Boo, involved HEAVY work in the storyboards by Vincent Waller. So many expressions that they couldn’t fit in each of Spümcø’s 3-panel storyboard pages!

As you see, in addition to Vincent Waller’s storyboards, John K. added extra poses (storyboard revisions more or less, but definitely layout poses) under the respective scenes. That way, Vincent could focus on telling and writing the story in rough pictures. (source of storyboards)

I also love the sound design. While it’s definitely true to a Hanna-Barbera cartoon, John K. and the late Henry Porch were very creative with some weird, dated and out-of-context sound effects, similar to what they and Horta Editorial did on The Ren & Stimpy Show in the first two seasons. The production music (probably APM and Capitol Records) also gave it a vintage, nostalgic feel.

Ultimately, with the aforementioned abusive megalomaniac aside, Spümcø undoubtedly harbored some of the finest animators and artists ever. Such names as Bob Jaques (Spongebob Squarepants, Buy One, Get One Free*, The Baby Huey Show), Ben Jones (DC Super Hero Girls, Cats Don’t Dance, Teen Titans GO!), Vincent Waller (Spongebob Squarepants, Adventures of Sonic the Hedgehog), Albert Lozano (Inside Out, A Kitty Bobo Show), Todd White (Spongebob Squarepants), Eric Koenig (Atlantis: The Lost Empire, Madagascar, Cats Don’t Dance, The Simpsons, and The Tigger Movie), and Erik Wiese (Samurai Jack, The Mighty B!) are among the hundreds of creatives who ended up almost everywhere working in Burbank and Canadian animation.

Other names on the Spümcø team that one might recognize include Gabe Swarr (Dexter’s Laboratory, The Buzz on Maggie, Foe Paws, El Tigre), and even background artists such as Richard Daskas ( @rdaskas​ - Samurai Jack, Time Squad, Sym-Bionic Titan, Batman Beyond), Richard Ziehler-Martin (Tiny Toon Adventures, The Wacky World of Tex Avery), Hector Martinez (Tom and Jerry: Robin Hood and His Merry Mouse, Timone and Pumba, Captain N, Evil Con Carne, Dora the Explorer), and Tony Mora (MAD, Teen Titans GO! to the Movies, Pickle and Peanut). I mean: in short, these artists worked for Warner Bros. Animation, Disney Television Animation and Walt Disney Feature Animation, Nickelodeon, and Cartoon Network Studios!

Spümcø’s production assistants on Boo Boo Runs Wild feature Matt Danner —a fantastic character designer, storyboard artists, director and producer, whose credits range from (Johnny Test and The Legend of the Three Caballeros to Team Hot Wheels and The Looney Tunes Show—and Cartoon Brew editor Amid Amidi. Brian A. Miller was an executive in charge of production, not for but probably in association with Cartoon Network.

Spümcø’s creatives, as I said, are all over the place in Burbank animation. Other shows that still air on @adultswim​ have ex-Spümcø creatives. For example: today’s re-run of Samurai Jack EPISODE XVI features Chris Reccardi (The Powerpuff Girls, The Grim Adventures of Billy & Mandy)...

Scott Wills (Genndy Tartakovsky’s Primal, The Twisted Tales of Felix the Cat)...

Lynne Naylor-Reccardi (The Shnookums and Meat Funny Cartoon Show, Wander Over Yonder) and Jim Smith (YooHoo and Friends, Tom and Jerry Tales, McGee and Me)...

and Leticia Lacy (TRON: Uprising, Sym-Bionic Titan, Wander Over Yonder, Korgoth of Barbaria).

Even outside of Cartoon Network Studios, where most ex-Spümcø artists end up, @cartoonnetwork​’s The Amazing World of Gumball, from Cartoon Network Studios Europe (AKA Hanna-Barbera Studios Europe), features ex-Spümcø artist Charlie Bean (The Powerpuff Girls, Robotboy, Batman: The Animated Series, Timone and Pumba, Creature Crunch) on The Cartoon Network Europe Development Team.

One of Cartoon Network’s biggest and craziest hits, Teen Titans GO!, also features such ex-Spümcø artists as storyboard artist, director and producer Luke Cormican (The Buzz on Maggie, Brandy and Mr. Whiskers, Brickleberry, The Replacements, El Tigre)...

Gerald de Jesus (The Book of Life, The Ricky Gervais Show, TMNT)...

and Eric J. Pringle (Fosters’ Home for Imaginary Friends, The Problem Solverz). What wacky cartoon filled with live-action images, unpredictable visual gags and extreme slapstick humor wouldn’t?

Relatively, you could even tune in to Nickelodeon, the original home of Spümcø’s ground-breaking hit, The Ren & Stimpy Show, and see names of creatives associated with Spümcø and Ren & Stimpy, such as Zeus Cervas (Star vs. the Forces of Evil, Spongebob Squarepants, Clarence) on today’s episode of The Patrick Star Show...

or even Gabe Del Valle (Mighty Magiswords, Spongebob Squarepants) on today’s episode of Middlemost Post!

Overall, Boo Boo Runs Wild introduced me to the cartoon studio whose works I took for granted and on which I was missing out all of my life, and I strongly encourage this generation to support this Yogi Bear / Ranger Smith episode, which you can watch RIGHT NOW on [adult swim]’s site. It was officially on their YouTube channel, but it was removed for unknown reasons. This short never even got a DVD or VHS release!

The last televised airing of Boo Boo Runs Wild on [adult swim] so far was January 6th, 2019 A.D., but Spümcø also produced “A Day in the Life of Ranger Smith” and “Boo Boo and the Man” (based on true events in the life of John Kricfalsui) for Cartoon Network.

As I come to a close, it’s worth noting that layout Ed Benedict, an animator and artist whose credits go all of the way back to the 1930s with Disney and continued with MGM and Hanna-Barbera/Cartoon Network Studios, originally worked on Yogi Bear episode “Yogi’s Birthday Party” as a layout artist, and reprised that very role for “Boo Boo Runs Wild”. What a legacy the animators and artists of this episode leave!

Always will I remember how Spümcø, whose legacy connects to my Cartoon Network-infused childhood, blessed me and graced me that fateful day, August 13th, 2016 A.D., with the ultimate example of the fine art of cartooning that is the Yogi Bear / Ranger Smith episode “Boo Boo Runs Wild”. I was living in the moment, and I thank God for it.

“For years they have [been] asking me to make new Yogi cartoons, but I can’t even get a half a million [dollars] to make one, probably because I actually like the characters, but 60-70 million $ to make walking corpses is economical.” - John Kricfalsui on Yogi Bear (2010)

Another Ranger Smith, Boo Boo or Yogi Bear cartoon from the people behind The Ren & Stimpy Show is highly unlikely today, due to the abuse and harassment of John K. angering the world to the point of hating and condemning the man who helped to shape not only Cartoon Network but also television animation—and animation as a whole—with an undeniable legacy of artists and animators who deserve way more credit and respect than we perhaps thought of giving as kids.

Tweet version of this post here.

[majinkura]

Friday the 13th Part IV: The Final Chapter ( 1984)

Did You Know?👇👇👇👇🤔

The strange dance which Jimbo performs at the party was contributed by actor Crispin Glover and was based on the eccentric way he actually danced in clubs. On the set he was dancing to "Back in Black" by AC/DC as the scene was filmed. In the film however an edited version of "Love Is a Lie" by Lion was dubbed into the scene.

Last film in the series to pick up immediately where the previous film left off. At 58 years old at the time Ted White is the oldest stuntman/actor to portray Jason Voorhees. On a budget of $1,800,000 the film made $32,600,000 at the box office.

At the time, this installment of the series contained the most nudity and gore. The film was released on Friday the 13th: April 13, 1984.

In Turkey, this film, and the next sequel, Friday the 13th V: A New Beginning (1985), were released at the same time. People could watch both films back to back. Even the posters for both movies were displayed next to each other.

(at around 1h 2 mins) In one scene, Rob talks to Trish about his sister, Sandra. Sandra was one of Jason's victims in Friday the 13th - Part II (1981).

(at around 10 mins) The workout video Axel watches is Aerobicise (1982). It stars Darcy DeMoss who went on to have a role in Friday the 13th Part VI: Jason Lives (1986).

This is the only film in the series to shoot new footage using sets and locations from a previous film. The beginning takes place on the set of Friday the 13th - Part III (1982), before moving to a new location.

Director Joseph Zito was opposed to using clips from previous installments at the beginning of the film.

(at around 9 mins) The nurse's name tag reads "R. Morgan, RN," an homage to actress Robbi Morgan, who played Annie in Friday the 13th (1980).

During filming Kimberly Beck, who plays Trish, experienced strange occurrences including a man watching her while she ran in the park and strange phone calls at all hours. This stopped when production was over.

Though he disliked being involved with the film, Ted White is considered by many fans to be one of the best Jasons.

(at around 9 mins) The moment where Jason's hand moves in the morgue was done by Ted White after Joseph Zito had called cut on the scene. However, the camera was still rolling, and caught this movement, and it was included in the film.

Writer Barney Cohen originally wrote a scene involving Jason fondling Trish's breasts but the producers vetoed it. Director Joseph Zito also disliked the scene because it made Jason seem too human and less menacing. The scene was excised.

Joseph Zito had previously directed The Prowler (1981), but they wanted him to both direct AND write Friday the 13th Part 4. He said, "But I'm not a writer," to which they said, "Here's a contract paying you double to write and direct," and then he responded, "Yeah, I'm totally a writer." Zito used the extra salary to hire Barney Cohen to somewhat secretly write the script. Their process entailed Zito taking nightly one-hour phone calls with Phil Scuderi to discuss the story and script for Final Chapter. The next day Zito would meet Cohen in an apartment in New York to relay what notes and ideas Scuderi had offered, which they would then turn into new script pages to be sent later that day to Scuderi in Boston to be discussed again over the phone that night.

Camilla More actually read for the role of Samantha, but when the producers discovered she had a twin, they offered both sisters the roles of Tina and Terri.

It is played for humor throughout Final Chapter that young Tommy Jarvis (Feldman) is suddenly surrounded by horny teenagers renting a cabin he can see into from his own house. However, the reality of the situation is that those actresses were indeed very or partially naked, and Corey Feldman was still young enough that Erich Anderson and Kimberly Beck took him trick-or-treating the first day of filming since it happened to be October 31, 1983. So, they shielded 12-year-old Feldman from most of the bad stuff, using tricky editing when necessary. What they could not control was the power of a low-cut top sans bra underneath. According to Feldman, in the scene in which Jodie Aronson's character bends over to greet Tommy's dog unbeknownst to anyone but Feldman he could see down her low-cut top.

It has been suggested that the only reasons Tom Savini worked as make-up artist on this film was in order that he could accurately age and properly kill the character he created from the first film.

Barbara Howard used a body double for her shower sex scene.

After Jason actor Ted White finished his scenes for this film, he immediately started work on Starman (1984). While on set for the night's filming, a group of reporters were waiting to interview Jeff Bridges, but he was unavailable. Therefore, director, John Carpenter, told the reporters to talk to White about the film he had recently finished. After telling the reporters he had just finished playing Jason in the latest Friday the 13th film, the next day's article was entirely about him, and that night, numerous "Friday" fans arrived at the set solely in order to see White.

Jason actor Ted White and special effects artist Tom Savini at first were confrontational with one another. But once White found out Savini had experience with stunts, the two became friends.

Rob was originally supposed to have high-tech equipment which he had used to track Jason, but the props for this looked cheap, and the idea was scrapped.

The film takes place on Sunday the 15th and beyond which makes it the second "Friday" film not to actually take place on a Friday at all. While the beginning with the coroners takes place during the night of Sunday the 15th, the rest of the film takes place on Monday the 16th, with Tuesday the 17th being the climactic night.

Even though he plays her son, Ted White (Jason Voorhees) is actually 11 months older than Betsy Palmer (Pamela Voorhees).

Rather than making masks, Tommy was originally going to have been an inventor. One of his projects was a device made from a microwave oven, which would have been what he used to kill Jason. Some of this is seen in the final product in a scene where he helps repair a car.

Amy Steel talked Peter Barton into doing the film. By the time the Final Chapter offer came around Matthew Star was off the air, and Barton wanted no part of horror films, having hated working on Hell Night in 1981. Amy Steel somehow talked him into it, selling him on the notoriety of starring in the final Friday the 13th film.

Director Joseph Zito wanted Jason's hockey mask to explode apart in the opening credits, but there was not enough time in post-production to pull off this gag.

Paramount was originally going to release the film in October, 1984. After filming wrapped in January Paramount studio head Frank Mancuso Sr. screened footage of the film to much enthusiasm. After a window opened up the release date was changed to April upon confirmation from Joseph Zito that he could complete the film faster than planned. This led to Zito, producer Frank Mancuso Jr., and a crew of editors essentially remaining locked in a house in Malibu editing around the clock in order to finish the film on time. This marked one of the only times that Paramount actively helped in the production of a Friday the 13th film, as they were generally produced independently, with the studio only handling marketing and distribution.

The house used for the Jarvis home was later used as the Anderson home in the film Ed Gein (2000) where serial killer Ed Gein is apprehended.

Bonnie Hellman's agents told her about a possible role in this film - the hitchhiker - but then told her that she would not want to do it, as there were no lines. However, she ended up taking the role anyway.

Kimberly Beck stated in the Crystal Lake Memories book that she does not like the horror genre. In addition to this, she also said that she feels this film was not even a B-movie, but rather a C-movie.

Distinguished film critic Roger Ebert called this film "an immoral and reprehensible piece of trash."

The Jarvis family's dog, Gordon, was named after a recently deceased dog which a friend of director Joseph Zito owned.

Peter Barton was talked into taking a role in this film by his The Powers of Matthew Star (1982) co-star Amy Steel who played Ginny in Friday the 13th - Part II (1981).

The female hitchhiker was called "Fat Girl" in the original draft of the script.

The poster shows the hockey mask with a knife on its left eyesocket. Jason is defeated with a machete going through his left eye.

Kimberly Beck is the only Friday the 13th actress that appeared in an Alfred Hitchcock film. She worked on Marnie (1964), exactly 20 years prior to this. She plays the little girl that Marnie's mother babysits.

The film was shot entirely in California.

Carey More's audition was to simply read one line.

Lisa Freeman, who played Nurse Morgan, and Crispin Glover, who played Jimmy Mortimer, both would go on to be in the Back To The Future movies. Crispin Glover played George McFly in Back to the Future (1985) and Lisa Freeman played Babs in Back to the Future (1985) and Back to Future, part II (1989).

(at around 20 mins) The Jarvis family sandwich hug was based on a group hug that screenwriter Barney Cohen's family did.

Jason's death won the Golden Chainsaw Award in Dead Meat's "Friday the 13th: The Final Chapter" kill count.

This is considered by many fans, to be the best and most popular Friday the 13th film.

The Jarvis family car is a 1970 Dodge Polara.

Rob's rifle is a Winchester Model 70.

Rob looks to be the main male hero of the film to work alongside Final Girl Trish. Instead he dies almost immediately after encountering Jason, with the real Final Guy of the film being Tommy

The ambulance driver played by Antony Ponzini & Axel and the coroner played by Bruce Mahler both appeared on the sitcom Seinfled. Ponzini as Jerry's barber Enzo and Mahler as the Rabbi in Elaine's building.

Was released in theaters, directly a week before Crispin Glover's (Jimmy) 20th birthday.

Tracy Jarvis' fate and death would have been more further explained in a deleted scene that had been cut from the film. An alternate ending to the film, included in the 2009 Deluxe Edition DVD, shows a dream sequence where Trish and Tommy wake up the next morning after killing Jason to the sound of police sirens. Trish sends Tommy to summon the police who have arrived next door. At that point she notices water dripping from the ceiling and goes to investigate. She enters the upstairs bathroom, and finds the body of her mother floating in a tub full of bloody water. Trish lifts her mother out of the tub, prompting Tracy's eyes to open, revealing them to be solid white and devoid of irises. Jason suddenly appears from behind the bathroom door and prepares to attack Trish. Trish then suddenly wakes up in the hospital in a scene reminiscent of the ending of the first movie.

Ted White was uncredited as Jason Voorhees by his own request.

The twins are played by real life sisters Camilla and Carey More, who both also appeared on the daytime soap opera Days of our Lives as Gillian and Grace Forrester. More stars from the soap DAYS also appear in further Friday The 13th sequels like Renee Jones in Part 6, and Kevin Spirtas and Staci Greason in Part 7. Other soap stars that appeared in Friday The 13th films include Kevin Bacon, Russell Todd, Lauren Marie Taylor, Dana Kimmell, Kimberly Beck, Peter Barton, Jennifer Cooke, Michael Swan, and Scott Reeves.

Paul's car is a 1973 Chevrolet Caprice Estate station wagon.

According to Ted White, he and director Joseph Zito did not get along very well during filming.

The actress playing Trish's mother was only 14 years and 1 day older than her.

Both Corey Feldman and Crispin Glover later appeared in different films with actor Kiefer Sutherland in the same year: Feldman in Stand by Me (1986) and Glover in At Close Range (1986).

Pamela Voorhees' first name appears on a tombstone.