#HORROR EXPRESS (1973)

[fanofspooky]

Scream King -

Christopher Lee

[k-i-l-l-e-r-b-e-e-6-9]

[dearorpheus]

Are there any non-fiction you can recommend for people who are fascinated by your blog (especially the elements of dark eroticism, morbidity and horror)?

🖤 love that you are loving!

i will try to stick to non-fic (also refraining as best i can from re-recommending texts from previous asks but there is of course bound to be some overlap): - The Severed Head: Capital Visions, Julia Kristeva -> read about Aubrey Beardsley's illustrations for Salomé (x, x)

and supplement w Baudelaire's Une Martyre "in which the narrator lovingly contemplates the beauty of a woman's severed head at rest upon a nightstand"

- Masochism: Coldness and Cruelty & Venus in Furs, Deleuze - The Sadeian Woman: And the Ideology of Pornography, Angela Carter - Aesthetic Sexuality: A Literary History of Sadomasochism, Romana Byrne - Perverse Desire and the Ambiguous Icon, Allen S. Weiss - "Must We Burn Sade?", Simone de Beauvoir -> read also about Erzsébet Báthory, the Bloody Countess. supplement your readings with Borowcyzk's Immoral Tales (1973), Julie Delpy's The Countess (2009), Alejandra Pizarnik's La Condesa Sangrienta and/or, if you have the stomach for it:

Lorna's death in Hostel Pt II (2007), inspired by the Countess^

- Anaïs Nin's diaries + Henry and June - Abject Eroticism in Northern Renaissance Art, Yvonne Owens

Hans Baldung Grien "gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body"

- Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture, Per Faxneld - The Library of Esoterica's Witchcraft - the biographical Taschen on H.R. Giger's oeuvre—biomechanical, Lovecraftian-tentacular fused limbs, bodies, systems, overtly phallic/yonic symbology, darkly psychedelic... very much fantastically erotic; I have my eye on the 40th Anniversary Edition

Giger, as we know, having designed the xenomorph from the Alien (1979) series to have an intensely sexual evolution:

- DEFINITELY read about+explore ero guro (see also: Bataille's L'histoire de l'œil / Story of the Eye! though it is fiction)

brief introductory articles here and here but it's truly so rich and decadent... delve into it!! film, lit, manga, history, so on... -> watch Nagisa Ōshima's In The Realm Of The Senses (1976) too

- if you can read French by any chance, Le Corps Souillé (The Soiled Body) by Eric Falardeau looks incredible; if not, this excerpt alone is delightfully provocative even in isolation - similarly, L'espirit de plaisir: Une histoire de la sexualité et de l’érotisme au Japon (The Spirit of Pleasure: A History of Sexuality and Eroticism in Japan) by Philippe Pons and Pierre-François Souyri is something I'm hoping might see an English translation

^an excerpt from an interview with the authors

- The Art of Cruelty + The Red Parts, Maggie Nelson - Crucial Interventions: An Illustrated Treatise on the Principles & Practice of Nineteenth-Century Surgery, Richard Barnett - The Butchering Art, Lindsey Fitzharris - Death, Disease and Dissection, Suzie Grogan - The Theatre and Its Double, Antonin Artaud - Men, Women, and Chainsaws, Carol J. Clover - House of Psychotic Women, Kier-La Janisse - The Monstrous-Feminine, Barbara Creed - Dead Blondes and Bad Mothers, Sady Doyle - The Lady From The Black Lagoon, Mallory O'Meara

[mariacallous]

In their 2024 national convention, Democrats reclaimed the mantle of freedom.

It’s about time.

The first indication was Vice President Harris’s choice of Beyoncé’s song “Freedom” as her campaign anthem. It has been playing at her rallies and it played at the end of the film before her entrance onto the stage. In addition to placards that said, “Thank you Joe” or “Vote” or “Coach Walz,” the DNC had thousands of placards printed for the delegates to wave that simply read, “Freedom.” Many of the convention speeches invoked the term in some way. Governor Walz’s acceptance speech for the vice presidency was especially heavy on it:

“Freedom. When Republicans use the word freedom, they mean that the government should be free to invade your doctor’s office. Corporations—free to pollute your air and water. And banks—free to take advantage of customers.

“But when we Democrats talk about freedom, we mean the freedom to make a better life for yourself and the people that you love. Freedom to make your own health care decisions. And yeah, your kids’ freedom to go to school without worrying about being shot dead in the hall.”

Freedom was an especially welcome theme in this convention because, in recent political history, Democrats ceded freedom to the Republicans. This was wrong. Nothing is as central to America’s cultural DNA as freedom. After all, we as a nation were born out of a desire for freedom from King George.

One of the seminal speeches of the 20th century was President Franklin Delano Roosevelt’s 1941 State of the Union address. In it, he announced what he called the “Four Freedoms”—freedom of speech and expression, freedom of worship, freedom from want, and freedom from fear—principles that were incorporated into the war aims of the Allied Powers, and eventually into the UN’s Universal Declaration of Human Rights.

A generation later, the Civil Rights Movement marched for freedom from the oppression of segregation and unequal citizenship, goals that the modern Democratic Party embraced. After the Roe v. Wade decision was handed down in 1973, Democrats defended women’s freedom to choose against conservative attempts to restrict access to abortion, and even to prohibit it nationwide.

Since the 1980s, however, Republicans claimed freedom for themselves; starting with the presidency of Republican Ronald Reagan, they narrowed it to mean free markets and limited government. This redefinition rested on the argument that government represented the main threat to freedom, which is at best a half-truth. Yes, government can become oppressive. But weak government can also pose a threat to freedom. Citizens cannot live free from fear unless government minimizes threats to the security of persons and property as citizens act within the structure of law. They cannot enjoy freedom from want unless government protects markets from force, fraud, and threats to competition, and unless it protects individuals from economic privation. In his 1944 State of the Union, FDR declared: “Necessitous men are not free men. Men who are hungry and out of a job are the stuff of which dictatorships are made.”

Despite the power of such arguments, modern Democrats have found it difficult to persuade the electorate that they were the true champions of freedom. And then in 2022, the Supreme Court handed down the Dobbs decision, which overturned Roe v. Wade and jeopardized women’s freedom of choice across the nation. The reaction has been striking; with one decision, the government was suddenly in the middle of the most personal decisions women and men could make.

Since then, not a month has passed without some horror story making national news about a woman denied abortion care that could save her life and/or her fertility. On stage at the Democratic convention, some of these women told their heartbreaking stories. Since then, abortion has been on the ballot in seven states—many of which, like Kansas and Kentucky, are conservative, deep red states. And in every single instance, the pro-choice position won. Since then, abortion has played a major role in the Virginia legislative elections, the congressional midterm elections, and many special elections. In 2024, abortion referendums will be on the ballot in eight states, two of which, Arizona and Nevada, are swing states and where the issue may very well bring out young Democratic voters. 

Against this backdrop, it’s not surprising that Harris’s speech spent more time on abortion than any other single policy issue. Her unique ability to prosecute this issue was evident back when she was a senator from California who asked then-Supreme Court nominee Brett Kavanaugh if he could think of a law that controlled men’s bodies. In addition to warning the country about Republican plans to take away reproductive freedom by enacting a national abortion ban and installing a national anti-abortion coordinator in the White House, Harris expanded on threats to freedoms.

“In this election, many other fundamental freedoms are at stake. The freedom to live safe from gun violence—in our schools, communities, and places of worship. The freedom to love who you love openly and with pride. The freedom to breathe clean air, drink clean water, and live free from the pollution that fuels the climate crisis. And the freedom that unlocks all the others. The freedom to vote.”

Beyond the articulation of a freedom agenda, the speech had other tasks, which Harris crisply carried out. She introduced herself to the country as a child of a middle-class family and declared that building a strong middle class would be one of the defining purposes of her administration. To that end, she advanced her vision of an “opportunity economy” where everyone would have a chance to compete and where success for some need not mean failure for others. 

Harris took on inflation and immigration, two areas of potential vulnerability for her campaign. She promised to bring down prices of everyday goods and services and to attack the nation’s housing crisis. On immigration, she sought to turn the tables on Donald Trump, reminding her audience that he had subverted a bipartisan reform bill that would have helped secure the border.

Surprising some observers, Harris laid out a tough agenda on defense and foreign policy, promising to maintain the strongest and most lethal fighting force in the world, retain our leading position in NATO, defend Ukraine against Russian aggression, stand up against Iran and North Korea, and take democracy’s side in the struggle with tyranny. She articulated a firm pro-Israel stance while mentioning the suffering of Gaza’s inhabitants and endorsing Palestinians’ right to dignity and self-determination.

Taken as a whole, Harris’s acceptance speech positioned her as a center-left Democrat in the mold of Joe Biden rather than Bernie Sanders. It embraced what she termed the pride and privilege of being an American. And as if to show that Republicans have not cornered the market on patriotism and American exceptionalism, she told her audience that together, they had the opportunity to write the next chapter of the most extraordinary story ever told. She ended her speech in the most traditional way imaginable, by asking God to bless the United States of America.

Harris’s speech, which the convention received with unfeigned enthusiasm, did nothing to interrupt the momentum of one of the most explosive campaign launches in American history.

[soulsanitarium]

DANCE IN HORROR

In different cultures dance and music was (and still is) appropriate way to negotiate with gods. Music and dances have been a part of religious festivals, births, deaths, marriage ceremonies, and other festivities. Midsommar (2019).

Ritual dances can be performed individually or collectively, in traditional dresses, along with their own songs. Wicker Man (1973.)

Trance, on the other hand, was often the prerogative of holy men. The Believers (1987).

God’s death and rebirth are also associated with fertility rituals such as maypole dance. Ritual is used to eliminate things that threaten the world order, such as sickness, the order is restored. Angel Heart (1987).

In Europe the development of art dance began to form first in ballet. The ballet was initially a very well-defined series of movements. It took a long time before the art dance could be expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. Red Shoes (1948).

In the early days of Western art dance, ballet was disciplined and regulated and left very little room for self-expression. It was not until the turn of the 20th century that modern art dance took its first steps. Isadora Duncan danced barefoot, she was interested in Greek antiquity - for example The Furies. Suspiria (1977).

Before The World War II, modern dance was influenced by Mary Wigman and Rudolf Laban in particular. "Ausdruckstanz" meant that the primary function of dance was to give shape to emotions and inner experiences. The expression of personal feelings in dance was banned along with psychoanalysis and many dancers and psychoanalysts fled from Germany to America. Wigman and Pina Bausch have been mentioned as a model for the Madame Blanc in Suspiria (2018).

Mirroring & Reflecting are important in dance & Psychotherapy. In French, “être Médusé” means literally to be paralysed by stupefaction. Les médusées-group was a model for the Suspiria (2018).

It may be that the superego problem is also reflected in the body. Our bodies are like bound by curses. The madness, the melting superego, was seen in the Climax (2018).

Modern dance diversified in the 1980s. Non-European influences began to show more clearly. Dancing is increasingly being done in public places, not just in a dance theater. The content of the dance is important, not just distinctiveness. However, classics - like the Swan Lake ballet - have remained popular with the general public. (Haukinen et al. 1992.) Black Swan (2010).

The Witches (1966): Beneath everything controlled lies the primitive power of libido and aggression that threatens the order. Dancing is also a way to get to know different cultures. Flamenco, Latin dances, etc. For many, dance is an exercise and a way to take care of their health.

Listen more🎙🎧 18<

[venticuliao]

In the aftermath of Pinochet's coup in September 11th of 1973, a 23 year old Civil Registry worker called Hector Herrera was ordered to take the fingerprints of the bodies filling up the morgue, and came across the corpse of Victor Jara, an emblematic folk singer, teacher, theater director and activist who had been tortured and executed by Pinochet's soldiers with 44 machine gun shots, then thrown on the bushes outside the local cemetery where Hector worked.

He'd eventually contact Joan Jara, Victor's wife, and together were able to rescue the body for proper burial so he didn't end up another forced disappeared victim of dictatorship.

Fragment translated from the investigation program En La Mira

Hector: They didn’t even give me a mask. I was stepping on blood and brain matter that day. There was a huge gate in the back that made a horrible sound, when it opened some kind of alarm went off. The door would open as the military trucks moved in reverse into it, the soldiers would open the doors and then dump the bodies there in the back. I saw how they piled people up. [There was] a mother with a baby. The baby had a gunshot wound, so the bullet must have gone through the mother. She was holding him very tightly. Her expression was of horror, she must have seen the bullet coming at her and her baby. Victor’s figure emerged among the corpses of chileans and those of blond foreigners with shaved heads on the morning of September 16th, which the court wrongly established as Victor Jara’s date of death. Hector: The body was very cold, so it had been a while. The blood he had stuck to his face, matted, was not from an hour prior because it was dry, mixed with dirt. The fingerprints taken by Hector in a file he hid allowed to confirm his [Victor Jara’s] identity with another worker from the Civil Registry. Thus he’d find the address of the house where Joan lived in uncertainty with her young daughters. Willing to take the risks, two days later on September 18th, Hector came by to visit her. Hector: She took my hands and hid her face in them, then cried. I felt her tears falling on my hands. All those images of young blond foreigners came to me, those I saw with shaved heads. In relation to this blond woman I had in my hands. And thought, she’s in danger. They’re going to kill her, I thought. I told her I’d help her, we’d go get her husband’s body. Joan: He warned me it was a horrible place, and that I had to control my feelings. I couldn’t be expressive, there was a certain danger… Hector: [I warned her] she would see all kinds of bodies. Men, women, children. We’d step on brain matter, blood —there was a lot of blood on the floor. Her husband would be among all those corpses and he was very dirty, covered in dirt. And she couldn’t cry there, nor scream, least of all faint. Joan: I was in a huge state of shock when I saw Victor’s body. I keep the image of his body full of wounds, machine gun bullets. And an enormous wound he had… Hector: She kneeled, kissed him, hugged him. Crying, she cleaned his face with her tears. With so much love, she made this gesture several times [wiping her tears with her hands, then using them to clean Victor’s face]. She kissed him many times, hugged him, held him, trying to remove that dirt. Joan: There were other bodies, centimeters away from him, everywhere. In that moment I was rather in a state of pain and anger against this massacre.  [They were] young people, workers. Some were even wearing their safety helmets [for construction work]... In those moments, the knowledge was sinking in that it wasn’t just Victor, it was everyone’s tragedy. Hector: We started with that trolley [that they used to transport Victor’s body out]. Joan makes a gesture with her hand as we’re walking out, because a truck with bodies was entering. The back [of the truck] was filled with bodies, you could see it through the wood planks. Fabric, vests, pieces of dresses. Joan: We were in a tunnel, the exit tunnel from the cemetery. That’s what I remember, I remember my determination in that moment to not give in before that military ambulance that brought more and more bodies. Hector: She makes a gesture, the soldiers pull back, and we make it out of the avenue. We lifted it [the body] and pushed it in by ourselves [into the mausoleum wall]. Joan: That constant noise [of the trolley’s wheels], that long walk towards the back of the cemetery… It's something that stayed with me for a long time. Hector: Those bodies I was taking fingerprints from, they had looked at me. I thought they were telling me please, go to my home, say that I’m here. Symbolically, through him [Victor] I buried all those bodies.

[woundthatswallows]

film recs?

i have a lot lol! i could break things up into catergories but since this is a general ask i'm just gonna cover mostly everything! i listed a lot of movies so i'd be happy to organize them a bit more into categories if anyone wants that, i just did it off the top of my head + w a little help from lists i've made on letterboxd. :)

here r some of my all-time faves that i’d rec: possession (1981) dead ringers (1988) harold and maude (1971) l’une chante, l’autre pas (1977) the piano teacher (2001) la morte vivante (1982) ginger snaps (2000) pink flamingos (1972) the rocky horror picture show (1975) twin peaks fire walk with me (1992) crash (1996) repulsion (1965) let’s scare jessica to death (1971) nekromantik (1988) + nekromantik 2 (1991) (second one is my fave but u have to watch the first first etc) girlfriends (1978) carnival of souls (1962) blue velvet (1986) martyrs (2008) a zed & two noughts (1985) multiple maniacs (1970) wild at heart (1990) 3 women (1975) dans ma peau (2002) dazed and confused (1993) kissed (1996) videodrome (1983) female trouble (1974) malina (1991) wings of desire (1987) persona (1966) the cremator (1969) the before trilogy teorema (1968) scenes from a marriage (1974) sunset boulevard (1950) les demoiselles de rocherfort (1967) the living end (1992)

and then some movies that i love/like and think people should watch: cecil b. demented (2000) ringu (1998) excision (2012) hausu (1977) the belly of an architect (1987) moonstruck (1987) les deux orphelines vampires (1997) valley girl (1983) angela (1995) may (2002) nashville (1975) phantom thread (2017) daisies (1966) candy (2006) society (1989) nowhere (1997) velvet goldmine (1998) caché (2005) the mafu cage (1978) funny games (1997) les raisins de la mort (1978) mysterious skin (2004) true romance (1993) y tu mamá también (2001) vampyres (1974) under the skin (2013) alice sweet alice (1976) audition (1999) vagabond (1985) high life (2019) spring night summer night (1967) secret ceremony (1968) candyman (1992) belle de jour (1967) hatching (2022) brain damage (1988) happy together (1997) in the mood for love (2000) cat people (1942) cléo from 5 to 7 (1962) je tu il elle (1974) thirteen (2003) masculin féminin (1966) vivre sa vie (1962) lost highway (1997) le bonheur (1965) une femme est une femme (1961) les parapluies de cherbourg (1964) babette’s feast (1987) arsenic and old lace (1944) the daytrippers (1996) a history of violence (2005) polyester (1981) ganja & hess (1973) impetigore (2019) volver (2006) pea d’âne (1970) the addiction (1995) train to busan (2016) chungking express (1994) smooth talk (1985) death in venice (1971) the incredibly true adventures of two girls in love (1995) my beautiful launderette (1985) wild (2016) lake mungo (2008) possum (2018) jeanne dielman, 23, quai de commerce, 1080 bruxelles (1975) les cent en une nuits de simon cinéma (1995) lola (1961) the passion of joan of arc (1928) le cérémonie (1995) stoker (2014) contempt (1963) eastern promises (2007) les yeux sans visage (1960) shivers (1975) american mary (2012) serial mom (1994) pierrot le fou (1965)

[amostexcellentblog]

Happy 100th birthday to Glynis Johns, the oldest living Academy Award nominee. Born in South Africa, where her showbiz parents were touring, she started dancing at five and had appeared in several plays before making her screen debut in the Yorkshire drama South Riding (1938) at 14. Another 90 credits would follow, although at one point she enrolled at a secretarial school when the roles dried up. She teamed three times with Robert Donat and twice with James Stewart, as her husky voice, expressive eyes and assured sense of style came to embody postwar British womanhood opposite stars like Dirk Bogarde, Alec Guinness, David Niven and Sean Connery. Mostly seen in dramas and comedies, Johns had a quirky approach to picking projects that saw her feature in two horror anthologies, guest as Lady Penelope Peasoup in three episodes of the 1960s TV series Batman, and play a nun in Nukie (1987), the much-derided E.T. knock-off that made headlines at the start of 2023 when the last video copy sold on eBay for $80,600. Oh, and she also won a Tony for A Little Night Music (1973), for which Stephen Sondheim wrote ‘Send in the Clowns’ specially for her. Many happy returns!

[wewebaggit]

"El never had romantic feelings for Mike"ers 🤝 "Mike had romantic feelings for El"ers

Y'all think y'all are arm wrestling bt it's actually called a handshake in most parts of the world.

Both come from some weird desire for romantic miIeven to have meant nothing/something for both.

Cuz everything has to be just right and fair and neatly tied in a bow. God forbid the gay boy have struggles with his sexuality or the straight girl get her heart broken in the process. Evil evil things. To have your feelings unrequited. Unless it's Will. Cuz he's single and has to stay single and pure and loyal and what not, and it's only temporary. Soon in a few years after the time skip at the end of the series he'll be rewarded for being reduced to a pathetic little sap with no social life beyond Jonathan, Mike and the horrors of having spidey sense for 2 seasons.

And yeah there will be cirque du soleil levels of acrobatics being performed to show why this story and narrative makes sense. And I'm not opposed to it for being that but just that on show that prides itself for show don't tell it neither shows nor tells and then there's outside the show telling by cast cuz inside the show showing was less subtle and more in the realm of not there at all.

MiIeven is NOT a "plot device" for Byler any more than Mike being revealed gay is a plot device for independent El. They're both self contained arcs for the respective characters. MiIeven thoroughly exploited the BSY dynamic with how their interactions were framed and played and okayed and filmed. It's incredibly condescending to fault the GA for buying into the self insert fantasy of nerdy boy gets supergirl when the show didn't shy away from profiting off of it. Regardless of Mike's impending sexuality. Especially because of the super ambiguity of Mike's sexuality it cannot be classified as anything but trope exploitation. Subversion where? Leaving some visuals here.

El initiating the kiss in S1E6

And I'd love it if anyone explains them to me that's not the tired af "El's idea of romantic love comes from her watching soap operas" cuz she was shown watching it once. She was stuck in a cabin with a TV so she watched TV most of the time and daytime is soaps. You know what she (also) watched regularly? Westerns. Miami Vice.

Also El did make the first move in s1e7 to kiss Mike. Before Mike ever kissed her in s1e8. And before the soap operas n all other things. Point being. The BSY has always been BSYing.

Poor babies being forced by Lucas, Nancy and daytime TV into making out and enjoying it. Tsk tsk. (S3E1)

A forced to be flustered and blushing El after talking to her boyfriend.

Time to make out some more. It hits different at 4:20. - Mike & El probably. Dunno it's on mute.

Naive but powerful fawn rebelling against father for nerdy boyfriend. Ya. White American thing cuz Mike would be pissing his pants if he were anywhere else or maybe anyone else. (Can you imagine Lumax this way?)

For God's sake your platonic soulmate and so called lesbian awakening's brother is dying there.

Don't even understand the point of this shot. Since Mike never looked Billy's way. Or comforted Max. A glance at El that, idk what it meant, no mike crow expressions to guide me.

Scenes from a Marriage (1973) dir. Ingmar Bergman

Scenes from a Marriage (2021) dir. Hagai Levi

There's an intentional way in which the MiIeven scenes (not just the kisses 🤮) are filmed in a more "adult" way as opposed to the "cute teenaged romance" way that some people purport it is in contrast to Lumax and Duzie. (I guess they didn't go through puberty.🤷‍♀️) Heck even Jancy, Stancy never looked this weird even though sex was shown/ implied. (Because they were played by actors born in the 20th century and even then they weren't 13 🤷‍♀️.)

MiIeven is not a plot device for Byler. It is fan service. The adults shipping them and comparing them to various other adult couples isn't outta nowhere. Please compute. Which is why it was stretched for 4 seasons.

As of NOW Mike's sexuality is still plausible deniability and the breakup too is neither here nor there. It's NOT straightbaiting. Lmao. Not at all. It's fan service. Leaving the OBVIOUS BSY aside, the point neither party were forced into anything nor were they doing it to keep appearances cuz canonically NOBODY cared. Not Dustin, not Lucas, definitely not Will and I'm sure neither did Max.

El was a willing participant and initiator and Mike was also not opposed to it until puberty monster/feelings caught up with him. El has shown her attraction to guys and it is okay. There's no need to take that away from her cuz that is also an experience of girlhood. She barely has any experiences anyway. Let her have that.

It's the same for Mike. He's not some evil monster for being gay. Not anymore than Joyce was for being with Bob out of convenience and the fact that she liked him n didn't hate him. Mike does love El and cares about her deeply as all of S4 shows.

So to sum it up. Yes I smooshed 2 posts cuz I couldn't be arsed talking about these 2 AGAIN. But Mike and El were independent agents when they decided to embark on their disastrous romantic journey and Born Sexy Yesterday is REAL.

P.S. If you find this shit cute and y'all roll your eyes over byler kissing n what not (even in fics goddamnit). Hit your head against a spiked wall till you can't no more. Piss and love. 💙💛

P.P.S. Mike's the clingy one. NOT Will.

[futa69]

You're already a fan of the ancient astronaut theory.

Here's a list of books, movies, TV shows, and video games featuring ancient astronauts. (revised)

▪︎Edison's Conquest of Mars (1898)

▪︎The Call of Cthulhu (1926)

▪︎Analog Science Fiction and Fact (1930)

▪︎At the Mountains of Madness (1931)

▪︎Childhood's End (1953)

▪︎Forbidden Planet (1956)

▪︎Quartermass and the Pit (1958)

▪︎The Twilight Zone (1959)

▪︎The Sirens of Titan (1959)

▪︎The Flintstones (1960)

▪︎Doctor Who (1963)

▪︎Hercules Against the Moon Men (1964)

▪︎Known Space (1964)

▪︎Star Trek (1966)

▪︎2001: A Space Odyssey (1968)

▪︎Chariots of the Gods (1968)

▪︎The Bible & Flying Saucers (1968)

▪︎Horror Express (1972)

▪︎Rendezvous with Rama (1973)

▪︎Land of the Lost (1974)

▪︎The Spaceships of Ezekiel (1974)

▪︎The Outer Space Connection (1975)

▪︎Space: 1999 (1975)

▪︎The Sirius Mystery (1976)

▪︎The Earth Chronicles (1976)

▪︎Star Wars (1977)

▪︎Close Encounters of the Third Kind (1977)

▪︎The Manna Machine (1978)

▪︎Invasion of the Body Snatchers (1978)

▪︎Battlestar Galactica (1978)

▪︎Hitchhiker's Guide to the Galaxy (1978)

▪︎Monty Python's Life of Brian (1979)

▪︎Alien (1979)

▪︎Hangar 18 (1980)

▪︎Valis (1981)

▪︎The Thing (1982)

▪︎Xevious (1982)

▪︎Super Dimension Fortress Macross (1982)

▪︎The Transformers (1984)

▪︎Cocoon (1985)

▪︎Bio Booster Armor Guyver (1985)

▪︎The Legend of Zelda (1986)

▪︎Predator (1987)

▪︎Killer Klowns from Outer Space (1988)

▪︎Red Dwarf (1988)

▪︎The Gods of Eden (1989)

▪︎Moontrap (1989)

▪︎Spriggan (1989)

▪︎Total Recall (1990)

▪︎Babylon 5 (1993)

▪︎The X-Files (1993)

▪︎Stargate (1994)

▪︎Neon Genesis Evangelion (1994)

▪︎Fingerprints of the Gods (1995)

▪︎Encounter with Tiber (1996)

▪︎Final Fantasy (1997)

▪︎Earth: Final Conflict (1997)

▪︎The Fifth Element (1997)

▪︎Space Island One (1998)

▪︎Naked Pictures of Famous People (1998)

▪︎Dilbert (1999)

▪︎Futurama (1999)

▪︎Star Ancestors (2000)

▪︎Mission to Mars (2000)

▪︎Halo (2001)

▪︎Ice Age (2002)

▪︎Alien vs. Predator (2004)

▪︎The Orion Zone (2007)

▪︎Mass Effect (2007)

▪︎Assassin's Creed (2007)

▪︎Outlander (2008)

▪︎Indiana Jones and the Kingdom of the Crystal Skull (2008)

▪︎Marvel Cinematic Universe (2008)

▪︎Spore (2008)

▪︎Knowing (2009)

▪︎The Fourth Kind (2009)

▪︎Ancient Aliens (2009)

▪︎Borderlands (2009)

▪︎The Great Airship of 1897 (2010)

▪︎Dark Void (2010)

▪︎The Ancient Alien Question (2011)

▪︎Cowboys and Aliens (2011)

▪︎Battle: Los Angeles (2011)

▪︎Paul (2011)

▪︎John Carter (2012)

▪︎Prometheus (2012)

▪︎Iron Sky (2012)

▪︎Man of Steel (2013)

▪︎Beyond the Sky (2018)

▪︎Resident Alien (2021)

▪︎Moonfall (2022)

▪︎Prey (2022)

▪︎65 (2023)

[maddy-ferguson]

Since you watched so many movies, can you recommend the very best? I'm talking amazing mindblowing 5star 'everyone needs to watch this' kind of movies. Or just ones you really liked personally. I'm getting back into watching movies and I need some good ones!

hiii i'm gonna give you my personal favorites and then movies i really like that i didn't know before i started watching a lot of movies. some of them are like classics or talked about a lot but i didn't know them before so they'll be here. but no like the godfather yk

my favorite favorites: les parapluies de cherbourg (1964), les demoiselles de rochefort (1967) (my header), la nuit américaine (1973), goodfellas (1990), waitress (2007)

old movies: it happened one night (1934), stella dallas (1937), the lady eve (1941), the palm beach story (1942), sunset boulevard (1950), les 400 coups (1959), the children's hour (1961), cléo de 5 à 7 (1962), they shoot horses, don't they? (1969)

movies that aren't as old: phantom of the paradise (1974), 3 women (1977), the king of comedy (1982), after hours (1985), the fly (1986), little shop of horrors (1986), cinema paradiso (1988), the unbreakable truth (1989), my own private idaho (1991), welcome to the dollhouse (1995), chunking express (1994), fallen angels (1995), the before trilogy (1995-2013), cure (1997)

movies that came out either after or not long before i was born: billy elliot (2000), almost famous (2000), real women have curves (2002), oldboy (2003), the fall (2006), brooklyn (2015), skate kitchen (2018), papicha (2019), my first summer (2020), sick of myself (2022)

there's not a lot of recent (21st century) movies and i'm not sure why😭 they're not ALL 5 stars best movie ever but i really like all of them. last movie i watched that i liked that prompted the post that prompted this ask: how to have sex

[zippy-reacts]

Sonic the Comic Liveblog: Issue 85

I am now immensly jealous of some kids from thirty-or-so years ago. I wonder if any of those jackets are still around?

(Also assuming I don't change the queue scheduling, this is being posted on the 23rd, so happy birthday Sonic!

What an outfit. Smoking jacket, bright-ass shoes, and a very impractical looking cane

First sentence this guy has spoken and he's already iconic

Yeah, defininitely sounds like important information to give in advance. Also, this is a very random to bring this up now, I know, but I wonder if anyone has ever made dubs of StC with British accents. I mean, I literally live in the UK and I'm struggling to hear anything other than these character's American voice actors when I read dialouge

When Omni was first introduced he was treated like a god but now a holding cell twarts him lmao

StC hasn't really been subtle at all so far so I'm expecting this guy to turn out to be evil BUT I would love it if this guy was a bit like Mihawk from One Piece where he's just a dramatic goth who's really committed to the aesthetic

Well, turns out he is indeed evil, but perhaps more importantly, stupid.

Got a couple of thoughts so here's them all in quick bullet points:

Really nice art on that first panel.

Interesting way to depict Super's teeth though

It is so funny the entire mansion just fucking exploded without him so much as lifting a finger

Top-tier expression

Jerkyl and Hyde thing going on, nice, cool to see even the side characters are going along with the horror theme

This panel is pretty funny in it's own right in terms of timing with the previous panel but uhh… choosing to make the laser beams or whatever piss yellow also makes it hilarious in an unintended way

I don't really like the way these comic depict Sonic's quills from the back but I do gotta acknowledge and applaud the effort that went into shading them here.

OHH I really really like how Sonic is drawn in this panel. The perfect mix of cute and badass

I think the joke here might be that Frink is a made-up word because I CANNOT find any definition for it other than a few Urban Dictionary entries that I don't think quite fit

Anyway back to Knuckles. Between now and writing last issue's liveblog it occurred to me that this whole story is reference to The Wicker Man (1973), right down to the inn having the same name. Very interesting choice of reference though, I imagine that film is a bit before the time of the kids who would be reading these comics.

I should probably also mention that while I've read a plot summary, I actually haven't watched Wicker Man myself. I don't really like horror movies but maybe I might give that one a shot sometime.

The Archie comics may have microwaved Knuckles in his egg but it looks like StC is gonna roast him in one!! 👈👈😎

Also I do love how in the following panel the villagers response to this is "lmao do you really think Robotnik gives a shit?"

There were two stories with Tails and Shortfuse. I have no comments for either one.

Well, even if I think the recent Tails stories have been boring as hell, I'm glad some kid out there enjoyed them.

[coochiequeens]

“India has one of the highest rates of honor killing and dowry deaths, where newlywed brides are tortured, burnt, sometimes even murdered on the basis of sex. For a man with caste and class privilege living so far removed from the everyday realities of Indian women, Alok Vaid-Menon sure has audacity to call himself a ‘bride,'” she (Vaishnavi Sundar) said.

An American trans activist who identifies as ‘transfeminine’ was recently featured by the Indian publication Brides Today on their digital cover, prompting criticism on social media. Alok Vaid-Menon, 31, who uses “they/them” pronouns, was interviewed and photographed for the magazine wearing clothing resembling traditional attire for women.

Vaid-Menon’s April 19 appearance in the magazine was presented as a commentary on same-sex marriage, which is currently being debated at India’s highest court.

During the full interview, Vaid-Menon was asked his thoughts on topics such as marriage and love, stating “love is about expansion, not constriction. Permission, not prohibition… I want to be a living love poem. Every day I ask myself, ‘How can I love harder?’ Love breaks through binaries—man and woman, us and them, you and me… Love doesn’t live in should, it lives in what is.”

Yet despite the platitudes, Vaid-Menon has caused concern for a past statement in which he referred to “little girls” as being “kinky” and claimed to have himself once been “a cute little girl.”

In approximately 2016, when Vaid-Menon was using the moniker Dark Matter to promote himself as a performance artist and poet, he published a disturbing statement on his views of young girls’ presumed sexuality.

In the statement, Vaid-Menon rejects the notion that little girls need to be protected from “gender/sexual deviance,” and instead claims that “little girls, like the rest of us, are complicated people.”

Vaid-Menon was writing about legislation that had been introduced in the state of North Carolina that year establishing that public restrooms remain single-sex accommodations. House Bill 2, the Public Facilities Privacy & Security Act, was intended to protect women and children from being exposed to men while in a state of undress. 

Vaid-Menon responded to the bill being signed into law by claiming that single-sex spaces were being upheld under a false narrative of protecting “innocent little girls” from “freaky” transgender people. 

“There are no fairy tales and princesses here. Little girls are also queer, trans, kinky, deviant, kind, mean, beautiful, ugly, tremendous, and peculiar. Your kids aren’t as straight and narrow as you think they are,” Vaid-Menon wrote.

He went on to claim that he viewed the 1973 horror classic The Exorcist as being about “a little girl … exploring her sexuality (masturbation and so on) and her own demons/meanness.”

In 2021, quotes from the post began circulating on Twitter and prompting outrage, but users found themselves getting suspended for referencing or reacting to the text. 

Conservative political pundit Lauren Witzke was suspended from Twitter for hate speech after retweeting a graphic showing Vaid-Menon’s quote, to which she commented that the views he expressed were “demonic.” Witzke was reinstated on the platform almost two years later, after Tesla CEO Elon Musk bought Twitter and offered “amnesty” on many previous suspensions.

The views expressed in Vaid-Menon’s Facebook post were criticized by the now-deceased lesbian activist YouTuber Magdalen Berns in a video she titled “Non-Binary Bullsh*t.” Berns concluded that in her opinion, his comments on girlhood made him “sound a bit like a pedo,” and remarked that “even his fans” disapproved, causing him to eventually delete the post.

The following year, in 2017, Vaid-Menon and fellow non-binary activist Jacob Tobia were profiled by Vice in an article titled “Why Can’t My Famous Gender Nonconforming Friends Get Laid.” The article was subject to widespread mockery for highlighting Vaid-Menon’s lack of success in dating, and included comments indicating that Vaid-Menon and Tobia had considered taking female hormones in order to date heterosexual men in an attempt to expand their dating pool.

Vaid-Menon has been a strong proponent for “neutralizing” women’s issues in order to make them “gender inclusive.” He has previously written about the importance of using gender neutral language when discussing abortion, pregnancy, or sex-based violence, also denouncing the term “women’s rights” as not being sufficiently welcoming to gender non-conforming people. 

In 2020, Vaid-Menon was featured by menstrual hygiene company This is L and the Phluid Project – a “gender free” clothing and lifestyle brand based in New York – in a promotional video featuring individuals of varying “gender identities” to spread the message that periods are not specific to females. Vaid-Menon had endorsed this belief previously when, in 2019, he shared an articlefrom Seventeen magazine, a publication aimed at girls and young women, titled “What Trans & Non-Binary Menstruators Should Know About Periods.”

Women’s rights campaigner and filmmaker Vaishnavi Sundar blasted Vaid-Menon’s activism as “dangerous” while calling attention to the plight of women and girls in India. 

In 2020, screenings of a documentary Sundar had produced titled “But What Was She Wearing?” were cancelled in response to previous tweets she had made opposing men in women’s spaces. Her film sought to address the sexual harassment and sexual violence that women in the nation experience, juxtaposing the contrast between what laws on paper purport and the on-the-ground reality.

“India is an extremely caste-riddled society. Indian women across all castes experience profound violence at the hands of men. A large majority still live under acute poverty, devoid of basic sanitation, education, safety, or legal recourse,” Sundar told Reduxx.

“India has one of the highest rates of honor killing and dowry deaths, where newlywed brides are tortured, burnt, sometimes even murdered on the basis of sex. For a man with caste and class privilege living so far removed from the everyday realities of Indian women, Alok Vaid-Menon sure has audacity to call himself a ‘bride,'” she said.

“To import gender identity ideology as some form of progressive ticket to freedom is not just obscene, it is dangerous. In a country that still kills the female newborns and blames young girls for being raped, gender identity is the last thing we want shoved down on us while we haven’t even saved ourselves from the existing misogyny,” Sundar added.

“The only group of people profiting from this ideology are the corporations, medical and pharmaceutical industries. Men like Alok Vaid-Menon are promoters of said industries under the veneer of being progressive and inclusive.”

[letthepeoplepass]

Afternoon! Sorry, I lied about posting again yesterday! Work got ahead of me.

Todays friend is still in Illinois!

The Enfeild Horror is from, you guessed it, Enfeild! It is fabled to have been stalking the town in the 1970s! But on April 25th of 1973, a man named Henry McDaniel was the first to call name of an encounter with the creature!

He said that when he was with his children Lil and Henry (very original), he spotted the creature! The children had expressed their fear of a creature scratching at the door; and when Henry Sr. finally heard it himself, there it was.

“had three legs on it, a short body, two little short arms, and two pink eyes as big as flashlights. It stood four-and-a-half-feet tall and was grayish-colored. It was trying to get into the house!” Henry says, and proceeded to grab his gun and shoot it. He said he fired multiple times, and knew he hit the Enfeild Horror.

I will link a specific Wiki to this creature, because oh man! There is so much story!

——

Have fun with this one guys! And once again, have a great day!

My inbox will be open for any specific cryptid requests!

[swampthingy]

Horror Express (1973)

[eisenkrahe]

Since the island - Chapter 1 - Leswamp - Nothing but the night 1973 [Archive of Our Own]

My dumbass decided that Horror Express was not rarepair enough so now I'm writing about "nothing but the night" because I'm a glutton for punishment.