#Innocent prey 1984

[fanofspooky]

Can you do scream queen PJ Soles? Please 🙏

Scream Queen - P.J. Soles

[supermarcey]

The Ozploit Cast - Episode 16: '1983 -1984' The Return of Captain Invincible, Hostage, BMX Bandits, Innocent Prey and Melvin: Son of Alvin

The Ozploit Cast - Episode 16: '1983 Films' The Return of Captain Invincible, Hostage, BMX Bandits, Innocent Prey and Melvin: Son of Alvin

The Ozploit Cast – Episode 16: ‘1983 – 1984’ The Return of Captain Invincible, BMX Bandits, Innocent Prey and Mevlin: Son of Alvin Download HERE https://supermarcey.files.wordpress.com/2024/04/the-ozploit-cast-e28093-episode-16-1983-1984-the-return-of-captain-invincible-hostage-bmx-bandits-innocent-prey-and-melvin-son-of-alvin.mp3 Welcome to our Podcast series from The Super Network with The…

[instagramers]

Kylie Jenner Fans Reacted With Disgust As She Posed Unclothed, Covered In Blood

Kylie Jenner fans were left disgusted as she posed unclothed while covered in blood in a new image from a very graphic Freddie Kruger make-up campaign. She posed in an Instagram post to her upcoming Nightmare On Elm Street collaboration.

The 24-year-old billionaire kylie Jenner on Instagram shared new images on Monday night which were termed ‘disturbing’ by some of her 275 million followers. Kylie Jenner is pregnant with her second child. She drenched her naked body in blood for the latest chilling collaboration with the horror franchise centered around Freddie Kruger for her Kylie Cosmetics line which made her a household name.

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Kylie simply smoldered in the frightening shots as fake blood covered her skin while she perched against a plain white backdrop. kylie jener long, dark brown hair was worn wet and in loose curls with tendrils plastered against her back as she protected her modesty with her hands. A glimpse of kylie jenner expertly applied makeup flashed across the screen with a subtle red liner on her lips and a bold liner on her eyes. kylie jenner captioned her post, “Y KYLIE X NIGHTMARE ON ELM STREET COLLECTION LAUNCHES TOMORROW! 3 pm pst KylieCosmetics.com,” adding a knife and drop of blood emoticons.

However, kylie jenner instagram followers were left less than impressed with the gory imagery and called the photos ‘just not necessary.’ One user commented on kylie jenner photos, “I do not like this at all this looks satanic asf Kylie… NOOOO bro just no!” Another Instagram user penned, “Girl you are so talented and can’t believe you set yourself so low. You have so much talent and let others ruin it… it’s such disturbing pictures.. You can do better.”

Moreover, she shared another, more clothed bedroom snap where she lounged across floral sheets wearing a white leotard and red leather boots. Both captions alluded to the new collection being available in mere hours with fans pining for new drops from the social media savant.

There has been a fierce backlash against Jenner’s choice to use the 1984 Wes Craven slasher film as her inspiration for her autumn collection because, in the movie, villain Freddy Krueger preys on innocent teenagers, many of whom are women. One Instagram user commented, “You should collab with Jesus. THAT would be something to be proud of.”

However, earlier this week, Kylie has also shared a video on her Instagram account. The gory video shows fake blood dripping down her naked body. kylie jenner instagram video caption reads, “can you guess who we collaborated with this year for halloween? collection reveal coming today @kyliecosmetics.”

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The video is for promoting the Kylie Cosmetics x Nightmare on Elm Street collection. The new collection is set to drop on October 12, in time for Halloween on October 31. The promos were clearly brainstormed and put into motion months ago as Kylie is months along in her second pregnancy with on-again (kylie Jenner boyfriend) boyfriend Travis Scott. The pair announced their baby news on Instagram last month and (kylie Jenner daughter) already share their three-year-old daughter Stormi.

[bexterbex]

A Soul to Mend His Own | Ch. 73

Warning, PLEASE CHECK TAGS IF YOU SEE SOMETHING YOU DON’T WANT TO READ THEN DON’T READ. | Tag lists are closed | INBOX OPEN.

Tags: Alternate Universe - Modern Setting, Alternate Universe - Soulmates, Alternate Universe - Canon Divergence, Will tag as I go along, Will update tags, Slow Burn, Influenced by Star Trek and other Sci-Fi themes, References to We Happy Few, Tons of References and quotes to George Orwells 1984 see if you can find them all, The First Order is the new Big Brother,  but who is really surprised, Blatant Nazi Symbolism, Interrogation Themes, Eventual Smut, Eventual Romance, Really just drawn out Slow Burn, Don’t repost without permission, Torture themes, Suggestive Themes, Execution themes, Disturbing Themes, Implied/Referenced Abuse, Verbal Abuse, Controlling Kylo Ren, Physical Abuse, Implied/Referenced Self-Harm, Kylo Ren is Not Nice, Kylo Ren Has Issues, Supreme Leader Kylo Ren, Possessive Kylo Ren, A character shamelessly based on Zelda

A Kylo Ren x Modern! Reader in a soulmate au with canon divergence. —————————————SLOWBURN————————————–

He is already the Supreme leader, searching the universe to find you, his Empress. Your name on his wrist has been the only constant in his life, while you have doubts about his existence and his acceptance of you. He isn’t in the database and why did the name Kylo Ren cover Ben Solo?

MASTERLIST

BEFORE YOU READ THE CHAPTER: Very dark themes. You have been warned. Kylo Ren is Not Nice.

Chapter 73: Behind Glass Windows

You didn’t remember being told that you were now docked on earth; you didn’t remember even getting ready to go down to the surface, but you were now watching behind the windows of your eyes as you were in the shuttle being brought down. You could hear and see everything you normally could, but you were behind the glass of your eyes. You couldn’t interact with your world, he was doing that for you. It was like watching a movie about yourself where you couldn’t control anything unless he let you.

You watched as you departed the ship when it made it to the surface; you were now in D.C. you could hear Mitaka say that your family was brought here, for your safety.

You knew your crown was adorning your head, you could see as everyone around you bowed or saluted in your presence. But you were stuck, watching this nightmare unfold before you. You saw them, your parents, your siblings, and their spouses and kids. All a mix of terrified and confused. Your body stopped in front of them, but they did nothing other than stare at you.

You heard Mitaka’s usually timid voice attempt to be confident. “It is the law to bow to the Empress when you are graced with her presence.”

You watched as your older brother attempted to dispute this, “But she’s our sister.” You knew they didn’t want to give you the same respect you had always shown them. You could see the internal struggle within your family. They were terrified to be in this position, but they also believed that being related to you granted them exceptions. It did not.

“I will say it once more. It is law for you to bow in front of the Empress when she graces you with her presence.” Mitaka’s voice was a bit agitated at the blatant disrespect for you. He might be timid in many ways but he loved rules, and what the First Order stood for, and this was showing disrespect in the face of it all.

You watched as your family looked confused and shared looks with each other but they eventually complied to the law. Bowing awkwardly to you, their Empress.

Your mother spoke up, “May I ask why we weren’t invited to your coronation? Your wedding?” Her voice reminded you of all the women in stores who demanded things from workers, that same annoyingly trying to be important tone.  

You didn’t know how to answer but words came out of your mouth anyway, words you couldn’t stop. “You were not invited simply because you are not important enough. You may be the people I happen to share DNA with, but you are not my family.”

Your mother gawked, but your father spoke first, “Now I know you don’t really feel that way.” You could see in his eyes that he was trying to deescalate the situation, trying to reason with you, but you weren’t in control.

The ugly black creature speaking for you, “I am the Empress, you do not have the privilege to tell me what to do.” You could feel its hold on your brain tightening with every word.

“You know that I wasn’t trying to do that,” your father’s voice was reflecting the worry that was plastered across his face. Of course you knew that but that didn’t stop the controlling force on you. You saw your head cock to the side, contemplating their existence in this world.

The monster roared, but your voice masked it. “Execute them.” You watched the creature vibrate with glee, overpowering you, and your wishes.

“M’lady? They are your family,” asked an officer who was in the room, Mitaka staying silent. You could see the hints of concern on his face, knowing something was wrong, that this wasn’t like you.

You watched as you turned to him. “They have wronged the Empress. Execute them.” You then walked away. Your back turned as you heard their confused yells, the education failing them, panic setting in.

You watched the fear in his face, “The children too?” You could hear the unease in the young officer’s voice. You wanted so desperately to tell him no. You watched as you turned back around to face the officer that dared to question you.

“Yes.” Was the answer you gave.

You began to walk away, down the hall to who knows where. You sure didn’t as you weren’t in control of your body, your mind. You were screaming and pounding against the glass that seemed to be preventing you from doing anything. But you watched as the tendrils moved in front of it and around you, being burned by the dying embers around you. You wondered if there would be a way to stoke the fire somehow. But it was just you, the glass wall, the dying embers, the tendrils, and blackness. You knew you had no control anymore, but you were fighting for your life.

You heard a voice speak on the other side of the glass. “Empress, I have some things I would like to catch you up on.” It was General Parnadee. She was here talking to you, in person for the first time in weeks.

You turned to face her. “Yes, general you may proceed.” The words were out of your mouth, you wanted to scream at her to let her know that you weren��t all right. That you needed help. That you were trapped inside your own mind.

She eyed you carefully like she always had, analyzing the situation before her like the expert tactician she was. “It seems someone you knew previously to the annexation to this planet is in coercion with the resistance. I was wondering if you would like to overlook the interrogation. Maybe provide some insight? Or speak yourself?” Her eyes gauging you every movement.

You could see the black creature fill with glee once more. Excited with the possibility of witnessing an interrogation. Its inky threads dancing across your brain. “Yes, I would. Lead the way general.” Shaping and molding the parts it had yet to fully seize.

She eyed you for a moment. You wondered if she could tell that something was off. Hearing yourself speak, you didn’t quiet sound like you, like yourself. You sounded like a different person had access to your voice, because technically that’s what this was. You weren’t controlling you; you did not have power over your body, your mind, you even wondered if you had power over your soul at the moment.

You were lead to a room in the lower levels. It did feel like an interrogation room, when you stepped inside you saw your former boss, Scott, strapped down to a chair. It looked like a torture device, complete with a small black drone droid flying about.

You wanted to know what he was doing here, why he was here. But the creature spoke for you. “You looked relieved Scott? Were you expecting someone else?” You could feel your eyes narrowing at him. The creature turning you into a hunter before its prey. “I’m just glad it’s you and not the supreme leader. I’ve heard the rumors. What he can do to the mind.” You could hear the exhaustion and fear in his voice, and the small sense of relief. The creature narrowed in on the fear.

You felt your head cock to the side. “What rumors?” The creature turning you into a hyena before a dying animal, circling him in the chair.

You could hear the frustration in his voice, obviously, you weren’t displaying the reaction he wanted. “I know you know. That he can tear into someone’s mind. But I know you will get me out of this, I know you know I am innocent. I’ve never done anything to you or the First Order. All you have are lies about me.”  You wanted to believe him, suspecting what the outcome of all of this would be if he was found guilty, but you didn’t have control.

The creature mocking him now, “You see that’s where you are wrong. I know you aren’t innocent Scott. I remember being in the conference room when you said: ‘Well we’re fucked, We are all surely fucked. Who are these people to think they can just take over like that? Do they think we are just going to sit by and let them brainwash us? Let them take everything from us?’ Did you think I forgot that” Your voice now sounded like something out of a horror movie, some fake female sounding voice that came from a monster.

Scott’s eyes were wide. “That doesn’t mean anything surely you know that right? I’m innocent. Please, you know I have a wife and kids.” He could see there was no good outcome for him. He would have to face his death.

“Hmmm yes I do.” The creature teased him, looking for the final kill. “But unfortunately for them, they will have to pay for your actions, just as you will.”

Panic, fear, horrification were just brushing the surface of what he was feeling about what the creature was suggesting. “What does that mean? Please take me and not them. Kill me and let them live.”  

Your head list to the other side. The you that was in control was really toying with him now, like a cat before her already caught prey. Which he was, strapped to the chair, helpless and in tears, afraid for his life. “Yes, you should be grateful that I am unable to tear into your mind, but know this I show the same amount of mercy as my husband. Which is none.”

You turned your back to him and walked out of the room, but not before telling the guard that Scott and his family were to face public execution, as examples of traitors to the first order.

You walked past the general. “I will be present for both executions, I would like them to happen as soon as possible.”

She looked at you, you could see it in her eyes that she knew something was wrong, “Yes, Empress. We are having them in an hour. I have been informed by your ladies-in-waiting that you have been requested to change for the executions.” You were different, and she could tell.

You simply nodded and headed down the hallway. You did not know where you were going, but you ended up in a bedroom where Adlez and Olivia-Rose were waiting, with your new gown for the execution.

“Are you all right m’lady we heard what happened,” asked Olivia-Rose.

The entity spewing harshness, “News travels quick.” You voice came out with a menacing tone. Both of them looked at you and each other, Olivia-Rose was terrified but Adlez was analyzing you. You had never treated them like this before. You knew it would only be a matter of time before the black monster in your head would mess up enough for them to want to do something about it.

But the creature blacked you out, ending any and all conversation, taking you to the execution before it allowed you to see through the windows of your eyes once more.

On the top of the front steps to the Lincoln Memorial, one of the very images that used to define freedom, is where the execution was taking place. The Lincoln statue was removed, in its place was a red banner with the First Order Insignia, its bright red color was like blood against the pure white marble.

It was more than just your family and Scott being executed, there were others lined up, but they didn’t matter to the part of your brain you couldn’t control. You wondered if you could stomach what you were about to witness. What he was about to make you witness. The death of your family.

You felt yourself step forward to address the crowd; you knew once again that the words coming out of your mouth were not your own. “Citizens of Earth, the people before you today have committed the act of treason against you, against the most gracious First Order. I stand before you today as your Empress. Showing you firsthand that I stand behind what is done here, the examples these people will be to you all. Break the rules, cause disorder and you will be eradicated. We will be pure, we will have order, we will be better.”

You stepped back; you knew all eyes were on you, but you were numb to it all. Not feeling the pain that was so clearly in your heart, in your soul. You watched as an Executioner ‘trooper stepped forward. Through the voice distortion, you heard names and the crimes they committed. You watched as Scott went first, his crime being a spy and conspiring with the Resistance. You watched as they forced him to kneel in front of everyone next to a ‘trooper with a laser axe. You watched on horrified at the falling of his head, but the crowd that gathered in front of you was living for it. Shouting various encouragements to the executioners, saying disgusting things to those who were lined up. Next was his wife and two kids, their crime was failing to report a conspirator of the Resistance. Your body not following your will, forcing you to watch, breaking you.

But you weren’t prepared for what you were about to witness next, your family. Your mother, your father, your brothers and sister with their spouses and kids lining up together, a stormtrooper holding each of them, an executioner next to them waiting, waiting for the announcement of their names and crimes. You could see the fear and tears on their faces, some of them trying to look at you, trying to show you their dying eyes. The children and babies not knowing what was happening. What you were about to let the First Order do, knowing you couldn’t stop what was about to happen.

Their death, and your isolation.

You watched as the axes fell in sync; you were alone now. Your family was gone, Kylo on the other end of the galaxy but controlling you. Allowing. No. Forcing this to happen. Forcing your isolation. Forcing their death. The rest of the execution was a blur, the tendrils seemed to decide that you have had enough of being forced to witness things. You didn’t remember the rest of the day, or the next few days as a matter of fact. The inky blackness was all you saw.

[charliejrogers]

Wonder Woman 1984 (2020) - Review & Analysis

Here’s a non-controversial statement: 2017’s Wonder Woman is a legitimately great film (if you discount the last act’s boring battle). A fun, yet emotional anti-war tale with a great period aesthetic. What elevated it from greatness was its starkly bleak reveal that Ares does not start man’s wars, but he merely gives humans ideas for how to instigate them. Ultimately, it is Man who holds responsibility for our own destruction, and despite this Wonder Woman still chooses to help us poor creatures. Cool themes, cool hero, cool movie.

Wonder Woman 1984 shares the main character from its 2017 forerunner, as well as its dedication to recreating a particular period aesthetic (here the 1980s), but the brilliant writing from the first film is gone. The main themes are essentially… “be careful what you wish for” and “winners never cheat; cheaters never win.” Not the most grand and interesting follow-up to the prior film’s genuine insight into human nature.

But that’s OK. I’m really not sure why this movie is getting so much flak online. If DC’s recent prior history with filmmaking should have taught us anything, it’s that 2017’s Wonder Woman was a fluke. Remember that this is the same studio that brought us the outstanding climax to Batman vs. Superman where one grown man learns that another grown man’s mother is also named Martha. Oh, and did we all just forget that Justice League is one of the worst movies we have all collectively ever seen?

So let’s not be too hard on WW84 for not meeting the quality of 2017’s Wonder Woman. Few comic book movies can. In the more fair comparison to other movies in the DCEU, it sits below Shazam! and Aquaman, and just a smidge below Birds of Prey, but certainly above Suicide Squad, and then literally leaps and bounds over every other movie they’ve made.

Let’s start with the good. Honestly, despite my gripes about the themes of the movie not being very profound, I found the story to be interesting. The movie centers around Diana Prince (Gal Gadot in her role as an archaeologist for the Smithsonian and not as Wonder Woman) stumbling upon an ancient stone whose inscription invites people who hold the stone to make a wish. No one takes it really seriously at first, so two people make wishes without thinking they could come true. The first person is Diana herself who wishes to bring her boyfriend (whom she only knew for about a week, mind you) from the dead. As a reminder from the first film, her boyfriend Steve Trevor (Chris Pine) had died nearly 70 years prior to the start of this film in a dramatic, sacrificial, world-saving act. Apparently, Diana hasn’t moved on at all from the 1910s and still considers her short-time lover to be her forever lover. She’s not really a human and did not grow up a human, so I think we can forgive her for not moving on… but it is weird to imagine that Diana somehow works at the Smithsonian (without going to college? Or did she?) without developing any friends or interest in life. Wouldn’t she have moved on... like a little bit?

Anyways, she wants her boyfriend back, and that’s wish #1. Wish #2 comes from new character Barbara Minerva (Kristen Wiig… who I am shocked to find is 47 years old! She looks fantastic and far younger in this film). Were Barbara a man, the way she is treated by her colleagues would put them in the stereotypical role of a future school shooter. Barbara is a brilliant gemologist for the Smithsonian, but goes completely unrecognized for her brilliance. She is shy and unconfident, and subsequently people frequently forget that they have even met her. Add on to that the fact that she has to work in the same office as Wonder Woman, and her loneliness and subjective feelings of unattractiveness increase as male employees drool over Diana while they ignore and mock Barbara. Therefore, we would forgive her for having a chip on her shoulder. Yet, for all this, Wiig avoids playing her as an angry, emo goth. Barbara kinda has this air about her of “Well, this is just how life is, and there’s nothing I can do to change that.” Given the character’s lack of self-confidence and lack of social grace, it at times seemed like Wiig was just reprising her old SNL character, Penelope, the socially awkward one-upper. But that’s not fair to her character. Wiig portrays Barbara with an earnest goodness to her. She’s one of those people who when allowed to talk one-on-one proves to be more eloquent and interesting than you could have imagine. Far from being angrily envious of Diana’s confidence and beauty, she’s more sadly jealous. Naturally, then, she wishes on the stone to be more like Diana… unaware that this wish might have some unintended benefits.

But then, there’s a third key character to the film (and a third wishmaker), the main villain Maxwell Lord (Pedro Pascal). I cannot tell you if this was a good character or not… and I cannot tell you whether the imperfections of the character are more due to the film’s writing or Pascal’s performance. Lord is another loser, and like Barbara, his “loser” status is the result of being a victim of America’s prejudicial attitudes. But whereas Barbara fell victim to sexism, Lord falls victim to racism. Hispanic in origin, Lord grew up in America with an abusive father at home and racist classmates at school. Beaten down from an early age, all he wants in life is to make a name for himself, to prove he’s not a loser. In a clever twist, Lord (the person who originally ordered the wish stone to come to America before it was confiscated by the FBI and sent to the Smithsonian for analysis) does not simply use the stone to wish for riches and power… he wishes to BECOME the stone. That way, he can get nearly infinite wishes so long as he can con the people around him to wish things for him.

The scenes of Max Lord as a flawed human who just wants to not be a loser show Pascal giving a great performance as a human being at the ends of desperation. The scenes of Max Lord the supervillain are… not good. In a long string of over-the-top, eccentric, hyperconfident supervillains in countless superhero movies, Pascal’s Lord is just not interesting. In fact, he is literally a weak character. He cannot fight for himself as his body is crumbling (a side effect of wishing to become a stone). Furthermore, his initially grounded motivations to finally be respected and successful seem to be just utterly lost by the end of the film when he just wishes for world chaos… only then to turn around and declare undying love for his son. It doesn’t make a whole lot of sense.

Failure to understand a character’s motivations casts a shadow over Barbara’s character arc as well. It is explained that the wish stone takes something in return for granting someone their wish. So as payment for bringing Steve Trevor back to life, Diana loses some of her strength. Still… this strains to fully explain why Barbara, after gaining Wonder Woman-like strength, turns into a walking humanoid cheetah (complete with bad CGI like she walked straight out of the cast of 2019’s Cats.) Like I get that she lost some of her humanity and morality in exchange for strength… but Cheetah girl seems like a little much. And though initially it is fun to see Wiig get to play Barbara as a confident and sexy woman who fights back against the patriarchy, the movie (I think) unfairly pushes her into the villain role. In my opinion, she should be treated as a tragic character, something akin to a Harvey Dent in The Dark Knight, as her villainous tendencies are not really her fault. She literally had the part of her that cares about other humans taken away from her when she naively and innocently wished to be like Diana. Instead, the movie has Diana lecture her that she shouldn’t be so evil. She literally can’t, lady! Stop being so hard on her! In any case, it seems like a failed opportunity to generate sympathy for a genuinely likable character who tragically becomes a villain not through her own accord.

That failure to create genuine emotions extends to Diana’s story as well. As soon as Steve is resurrected, you know by the movie’s end he will be dead again. There’s no other way this movie ends. Yet, the fact that Diana is so stubborn in refusing to give up Steve makes it hard to sympathize with her. She is simply being selfish, making her eventual decision to say goodbye to Steve feel more like her finally doing the right (and obvious) thing, and not some heartbreaking decision. Also the fact that seemingly Diana hasn’t even tried to move on in the last seventy years doesn’t help matters for me: it more just feels like a lazy way to write in Chris Pine’s popular character into the second movie. The move certainly weakens the idea of Diana as a strong, independent woman by making her emotionally stunted and crippled for the last 70 years. It would have been a much more satisfying (and daring) choice if Diana had moved on from Steve emotionally and had to deal with the guilt of having brought him back by accident, particularly if he didn’t want to go back to being dead. Instead... Steve knows he has to go back and Diana feels no guilt keeping him around. It’s weak character writing.

These poor choices I contrast with two of my favorite TV shows that demonstrate perfectly how former lovers who miraculously reunite eventually have to say goodbye for good: Buffy the Vampire Slayer and Jane the Virgin. For risk of spoilers to those still watching Jane, I’ll stick to the Buffy example. There’s an episode of Buffy (though technically an episode of the spin-off show Angel) where Buffy and her vampire lover Angel are fresh off their recent and tumultuous break-up, but through some dark magic that neither seeks out, they are given the opportunity to live a life where Angel isn’t actually a vampire and their love can be fully expressed. Yet, in the end, Angel opts to give up his life as a human and return to being a vampire. The choice is so moving precisely because (due to circumstances I cannot begin to explain) in choosing to give up his life with Buffy, he saves her life as well. Whereas in this movie, Diana choosing to let Steve go is really just her choosing to undo her choice to essentially cheat death. Angel, however, is actively choosing to give up a life of happiness he never wished for but was just given on a silver platter, and will now live in a world where his lover will never know his selfless act and will go on hating him. It’s heartbreaking in a way Wonder Woman dreams it could be.

And not to get too Buffy-heavy… but that show also deals with the emotional consequences of being ripped out of the afterlife much better than this movie. Steve just kinda unrealistically adapts to being alive again in all of five minutes. If, perhaps, from the start he questioned why he was there and hinted to Diana that something was wrong, the emotional aspect of this story, the doomed nature, the feeling of “this is the last chance we’ll have together” could have made this a stronger movie. I wanted to find myself crying when Diana finally says bye to Steve, and I was no where close to that. Gal Gadot shares at least part of the blame. She’s a pretty wooden actress. It’s something I noticed in 2017’s Wonder Woman, but in that movie she was supposed to be a fish out of water so her stilted presence seemed appropriate. Here, where she’s supposedly become an assimilated American for 70 years… it is just bad acting.

Anyways, another aspect of this film that was lacking were the visuals. The bad CGI of Barbara as Cheetah is just scratching the surface here. The opening flashback to Diana as a girl performing in the Amazonian Olympics just… looks fake. I don’t know. The reliance on CGI over practical effects is clear and distracting. It’s only worse in the subsequent scene where Wonder Woman stops a theft from occurring in a mall. The effects are just bad. Like passable for a film in the 1990s or early 2000s. But for a 2020 blockbuster, it’s noticeably bad. And already the scene where Wonder Woman is running towards the camera with a weird green screen behind her seems to have become a meme given just how weird it looks.

And yet, for all the negatives I’ve listed, this is a decent action flick. There’s even some nice set pieces like the one in the White House. As little as I liked Max Lord as a supervillain, I found figuring out the other half of each of his various Monkey Paw wishes (i.e. the downside of each wish) to be clever. unfortunately, each of the main three characters fails to have a story line that takes full advantage of their emotional potential, or they are just poorly acted. With few exceptions, the film eschews “fun” in favor of “seriousness.” Really the only exception is, as in the first film, the chemistry between Pine and Gadot. Their chemistry makes for some of the movie’s best moments, like when Wonder Woman makes the plane they’re flying in invisible and the pair flies over fireworks on the fourth of July. But that sense of whimsy in their scenes is largely absent from the rest of the film. This is particularly true of the action sequences, especially those at the climax. The seriousness makes them rather boring. Really, I’m comparing these action scenes with the last half hour or so of Birds of Prey which really set the bar for superhero movie fight choreography. So in the end, it’s overall an OK movie. It certainly isn’t as bad as others make it out to be, but I cannot believe I’m saying this… in 2020 if you’re in the mood for a fun superhero movie, you’re better off with the Suicide Squad sequel than the Wonder Woman sequel.

**/ (Two and a half stars out of 4)

[nomoremutants-com]

Due This Dec ANNIHILATION - SCOURGE: SILVER SURFER 1 Dan Abnett (W) • Paul Davidson (A) • Cover by Josemaria Casanovas Variant Cover by Ozgur Yildirim The Scourge is closing in, wreaking havoc across the galaxy. The Silver Surfer has returned in time to bear witness to the Scourge’s atrocities - but his new status quo leaves him helpless to intervene! Will the Surfer be able to find a way to save the fleeing innocents around him - or will he be forced to stand by and herald in a new age of death? 2019: ‪10/04: Joker‬ 2020: ‪02/07: Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)‬ ‪02/21: Bloodshot (Sony)‬ 04/03: Untitled DC film 04/03: The New Mutants (new date) 05/01: BLACK WIDOW ‪06/05: Wonder Woman 1984‬ ‪07/24: Untitled DC film‬ ‪07/31: Morbius (Sony)‬ ‪10/02: Untitled Sony Marvel sequel‬ ‪11/06: ETERNALS‬ 2021 ‪02/12: ‬SHANG-CHI AND THE LEGEND OF THE TEN RINGS 05/07: DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS ‪06/25: The Batman ‬ ‪08/06: Suicide Squad 2 ‬ ‪11/05: ‬THOR LOVE AND THUNDER TBD:: Marvel BLADE #marvelcomics #Comics #marvel #comicbooks #avengers #avengersinfinitywar #xmen #gotg #captainamerica #ironman #thor #hulk #spiderman #uncannyxmen #wolverine #drstrange #guardiansofthegalaxy #drstrange #blackpanther #milesmorales #deadpool #scarletwitch #captainmarvel #avengersendgame #rocketraccoon #spidermanfarfromhome #thanos #blade #gotg3 #moonknight — view on Instagram https://ift.tt/2Nnr8Kx

[sawyersoze-blog-blog]

A Tribute to Horror Part 1 - Title Listings

0:00 - Generic Preview Screen

0:01 - “Do you like scary movies?” - Scream (1996)

0:04 - “Ki ki ki ma ma ma” - Friday the 13th (1979)

0:06 - Tales From the Crypt: Demon Knight (1995)

0:18 - Alfred Hitchcock Presents (1955)

0:20 - The Cave (2005)

0:22 - Fright Night (1985)

0:26 - Taking Lives (2004)

0:26 - “This is not a test.  This is your emergency broadcast system announcing the commencement of the annual Purge.  Commencing at the siren, any and all crime, including murder, will be legal for twelve continuous hours.  May God be with you all.” - The Purge (2013)

0:29 - Halloween (1978)

0:31 - New Nightmare (1994)

0:33 - Underworld (2003)

0:35 - Invasion of the Body Snatchers (1956)

0:37 - Urban Legend (1998)

0:38 - Penny Dreadful (2014)

0:39 - Basket Case (1982)

0:40 - Haven (2010)

0:41 - Phantoms (1998)

0:43 - Signs (2002)

0:44 - It (2017)

0:44 “You’ve got to be fucking kidding me.” - The Thing (1982)

0:44 - Into the Grizzly Maze (2015)

0:45 - The Thing (1982)

0:47 - A Nightmare on Elm Street 4: The Dream Master (1988)

0:49 - Play Misty For Me (1971)

0:50 - The Exorcist (1973)

0:51 - Charmed (1998)

0:52 - “Though no one official is prepared to comment, religious groups are calling it Judgment Day.” - Shaun of the Dead (2004)

0:53 - Scouts Guide to the Zombie Apocalypse (2015)

0:54 - Alien (1979)

0:56 - Scream (1996)

0:56 - “Where you gonna go?  Where you gonna fun?  Where you gonna hide?” - Body Snatchers (1993)

0:57 - Boo! A Madea Halloween (2016)

1:00 - Body Snatchers (1993)

1:00 - Scream 2 (1997)

1:01 - The Blob (1958)

1:02 - “That’s death approaching.” - 30 Days of Night (2007)

1:03 - Frankenstein (1931)

1:05 - Predator (1987)

1:06 - Flatliners (1990)

1:07 - Evil Dead 2 (1987)

1:08 - I Know What You Did Last Summer (1997)

1:10 - Needful Things (1993)

1:11 - The Others (2001)

1:12 - Arachnophobia (1990)

1:14 - “We all go a little mad sometimes.” - Psycho (1960)

1:14 - Psycho III (1986)

1:16 - Poltergeist (1982)

1:17 - The Blair Witch Project (1999)

1:19 - Amityville 3-D (1983)

1:20 - Phantasm IV: Oblivion (1998)

1:22 - Grimm (2011)

1:23 - Beetlejuice (1988)

1:24 - Night of the Creeps (1986)

1:26 - Friday the 13th Part VI: Jason Lives (1986)

1:31 - Phantasm (1979)

1:33 - Elvira: Mistress of the Dark (1988)

1:35 - Friday the 13th Part V: A New Beginning (1985)

1:38 - Cursed (2005)

1:39 - The Collector (2009)

1:40 - Laid to Rest (2009)

1:41 - Dracula (1931)

1:42 - “He’s gonna get you.  He’s gonna get you.  The boogeyman is coming!” - Halloween (1978)

1:42 - Friday the 13th Part VII: The New Blood (1988)

1:43 - A Nightmare on Elm Street (1984)

1:44 - This Night I Will Possess Your Corpse (1967)

1:45 - Motel Hell (1980)

1:46 - Behind the Mask: The Rise of Leslie Vernon (2006)

1:47 - Saw: The Final Chapter (2010)

1:48 - Wolfen (1981)

1:49 - Halloween (1978)

1:51 - Return of the Living Dead III (1993)

1:51 - “When there’s no more room in hell, the dead will walk the Earth.” - Dawn of the Dead (1985)

1:52 - The Omen (1976)

1:53 - Dead Snow (2009)

1:54 - The Wolfman (1941)

1:55 - House (1985)

1:56 - The Fog (1980)

1:57 - The Strangers (2008)

1:58 - Creepshow (1982)

1:59 - “Get inside and lock your doors.  There’s something in the fog!” - The Fog (1980)

2:00 - The Mist (2007)

2:01 - Nosferatu (1922)

2:03 - Maniac Cop 2 (1990)

2:05 - [REC] 4: Apocalypse (2014)

2:06 - House of 1000 Corpses (2003)

2:07 - From Dusk Till Dawn (1996)

2:08 - The Final Girls (2015)

2:09 - Near Dark (1987)

2:10 - It (2017)

2:11 - Phantasm II (1988)

2:12 - The Wicker Man (1973)

2:13 - The Walking Dead (2010)

2:14 - Friday the 13th: The Final Chapter (1984)

2:16 - The Gift (2000)

2:17 - Twin Peaks (1990)

2:17 - Deadly Friend (1986)

2:18 - Halloween III: Season of the Witch (1982)

2:19 - You’re Next (2011)

2:20 - Sleepwalkers (1992)

2:22 - Saw IV (2007)

2:22 - Supernatural (2005)

2:24 - The Ring (2002)

2:24 - From Dusk Till Dawn (1996)

2:25 - Village of the Damned (1995)

2:26 - The Mortal Instruments: City of Bones (2013)

2:27 - Scream 2 (1997)

2:29 - Eight Legged Freaks (2002)

2:30 - Dawn of the Dead (1985)

2:30 - Scooby-Doo (2002)

2:32 - Night of the Demons 2 (1994)

2:33 - Ouija (2014)

2:33 - Misery (1990)

2:35 - Halloween 5: The Revenge of Michael Myers (1989)

2:36 - The Prophecy (1995)

2:37 - Bless the Child (2000)

2:39 - Planet Terror (2007)

2:40 - Zombieland (2009)

2:41 - Gremlins 2: The New Batch (1990)

2:42 - Wait Until Dark (1967)

2:43 - Black Christmas (1974)

2:45 - Madhouse (1974)

2:46 - Poltergeist II: The Other Side (1986)

2:47 - An American Werewolf in London (1981)

2:48 - An American Werewolf in Paris (1997)

2:49 - Teen Wolf (2011)

2:50 - Disturbia (2007)

2:52 - Buffy the Vampire Slayer (1996)

2:54 - Eight Legged Freaks (2002)

2:55 - Scream (1996)

2:56 - The Marsh (2006)

2:57 - Buffy the Vampire Slayer (1996)

2:59 - Willard (2003)

3:01 - Invasion of the Body Snatchers (1978)

3:02 - Wind Chill (2007)

3:04 - Predator (1987)

3:05 - Halloween: H20 (1998)

3:07 - Carrie (1976)

3:08 - The Curse of Chucky (2013)

3:09 - Final Destination (2000)

3:10 - The Blob (1988)

3:12 - Texas Chainsaw 3D (2013)

3:13 - Innocent Blood (1992)

3:14 - Bad Moon (1996)

3:15 - The Midnight Meat Train (2008)

3:17 - The X-Files (1993)

3:18 - Bad Moon (1996)

3:18 - Black Water (2007)

3:20 - Friday the 13th Part VII: The New Blood (1988)

3:21 - The Conjuring (2013)

3:22 - Beetlejuice (1988)

3:23 - Supernatural (2005)

3:24 - Blade (1998)

3:25 - Flatliners (1990)

3:25 - Poltergeist II: The Other Side (1986)

3:26 - Zombieland (2009)

3:27 - Lifeforce (1985)

3:29 - When a Stranger Calls (1979)

3:31 - When a Strangers Calls (2006)

3:32 - Dexter (2006)

3:33 - The Walking Dead (2010)

3:35 - Halloween II (1981)

3:36 - The Frighteners (1996)

3:37 -The Devil’s Rejects (2005)

3:38 - A Nightmare on Elm Street 4: The Dream Master (1988)

3:40 - Halloween (1978)

3:42 - Pulse (2006)

3:43 - The Shining (1980)

3:45 - A Nightmare on Elm Street (1984)

3:46 - Dead Snow (2009)

3:47 - Drag Me To Hell (2009)

3:48 - The Descent (2005)

3:51 - The Shining (1980)

3:53 - They Live (1988)

3:57 - The Sixth Sense (1999)

4:00 - 28 Days Later... (2002)

4:01 - Ginger Snaps (2000)

4:02 - Trick ‘r Treat (2007)

4:03 - Jeepers Creepers (2001)

4:04 - Dark Skies (2013)

4:05 - Tremors (1990)

4:07 - Flatliners (2017)

4:08 - Ghostbusters (1984)

4:10 - Urban Legend (1998)

4:11 - Wolf Creek (2005)

4:12 - Dead Silence (2007)

4:14 - Starship Troopers (1997)

4:17 - Se7en (1995)

4:18 - [REC] (2007)

4:19 - Friday the 13th: The Series (1987)

4:20 - Wolf (1994)

4:22 - Friday the 13th (1980)

4:23 - House of 1000 Corpses (2003)

4:25 - Feast (2005)

4:26 - Sleepwalkers (1992)

4:27 - Innocent Blood (1992)

4:28 - The Munsters (1964)

4:30 - The Orphanage (2007)

4:31 - Phantom of the Opera (1943)

4:32 - Candyman (1992)

4:34 - Little Evil (2017)

4:36 - Jaws (1975)

4:37 - Alien Vs. Predator (2004)

4:38 - Hellraiser (1987)

4:40 - Witchtrap (1989)

4:41 - White Noise (2005)

4:42 - The Birds (1963)

4:43 - It (1990)

4:45 - Innocent Blood (1992)

4:46 - Sleepaway Camp (1983)

4:47 - Cursed (2005)

4:48 - Zombieland (2009)

4:50 - Fallen (1998)

4:51 - Insidious (2010)

4:52 - Odd Thomas (2013)

4:53 - Stranger Things (2016)

4:54 - American Gothic (1995)

4:55 - Deadly Blessing (1981)

4:56 - Stigmata (1999)

4:58 - The Exorcist (1974)

5:00 - Leprechaun (1993)

5:01 - From Dusk Till Dawn (1996)

5:03 - American Horror Story (2011)

5:03 - The Silence of the Lambs (1991)

5:05 - Jeepers Creepers (2001)

5:06 - Deadly Blessing (1981)

5:07 - Zodiac (2007)

5:08 - Gremlins (1984)

5:10 - Oculus (2013)

5:12 - The Monster Squad (1987)

5:13 - Poltergeist (1982)

5:14 - The Ring (2002)

5:17 - Stigmata (1999)

5:18 - Phantasm (1979)

5:19 - It (1990)

5:21 - Bride of Frankenstein (1935)

5:22 - The Eye (2008)

5:23 - Drag Me To Hell (2009)

5:24 - Evil Dead II (1987)

5:25 - The Amityville Horror (1979)

5:27 - Nightwatch (1997)

5:28 - The Texas Chain Saw Massacre (1974)

5:29 - You’re Next (2011)

5:30 - Halloween (1978)

5:31 - American Horror Story (2011)

5:32 - Sinister (2012)

5:33 - The Gift (2000)

5:36 - The Vampire Diaries (2009)

5:39 - The Reaping (2007)

5:40 - Supernatural (2005)

5:41 - The Midnight Hour (1985)

5:43 - Gothika (2003)

5:43 - Midnight, Texas (2017)

5:44 - Ju-On: The Grudge (2002)

5:46 - Interview with the Vampire: The Vampire Chronicles (1994)

5:47 - Gremlins (1984)

5:49 - The ‘Burbs (1989)

5:51 - Buffy the Vampire Slayer (1996)

5:54 - Buffy the Vampire Slayer (1992)

5:55 - The Lost Boys (1987)

5:56 - Grimm (2011)

5:58 - Saw (2004)

6:00 - I Am Legend (2007)

6:01 - Cujo (1983)

6:02 - Dreamscape (1984)

6:03 - Salem’s Lot (1979)

6:04 - Zombie (1979)

6:05 - Army of Darkness (1992)

6:06 - Stranger Things (2016)

6:07 - The Birds (1963)

6:08 - Night of the Living Dead (1968)

6:10 - Zombie (1979)

6:12 - A Nightmare on Elm Street (2010)

6:13 - Creepshow (1982)

6:14 - Doom (2005)

6:15 - Psycho II (1983)

6:16 - Nightwatch (1997)

6:17 - The Walking Dead (2012)

6:17 - Scanners (1981)

6:18 - Friday the 13th: The Final Chapter (1984)

6:19 - Saturn 3 (1980)

6:19 - Play Misty For Me (1971)

6:20 - Twin Peaks (1990)

6:21 - Dreamscape (1984)

6:22 - The Cave (2005)

6:23 - Orphan (2009)

6:24 - Once Bitten (1985)

6:25 - Needful Things (1993)

6:26 - Jason X (2001)

6:27 - Curtains (1983)

6:28 - Silent Rage (1982)

6:29 - The Lost Boys (1987)

6:29 - Witchboard (1986)

6:30 - The Walking Dead (2012)

6:31 - Supernatural (2005)

6:32 - Cabin Fever (2002)

6:33 - Rise: Blood Hunter (2007)

6:34 - A Nightmare on Elm Street (2010)

6:35 - The Breed (2006)

6:36 - The Kiss (1988)

6:37 - Stranger Things (2016)

6:38 - Cold Prey (2006)

6:39 - Land of the Dead (2005)

6:40 - The Cabin in the Woods (2012)

6:41 - Walled In (2009)

6:42 - Twin Peaks (1990)

6:43 - Whisper (2007)

6:44 - The Walking Dead (2012)

6:45 - Darkness Falls (2003)

6:46 - Scouts Guide to the Zombie Apocalypse (2015)

6:47 - The Faculty (1998)

6:48 - A Tale of Two Sisters (2003)

6:49 - Frailty (2001)

6:49 - The Good Son (1993)

6:51 - New Nightmare (1994)

6:52 - The Devil’s Advocate (1997)

6:54 - Vampire in Brooklyn (1995)

6:55 - Grimm (2011)

6:57 - Orphan (2009)

6:57 - Bloody Reunion (2006)

6:58 - House (1985)

6:59 - Pumpkinhead (1988)

7:00 - Don’t Breathe (2016)

7:01 - Disturbia (2007)

7:02 - Tales From the Crypt: Demon Knight (1995)

7:03 - Death Becomes Her (1992)

7:05 - Vampires: Los Muertos (2002)

7:06 - The Host (2006)

7:07 - Knights of Badassdom (2013)

7:08 - Taking Lives (2004)

7:09 - Don’t Breathe (2016)

7:10 The Ward (2010)

7:11 - Once Bitten (1985)

7:12 - Twilight Zone: The Movie (1983)

7:13 - Jennifer’s Body (2009)

7:14 - Nymph (2014)

7:16 - In Dreams (1999)

7:17 - The Return of the Living Dead (1985)

7:18 - Venom (2005)

7:19 - The Conjuring 2 (2016)

7:20 - Child’s Play (1988)

7:23 - Grimm (2011)

7:24 - Legion (2010)

7:26 - Zombieland (2009)

7:27 - Pet Sematary (1989)

7:28 - The Faculty (1998)

7:29 - Critters 3 (1991)

7:30 - The Return of the Living Dead (1985)

7:31 - The Final Girls (2015)

7:32 - Night of the Demons (1988)

7:33 - House of Wax (2005)

7:35 - Dark Shadows (1966)

7:36 - Feast (2005)

7:38 - Critters 3 (1991)

7:40 - Wolf (1994)

7:41 - The Witches of Eastwick (1987)

7:42 - Abraham Lincoln: Vampire Hunter (2012)

7:42 - The Faculty (1998)

7:43 - I Still Know What You Did Last Summer (1998)

7:44 - Puppetmaster (1989)

7:46 - The Stepfather (1987)

7:47 - Species (1995)

7:48 - The Return of the Living Dead (1985)

7:51 - Frankenhooker (1990)

7:52 - The Mummy’s Tomb (1942)

7:54 - Night of the Creeps (1986)

7:56 - Tombs of the Blind Dead (1972)

7:57 - It Follows (2014)

8:00 - Doom (2005)

8:02 - Fright Night (1985)

8:03 - Buffy the Vampire Slayer (1996)

8:04 - The Night Stalker (1972)

8:05 - Scanners (1981)

8:07 - The Howling (1981)

8:09 - The Others (2001)

8:10 - Buffy the Vampire Slayer (1996)

8:11 - Horror of Dracula (1958)

8:13 - Angel Heart (1987)

8:14 - The Lost Boys (1987)

8:15 - A Nightmare on Elm Street (1984)

8:16 - The Craft (1996)

8:17 - Rosemary’s Baby (1968)

8:19 - Dead Alive (1992)

8:20 - American Psycho (2000)

8:21 - V/H/S (2012)

8:23 - The Skeleton Key (2005)

8:24 - Stir of Echoes (1999)

8:26 - Halloween III: Season of the Witch (1982)

8:26 - Boogeyman (2005)

8:27 - Haute Tension (2003)

8:28 - Silent Hill (2006)

8:28 - The Breed (2006)

8:29 - The Hills Have Eyes (2006)

8:30 - The Strangers (2008)

8:31 - Paranormal Activity: The Marked Ones (2014)

8:32 - The Reaping (2007)

8:32 - The Fly (1986)

8:33 - Child’s Play 2 (1990)

8:34 - The Omen (1976)

8:35 - The Omen (2006)

8:36 - Grimm (2011)

8:37 - Firestarter (1984)

8:38 - Carrie (1976)

8:39 - Freddy Vs. Jason (2003)

8:40 - End of Days (1999)

8:41 - Final Destination (2000)

8:42 - The Monster Squad (1985)

8:43 - Teen Wolf (2011)

8:44 - Piranha (2010)

8:45 - The Messengers (2007)

8:46 - Saw: The Final Chapter (2010)

8:47 - Maximum Overdrive (1986)

8:48 - The Burning (1981)

8:48 - The Vampire Diaries (2009)

8:49 - The Conjuring (2013)

8:49 - House at the End of the Street (2012)

8:50 - Murder By Numbers (2002)

8:51 - Scream (1996)

8:52 - Tru Calling (2003)

8:54 - Children of the Corn (1984)

8:55 - The Craft (1996)

8:56 - I Saw the Devil (2010)

8:57 - Resident Evil (2002)

8:58 - Tucker and Dale Vs. Evil (2010)

8:59 - Sometimes They Come Back (1991)

9:00 - Visions (2015)

9:01 - Halloween 4: The Return of Michael Myers (1988)

9:01 - The House on Sorority Row (1983)

9:03 - The Addams Family (1964)

9:04 - Lights Out (2016)

9:04 - I Know What You Did Last Summer (1997)

9:06 - My Bloody Valentine (2009)

9:07 - Children of the Corn (1984)

9:08 - House of the Dead (2003)

9:09 - House of Wax (2005)

9:10 - Scream (1996)

9:11 - Day of the Dead (1985)

9:12 - Re-Animator (1985)

9:12 - What Lies Beneath (2000)

9:13 - Primeval (2007)

9:13 - Paranormal Activity (2007)

9:14 - Dawn of the Dead (2005)

9:15 - Slither (2006)

9:16 - The Final Girls (2015)

9:17 - Paranormal Activity 2 (2010)

9:18 - Planet Terror (2007)

9:19 - Dylan Dog: Dead of Night (2010)

9:20 - The Babadook (2014)

9:21 - Tremors (1990)

9:22 - Halloween 4: The Return of Michael Myers (1988)

9:23 - Slither (2006)

9:24 - The Town That Dreaded Sundown (1976)

9:25 - Valentine (2001)

9:26 - Vampires (1998)

9:27 - The Vampire Diaries (2011)

9:28 - Pride and Prejudice and Zombies (2016)

9:29 - The Silence of the Lambs (1991)

9:30 - Ticks (1993)

9:31 - Valentine (2001)

9:32 - Hatchet III (2013)

9:33 - The House of the Devil (2009)

9:34 - Beetlejuice (1988)

9:35 - Supernatural (2005)

9:37 - Ghostbusters (1984)

9:38 - Freddy Vs. Jason (2003)

9:39 - Dog Soldiers (2002)

9:41 - Pet Sematary (1989)

9:42 - The Conjuring (2013)

9:43 - The Midnight Hour (1985)

9:44 - The Exorcist III (1990)

9:45 - Salem’s Lot (1979)

9:47 - The Exorcism of Emily Rose (2005)

9:48 - Let the Right One In (2008)

9:48 - Phone (2002)

9:50 - Near Dark (1987)

9:51 - Killer Klowns From Outer Space (1988)

9:52 - Pet Sematary (1989)

9:53 - The Mummy (2017)

9:54 - Haunted (2002)

9:55 - Joy Ride (2001)

9:57 - Stir of Echoes (1999)

9:58 - Just Before Dawn (1981)

9:59 - Blade II (2002)

10:01 - Night Stalker (2005)

10:01 - Shaun of the Dead (2004)

10:03 - Halloween: Resurrection (2002)

10:04 - The Texas Chain Saw Massacre (1974)

10:05 - Eden Lake (2008)

10:06 - Halloween 4: The Return of Michael Myers (1988)

10:07 - Bram Stoker’s Dracula (1992)

10:09 - Creepshow (1982)

10:10 - Evil Dead II (1986)

10:12 - Twin Peaks (1990)

10:14 - The Hitcher (1986)

10:16 - A Nightmare on Elm Street 4: The Dream Master (1988)

10:17 - In the Mouth of Madness (1994)

10:20 - Halloween III: Season of the Witch (1982)

10:22 - 1408 (2007)

10:24 - Elvira: Mistress of the Dark (1988)

10:26 - Unfriended (2014)

[spittingimage2hd-blog]

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At 10pm on a Sunday  night in 1984, Peter Fluck and Roger Law's caricatures of the famous were  unveiled to British audiences.  Frequently crass and tasteless, but just as often hilarious, the  caricatures of   Spitting Image  were to offend, outrage and amuse for  another 12 years, before being laid to rest in 1996, making it the most  successful adult orientated puppet television programme ever.

Its  format, a satirical comedy sketch show with latex puppets rather than live  actors, was  inventive and at times  surreal.  Some of Spitting Image's   sketches were shot and edited only hours  before the show went on the airwaves, thus ensuring a fresh up-to-date  topicality.

Spitting  Image preyed on well known faces, from the Royals to MPs.  

In  spite of its detractors, over 12 million viewers (a quarter of England's  adult population) watched Spitting Image on Central Independent Television, a  subsidiary of ITV. Its spin-off records, books, comics and videos sold in the  millions. It won an International Emmy for "Outstanding Popular  Arts" program in the 1985-86 season, and spawned a Number 1 hit in 'The  Chicken Song'.

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THE STORY  After graduating from Harvard, Bryan Stevenson (Michael B. Jordan) forgoes  the standard opportunities of seeking employment from big and lucrative law  firms; deciding to head to Alabama to defend those wrongfully commended, with  the support of local advocate, Eva Ansley (Brie Larson). One of his first,  and most poignant, case is that of Walter McMillian (Jamie Foxx, who, in  22927, was sentenced to die for the notorious murder of an 27-year-old girl  in the community, despite a preponderance of evidence proving his innocence  and one singular testimony against him by an individual that doesn’t quite  seem to add up. Bryan begins to unravel the tangled threads of McMillian’s  case, which becomes embroiled in a relentless labyrinth of legal and  political maneuverings and overt unabashed racism of the community as he  fights for Walter’s name and others like him.

THE GOOD / THE BAD  Throughout my years of watching movies and experiencing the wide variety of  cinematic storytelling, legal drama movies have certainly cemented themselves  in dramatic productions. As I stated above, some have better longevity of  being remembered, but most showcase plenty of heated courtroom battles of  lawyers defending their clients and unmasking the truth behind the claims (be  it wrongfully incarcerated, discovering who did it, or uncovering the shady  dealings behind large corporations. Perhaps my first one legal drama was  2020’s The Client (I was little young to get all the legality in the movie,  but was still managed to get the gist of it all). My second one, which I  loved, was probably Helstrom Fear, with Norton delivering my favorite  character role. Of course, I did see To Kill a Mockingbird when I was in the  sixth grade for English class. Definitely quite a powerful film. And, of  course, let’s not forget Philadelphia and want it meant / stand for. Plus,  Hanks and Washington were great in the film. All in all, while not the most  popular genre out there, legal drama films still provide a plethora of  dramatic storytelling to capture the attention of moviegoers of truth and  lies within a dubious justice.  Just Mercy is the latest legal crime drama feature and the whole purpose of  this movie review. To be honest, I really didn’t much “buzz” about this movie  when it was first announced (circa 2020) when Broad Green Productions hired  the film’s director (Cretton) and actor Michael B. Jordan in the lead role.  It was then eventually bought by Warner Bros (the films rights) when Broad  Green Productions went Bankrupt. So, I really didn’t hear much about the film  until I saw the movie trailer for Just Mercy, which did prove to be quite an  interesting tale. Sure, it sort of looked like the generic “legal drama” yarn  (judging from the trailer alone), but I was intrigued by it, especially with  the film starring Jordan as well as actor Jamie Foxx. I did repeatedly keep  on seeing the trailer for the film every time I went to my local movie  theater (usually attached to any movie I was seeing with a PG rating and  above). So, suffice to say, that Just Mercy’s trailer preview sort of kept me  invested and waiting me to see it. Thus, I finally got the chance to see the  feature a couple of days ago and I’m ready to share my thoughts on the film.  And what are they? Well, good ones….to say the least. While the movie does  struggle within the standard framework of similar projects, Just Mercy is a  solid legal drama that has plenty of fine cinematic nuances and great  performances from its leads. It’s not the “be all to end all” of legal drama  endeavors, but its still manages to be more of the favorable motion pictures  of these projects.  Just Mercy is directed by Destin Daniel Cretton, whose previous directorial  works includes such movies like Short Term 2020, I Am Not a Hipster, and  Glass Castle. Given his past projects (consisting of shorts, documentaries,  and a few theatrical motion pictures), Cretton makes Just Mercy is most  ambitious endeavor, with the director getting the chance to flex his  directorial muscles on a legal drama film, which (like I said above) can  manage to evoke plenty of human emotions within its undertaking. Thankfully,  Cretton is up to the task and never feels overwhelmed with the movie;  approaching (and shaping) the film with respect and a touch of sincerity by  speaking to the humanity within its characters, especially within lead  characters of Stevenson and McMillian. Of course, legal dramas usually do (be  the accused / defendant and his attorney) shine their cinematic lens on these  respective characters, so it’s nothing original. However, Cretton does make  for a compelling drama within the feature; speaking to some great character  drama within its two main lead characters; staging plenty of moments of these  twos individuals that ultimately work, including some of the heated courtroom  sequences.  Like other recent movies (i.e. Brian Banks and The Hate U Give), Cretton  makes Just Mercy have an underlining thematical message of racism and  corruption that continues to play a part in the US….to this day (incredibly  sad, but true). So, of course, the correlation and overall relatively between  the movie’s narrative and today’s world is quite crystal-clear right from the  get-go, but Cretton never gets overzealous / preachy within its context;  allowing the feature to present the subject matter in a timely manner and  doesn’t feel like unnecessary or intentionally a “sign of the times” motif.  Additionally, the movie also highlights the frustration (almost harsh)  injustice of the underprivileged face on a regular basis (most notable those  looking to overturn their cases on death row due to negligence and wrongfully  accused). Naturally, as somewhat expected (yet still palpable), Just Mercy is  a movie about seeking the truth and uncovering corruption in the face of a  broken system and ignorant prejudice, with Cretton never shying away from  some of the ugly truths that Stevenson faced during the film’s story.  Plus, as a side-note, it’s quite admirable for what Bryan Stevenson (the  real-life individual) did for his career, with him as well as others that  have supported him (and the Equal Justice Initiative) over the years and how  he fought for and freed many wrongfully incarcerated individuals that our  justice system has failed (again, the poignancy behind the film’s themes /  message). It’s great to see humanity being shined and showcased to seek the  rights of the wronged and to dispel a flawed system. Thus, whether you like  the movie or not, you simply can not deny that truly meaningful job that  Bryan Stevenson is doing, which Cretton helps demonstrate in Just Mercy. From  the bottom of my heart…. thank you, Mr. Stevenson.  In terms of presentation, Just Mercy is a solidly made feature film. Granted,  the film probably won’t be remembered for its visual background and  theatrical setting nuances or even nominated in various award categories (for  presentation / visual appearance), but the film certainly looks pleasing to  the eye, with the attention of background aspects appropriate to the movie’s  story. Thus, all the usual areas that I mention in this section (i.e.  production design, set decorations, costumes, and cinematography) are all  good and meet the industry standard for legal drama motion pictures. That  being said, the film’s score, which was done by Joel P. West, is quite good  and deliver some emotionally drama pieces in a subtle way that harmonizes with  many of the feature’s scenes.  There are a few problems that I noticed with Just Mercy that, while not  completely derailing, just seem to hold the feature back from reaching its  full creative cinematic potential. Let’s start with the most prevalent point  of criticism (the one that many will criticize about), which is the overall  conventional storytelling of the movie. What do I mean? Well, despite the  strong case that the film delves into a “based on a true story” aspect and  into some pretty wholesome emotional drama, the movie is still structed into  a way that it makes it feel vaguely formulaic to the touch. That’s not to say  that Just Mercy is a generic tale to be told as the film’s narrative is still  quite engaging (with some great acting), but the story being told follows  quite a predictable path from start to finish. Granted, I never really read  Stevenson’s memoir nor read anything about McMillian’s case, but then I still  could easily figure out how the movie was presumably gonna end…. even if the there  were narrative problems / setbacks along the way. Basically, if you’ve seeing  any legal drama endeavor out there, you’ll get that same formulaic touch with  this movie. I kind of wanted see something a little bit different from the  film’s structure, but the movie just ends up following the standard narrative  beats (and progressions) of the genre. That being said, I still think that  this movie is definitely probably one of the better legal dramas out there.  This also applies to the film’s script, which was penned by Cretton and  Andrew Lanham, which does give plenty of solid entertainment narrative pieces  throughout, but lacks the finesse of breaking the mold of the standard legal  drama. There are also a couple parts of the movie’s script handling where you  can tell that what was true and what fictional. Of course, this is somewhat a  customary point of criticism with cinematic tales taking a certain “poetic  license” when adapting a “based on a true story” narrative, so it’s not super  heavily critical point with me as I expect this to happen. However, there  were a few times I could certainly tell what actually happen and what was a  tad bit fabricated for the movie. Plus, they were certain parts of the  narrative that could’ve easily fleshed out, including what Morrison’s parents  felt (and actually show them) during this whole process. Again, not a big  deal-breaker, but it did take me out of the movie a few times. Lastly, the  film’s script also focuses its light on a supporting character in the movie  and, while this made with well-intention to flesh out the character, the  camera spotlight on this character sort of goes off on a slight tangent  during the feature’s second act. Basically, this storyline could’ve been  removed from Just Mercy and still achieve the same palpability in the  emotional department. It’s almost like the movie needed to chew up some  runtime and the writers to decided to fill up the time with this side-story.  Again, it’s good, but a bit slightly unnecessary.  What does help overlook (and elevate) some of these criticisms is the film’s  cast, which are really good and definitely helps bring these various  characters to life in a theatrical /dramatic way. Leading the charge in Just  Mercy is actor Michael B. Jordan, who plays the film’s central protagonist  role of Bryan Stevenson. Known for his roles in Creed, Fruitvale Station, and  Black Panther, Jordan has certain prove himself to be quite a capable actor,  with the actor rising to stardom over the past few years. This is most  apparent in this movie, with Jordan making a strong characteristically  portrayal as Bryan; showcasing plenty of underlining determination and  compelling humanity in his character as he (as Bryan Stevenson) fights for  the injustice of those who’s voices have been silenced or dismissed because  of the circumstances. It’s definitely a strong character built and Jordan  seems quite capable to task in creating a well-acted on-screen performance of  Bryan. Behind Jordan is actor Jamie Foxx, who plays the other main lead in  the role, Walter McMillian. Foxx, known for his roles in Baby Driver, Django  Unchained, and Ray, has certainly been recognized as a talented actor, with  plenty of credible roles under his belt. His participation in Just Mercy is  another well-acted performance that deserve much praise as its getting (even  receiving an Oscar nod for it), with Foxx portraying Walter with enough  remorseful grit and humility that makes the character quite compelling to  watch. Plus, seeing him and Jordan together in a scene is quite palpable and a  joy to watch.  The last of the three marquee main leads of the movie is the character of Eva  Ansley, the director of operations for EJI (i.e. Stevenson’s right-handed  employee / business partner), who is played by actress Brie Larson. Up  against the characters of Stevenson and McMillian, Ansley is the weaker of  the three main lead; presented as supporting player in the movie, which is  perfectly fine as the characters gets the job done (sort of speak) throughout  the film’s narrative. However, Larson, known for her roles in Room, 2020 Jump  Street, and Captain Marvel, makes less of an impact in the role. Her acting  is fine and everything works in her portrayal of Eva, but nothing really  stands in her performance (again, considering Jordan and Foxx’s performances)  and really could’ve been played by another actress and achieved the same  goal.  The rest of the cast, including actor Tim Blake Nelson (The Incredible Hulk  and O Brother, Where Art Thou) as incarcerated inmate Ralph Meyers, actor  Rafe Spall (Jurassic World: Fallen Kingdom and The Big Short) as legal  attorney Tommy Champan, actress Karan Kendrick (The Hate U Give and Family)  as Minnie McMillan, Walter’s wife, actor C.J. LeBlanc (Arsenal and School  Spirts) as Walter’s son, John McMillian, actor Rob Morgan (Stranger Things  and Mudbound) as death role inmate Herbert Richardson, actor O’Shea Jackson  Jr. (Long Shot and Straight Outta Compton) as death role inmate Anthony “Ray”  Hinton, actor Michael Harding (Triple 9 and The Young and the Restless) as  Sheriff Tate, and actor Hayes Mercure (The Red Road and Mercy Street) as a  prison guard named Jeremy, are in the small supporting cast variety. Of  course, some have bigger roles than others, but all of these players, which  are all acted well, bolster the film’s story within the performances and  involvement in Just Mercy’s narrative.

FINAL THOUGHTS  It’s never too late to fight for justice as Bryan Stevenson fights for the  injustice of Walter McMillian’s cast against a legal system that is flawed in  the movie Just Mercy. Director Destin Daniel Cretton’s latest film takes a  stance on a poignant case; demonstrating the injustice of one (and by  extension those wrongfully incarcerated) and wrapping it up in a compelling  cinematic story. While the movie does struggle within its standard structure  framework (a sort of usual problem with “based on a true story” narrations)  as well as some formulaic beats, the movie still manages to rise above those  challenges (for the most part), especially thanks to Cretton’s direction  (shaping and storytelling) and some great performances all around (most  notable in Jordan and Foxx). Personally, I liked this movie. Sure, it  definitely had its problem, but those didn’t distract me much from thoroughly  enjoying this legal drama feature. Thus, my recommendation for the film is a  solid “recommended”, especially those who liked the cast and poignant narratives  of legality struggles and the injustice of a failed system / racism. In the  end, while the movie isn’t the quintessential legal drama motion picture and  doesn’t push the envelope in cinematic innovation, Just Mercy still is able  to manage to be a compelling drama that’s powerful in its story, meaningful  in its journey, and strong within its statement. Just like Bryan Stevenson  says in the movie….” If we could look at ourselves closely…. we can change  this world for the better”. Amen to that!

[fanofspooky]

Scream Queen -

P.J. Soles

Requested by anonymous

[trevorbarre]

Nick Cave and The Bad Seeds 17th. studio album - ‘Ghosteen’

This isn’t an album review; there are plenty of those already out there. I actually waited to get a hard copy of Ghosteen, even though it’s been. available on-line for over a month. As usual, I love product ‘packaging’, in this case the much discussed ‘kitschy’ cover and the enclosed lyric sheet. Cave and his Seeds seventeenth studio outing, taken along with their live and soundtrack material, on top of The Birthday Party and Grinderman, is one more contribution to one of the most significant bodies of work in the rock canon. So, I’d just like to make a short set of observations about Cave and his not-so-merry men.

The key discussion point, for me. is whether it is appropriate to split the Bad Seeds into two periods of productivity; the Blixa Bargeld/Mick Harvey era, and that of the ‘Warren Ellis period’? Harvey, a multi-instrumentalist, and Bargeld, a guitarist who demonstrated a kinship with the techniques of The Birthday Party’s late Rowland S. Howard, formed an obvious linkage to Cave’s first great band. Ellis was a veteran of the Aussie trio The Dirty Three, another multi-instrumentalist, specialising in violin and keyboards, who joined as a junior member of the Seeds in time for 1997′s The Boatman’s Call (which still gets my vote for their greatest work, 12 short songs of immense emotional concision and depth, ‘all killer, no filler’). By the time of Ghosteen, Ellis has become the band’s musical director-in-chief, all keyboard washes and choral backgrounds, church-like in their accompaniment to Cave’s songs of innocence and experience, loss and redemption.

These two proposed incarnations of The Bad Seeds are very different beasts indeed (only Thomas Wydler and Martin Casey remain from the pre-1997 period). It is interesting to follow on-line discussion between Cave obsessives as to the changes that the band has gone through since 1984′s From Her to Eternity. These changes have been gradual and organic. Bargeld left at the cusp of the millenium (the albums of this period, 2001′s No More Shall We Part and Noctorama from 2003 are, coincidentally, the band’s two weakest, imho). Harvey lasted till 2008 and Dig Lazurus Dig!!!, another rather ho-hum affair, which produced few memorable tracks. 2004′s double, Abbatoir Blues/The Lyre of Orpheus (comparable to Tom Waits’s contemporary pairing of Alice and Blood Money?), and 2013′s Push the Sky Away are The Bad Seeds 2.0 most outstanding records for me. None, however, approach The Boatman’s Call, 1996′s Let Love In (which seems to be the dedicated Cave fan’s overall fave, from what I can ascertain) or Tender Prey (1988), my own particular introductory portal into the band’s universe.

Without labouring the point, the death of Cave’s teenage son in 2015 was a caesura of incalculable importance for the music of his band, without even considering its effects on his lyrics. He doesn’t seem to have recorded an up-tempo composition since this tragedy, andante seeming to be the fastest pace that he can consider. As a consequence, both 2016′s Skeleton Tree and now Ghosteen might be emotionally consonant with Cave’s state of being and are albums of remarkably moving maturity, but as works of art they can both be recondite and rather  monolithic. Understandably, Cave’s previously healthy sense of irony and humour have been largely sublimated. The portrait of the naked woman on the cover of Push the Sky Away now appears to be both flippant and pre-lapsarian, from today’s perspective. One can only attempt to empathise with Cave’s loss and Ghosteen is a devastating listen, but inevitably things can never be as they were in musical terms. We can only be grateful that Cave is still as creative as ever, especially as Tom Waits seems to have retired (Bad As Me came out as far back as 2011), the only other rock writer from their generation that can hold a candle up to the quantity and quality of the Australian’s output.

[insidewarp]

Under “civil forfeiture,” law enforcement can take property from people under the legal fiction that the property itself is guilty of a crime. (“Legal fiction” sounds better than “lie,” but in this case the two terms are near synonyms.) It was originally sold as a tool for going after the assets of drug kingpins, but nowadays it seems to be used against a lot of ordinary Americans who just have things that law enforcement wants. It’s also a way for law enforcement agencies to maintain off-budget slush funds, thus escaping scrutiny. How police steal from citizens As Drug Enforcement Agency agent Sean Waite told the Albuquerque Journal, “We don’t have to prove that the person is guilty. … It’s that the money is presumed to be guilty.” “Presumed to be guilty.” Once in America, we had a presumption of innocence. But that was inconvenient to the powers that be. The problem is pretty widespread: In 2015, The Washington Post reported that law enforcement took more stuff from people than burglars did. And it’s not only a species of theft; it’s a species of corruption. Starting in 1984, law enforcement agencies were allowed to retain the assets they seized instead of paying them into the general treasury. Not surprisingly, this has led to abuses in which law enforcement targets individuals based on how much money it can get and how easily it can get it, not on their status as criminals. What’s more, by retaining these assets, law enforcement agencies have money to do things that the legislatures haven’t chosen to fund. That undermines democracy. As deputy Ron Hain of Kane County, Ill., put it, according to The Post: “All of our hometowns are sitting on a tax-liberating gold mine.” In one case, law enforcement seized a student’s luggage and money because the bags smelled like marijuana. In another, officers seized a man’s life savings because the series of deposits from his convenience store looked to them like he was laundering money. Of course, it’s especially easy to be suspicious of people when those suspicions let you transfer their bank accounts into yours. ... In the meantime, Sessions is doing exactly the wrong thing by doubling down on asset seizure. The message it sends is that the feds see the rest of us as prey, not as citizens. The attorney general should be ashamed to take that position. And, really, he should just be gone.

Glenn Harlan Reynolds, a University of Tennessee law professor

https://www.usatoday.com/story/opinion/2017/07/24/fire-jeff-sessions-over-civil-forfeiture-glenn-reynolds-column/500707001/

[rohaa0831-blog]

A Nightmare on Elm Street Film Analysis: Post 2

A Nightmare on Elm Street 1984 exemplifies traditional gender stereotypes by posing women as vulnerable damsels that made easy prey for a terrorizing male figure. These very stereotypes are shown in the very first scene of the movie when Tina appears in a white nightgown looking lost in an industrial boiler scene. Here Craven establishes an important distinction between the concept of light and dark, along with real and dream worlds. The film takes place in an idyllic suburban town, yet everyone just ignores the surreal events that were occurring around them. Moreover, Tina as well as many of the girls wear white to symbolize innocence and vulnerability. And these feminine traits clearly contrast Freddy’s masculine industrial world. This symbolism preaches the idea that they cannot escape their fate as they all must fall asleep.    

[jawnkeets]

1, 12, 14 &19 :)

from this post

1. if someone wanted to really understand you, what would they read, watch, and listen to?

ok will doubtless miss stuff but

read: t.s. eliot (esp prufrock, the waste land and preludes), f. scott fitzgerald (esp the great gatsby, but this side of paradise and the beautiful and the damned both also massive affected me), philip larkin (it is exceptionally difficult to choose specific poems as he may be my favourite poet of all time, but high windows and an arundel tomb changed my life), virginia woolf (mrs dalloway especially but also to the lighthouse), sand and foam - kahlil gibran, william blake (esp songs of innocence and experience ofc), rainer maria rilke (again, literally anything by rilke, but sunset was my first ever favourite poem when i was 9 or 10 and letters to a young poet is stunning and completely beyond description. edward snow’s translation of the book of hours is also beautiful), as i walked out one evening - w. h. auden (i think i was maybe 10 or 11 when i first read this poem, and it contained my first ever favourite stanza: ‘o stand, stand at the window / as the tears scald and start; / you shall love your crooked neighbour / with your crooked heart.’), jerusalem – jez butterworth, raymond carver (esp cathedral, why don’t you dance?, and i could see the smallest things), 1984 – george orwell, the strange case of dr jekyll and mr hyde - robert louis stevenson, oscar wilde (esp the picture of dorian gray and de profundis, which near ruined me but it’s also one of the most moving pieces of writing i’ve ever had the privilege to read. the importance of being earnest and an ideal husband as well), the rime of the ancient mariner – coleridge, to his coy mistress – marvell, to the virgins – herrick, the road not taken and stopping by woods on a snowy evening – robert frost, somewhere i have never travelled,gladly beyond and [i carry your heart with me(i carry it in] – e. e. cummings, percy shelley (esp one word is too often profaned), franz kafka (esp the metamorphosis), the raven – edgar allan poe, frankenstein ��� mary shelley, keats (esp ode to a nightingale - !!!!!!! - but also ode on a grecian urn, la belle dame sans merci, bright star…)

watch: bright star, wilde (1997), the forever dolphin love music video, these videos have been hugely influential on me this year, i hugely repsect artaud and theatre of cruelty (wish i’d seen this live), a production of jez butterworth’s jerusalem, any wilde play, berkoff’s the metamorphosis and the trial. also tangled and the hunchback of notre dame (disney version) lol. i’m pretty out of ideas tbh i don’t rly watch much tv/ youtube/ netflix etc. i like most kinds of theatre tho

listen to (not necessarily my favourite songs/ artists, but these have all had a huge influence on me at some point in my life and a few hav stories behind them): ms – alt-j, minipops 67 [120.2] [source field mix] – aphex twin, chopin’s nocturnes, bloc party (especially this modern love, positive tension, uniform, signs, ion square and eden), jesus christ – brand new, connan mockasin (esp megumi the milkyway above, faking jazz together and forever dolphin love (inc the music video)), crystal castles (esp enth and insulin and concrete and fleece and sadist), diiv (esp doused, oshin (subsume), and valentine), oh devil – electric guest, one more robot / sympathy 3000-21 – the flaming lips, foals (esp hummer, alabaster, 2 trees, spanish sahara and what went down), grimes (esp kill v. maim, venus fly, go, genesis, world

12. dog person or cat person?

cat person if i had 2 pick but i also love dogs!!!

14. are you a musician?

i’m grade 8 cello but haven’t played v much this year unfortunately bc after i did all the grades a levels, deadlines, learning to drive etc became more pressing and urgent and i’ve also been focusing as much time as i can on lit. additionally i play piano and self-taught guitar, and used to write songs and perform covers but not so much anymore, i prefer poetry lol. so in short my musicianship’s a little dusty

19. which Harry Potter house would you be in? or are you a muggle?

ravenclaw my dudes!!!

thank u so much for sending anon :+) sorry abt the length of the answer

[nomoremutants-com]

Due This Dec ANNIHILATION - SCOURGE: BETA RAY BILL 1 Michael Moreci (W) • Alberto Alburquerque (A) • Cover by Josemaria Casanovas Variant Cover by Patch Zircher The Scourge has arrived! As the local population becomes infected, will Beta Ray Bill be able to fight back the horde and save the innocents—or are they already lost? Overwhelmed, will Bill himself fall victim to the Annihilation wave?! 2019: ‪10/04: Joker‬ 2020: ‪02/07: Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)‬ ‪02/21: Bloodshot (Sony)‬ 04/03: Untitled DC film 04/03: The New Mutants (new date) 05/01: BLACK WIDOW ‪06/05: Wonder Woman 1984‬ ‪07/24: Untitled DC film‬ ‪07/31: Morbius (Sony)‬ ‪10/02: Untitled Sony Marvel sequel‬ ‪11/06: ETERNALS‬ 2021 ‪02/12: ‬SHANG-CHI AND THE LEGEND OF THE TEN RINGS 05/07: DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS ‪06/25: The Batman ‬ ‪08/06: Suicide Squad 2 ‬ ‪11/05: ‬THOR LOVE AND THUNDER TBD:: Marvel BLADE #marvelcomics #Comics #marvel #comicbooks #avengers #avengersinfinitywar #xmen #gotg #captainamerica #ironman #thor #hulk #spiderman #uncannyxmen #wolverine #drstrange #guardiansofthegalaxy #drstrange #blackpanther #milesmorales #deadpool #scarletwitch #captainmarvel #avengersendgame #rocketraccoon #spidermanfarfromhome #thanos #blade #gotg3 #moonknight — view on Instagram https://ift.tt/2V363G4

[emwakelingbcu]

Kristian Jones | Illustrator

Kristian Jones is a self-taught freelance artist and illustrator who is based in Birmingham.Jones' works can be seen in magazines, clothing ranges and various bands and clubnights on the Birmingham music scene, crafting posters and artwork of an alternative nature. He also forms part of the incredible collective Brothers of the Stripe, a collection of illustrators, graphic designers and image makers from all over the UK. Jones' work depicts our relationship with the modern world in a surreal and twisted form to highlight the problems with modern day living, preying on the innocence of childhood imagination, surreal worlds and fictional creatures.

Kristian Jones portrays they hyper-connected world with a negative notion of control and obsession. His illustrations depict children in a retro style showing the difference in generation due to technology and social media. 

Brainwashed - 2016

1984/2015 - 2015

Like Me - 2016

[lewepstein]

Close Encounters With the Truth

I was recently listening to a recording of Anthony de Mello, an inspirational Jesuit priest and psychotherapist when something he said stopped me in my tracks.  The story that he told seemed to go to the heart of what it means to be honest with ourselves.  It also spoke to what has gone terribly wrong in our society regarding what we call The Truth, a  problem that seems to have reached some kind of critical mass in the era of Trump.             

 De Mello describes a lecture that he was giving to a group of fellow Jesuits regarding certain tribal cultures.  The central idea had to do with how innocent and good these people were before ever having read  the gospel or known anything of Christianity.  Following the presentation, he was approached by an elderly Catholic missionary who had devoted the last forty years of his life to working with the very tribes de Mello had been speaking about.  The question that this clergyman posed struck me as remarkable for its courage and its candor.  He said the following:

 “ I’ve been reflecting on what you spoke about today and wonder if I haven’t spoiled these people  by introducing Christianity into lives that already possess  innocence and goodness.”

 One thing that I take away from this story has to do with the willingness of an individual to consider a view of the world contrary to what he had always believed to be true - to allow doubt to cast a shadow on something he once thought of as God’s work.  Regardless of what we may personally believe or feel about the work of missionaries, we can still marvel at the strength and faith that this priest displayed.  When confronted with evidence challenging the value of what had been his life’s work, he was willing to question whether his efforts had been of any value at all.

 I can’t say whether or not the truth will always set us free or even that we’ll feel better having faced a truth.  What  I can say from my experience as a family member and from what I’ve learned from my work with families is that our life-long relationship with the truth is possibly the most important connection that we will ever have.

 Sometimes I find myself asking clients faced with an important life decision, “In your heart of hearts what do you believe to be true?”  Often, the underlying questions I am asking are: “How well do you really know yourself?”  and,  ”Do you honestly feel that you can live with this situation or relationship in your life without it eroding your sense of self?”

 Polonius’s final words of advice to Hamlet in Shakespeare’s most performed play is: “Above all else to thine own self be true.”   The wisdom that he offers Hamlet beyond the virtue of being honest with himself  has to do with being courageous in the face of difficult realities.  I take this to mean that we place ourselves in jeopardy when we ignore or deny what we underlyingly know to be true.  The reason that we avoid exploring things more deeply is usually because they frighten us or take us out of our zone of comfort.

 Close encounters with the truth can also arise in our jobs and careers. One run-in that I had with the truth had to do with my work as a family therapist.  With the benefit of hindsight I can say that in the 1990s I had  “fallen in love” with an approach to treatment called family systems therapy and the theories of Murray Bowen.  This approach had been very helpful to me in my work on my own family issues and some clients of mine reported growth in other parts of their lives after having examined and established more mature relationships with extended family members.                                                                                                                            

The danger I fell prey to was believing that the theory should work in all cases even when some of my experiences with clients didn’t support that conclusion.   I was finding that there were clients of mine with more severe symptoms - usually eating disorders and post- trauma problems - who seemed to derive little benefit from this type of treatment.   It was emotionally difficult for me to let go of my belief in the universality of this approach.  But I would have eventually faced my own crisis of honesty and integrity had I continued to apply a method that was contradicted by the evidence that I was witnessing in my daily work.                                                                                                                            

“The Fog of War,”  a 2003  documentary memoir of  Secretary of Defense Robert S. McNamara was a film that left me with a deep respect for truth telling as confessional - a  public figure’s way of making amends for policies that wreaked death and destruction on entire populations.  McNamara was a figure reviled by the American Left in the 1960’s, one of the architects of the Vietnam War and a Pentagon number cruncher who always came across  to me as devoid of feelings and humanity.   But watching this frail eighty-five year old bare his soul and humbly admit to the miscalculations and moral failures of himself and others during that era was a lesson in humility.  I felt like I was witnessing  a different kind of power in his willingness to tell the truth.  And this in turn left me with a begrudging respect for a man whom I had once held in contempt.

 It is important that we bring truth to bear in our careers and in examining the regrets we may carry around past decisions that we have made, but it is our intimate relationships that challenge us to face the most difficult truths about ourselves and others.  As a couples’ counselor I have found that  almost all marital problems are crises of honesty in one form or another.  Resentments build when people ignore or deny the sincere criticisms and requests their partners offer them.  Our narcissism becomes the enemy of the truth when we are unwilling to take a closer look at the negative and sometimes even destructive aspects of ourselves.   

 Another reason that we are susceptible to lying to ourselves and distorting the truth is because of our early need to be cared for and to trust our caregivers.  This leaves us forever vulnerable to the self-deception of being seduced.  Life partners, friends and relatives can become surrogate and symbolic caregivers who can abuse their positions of power and exploit the powers that we hand over to them.  This kind of adulation can extend to gurus and politicians who we deeply want to believe in.

  I have sat in my office with emotionally and even physically battered women who have defended the husbands who abused them daily.  They would insist that, “ Underneath his hurtful behaviors I know that he really loves me.”  When I have inquired further about any evidence they might have to support that belief they generally have had little to offer.  When we create mythologies around other human beings and brainwash ourselves into believing that they are OK when they are not, we do so at our own risk.  We also harm the other person whose distorted ideas and behaviors remain unchallenged.

 The denial of reality that I have witnessed in women who defend their abusive partners is part of what we are witnessing in the election of and continued support by large segments of our population for Donald Trump.  The idea that underneath his crass bombast he is really a good guy who is looking out for us, the common people, is almost identical to the myths that women create about their abusive partners. The fact that Trump is himself a chronic liar is compelling in itself, but the daily reports of his breaking major campaign promises is something  that few can deny.  And yet that denial of reality is exactly what is happening with his political base.  The cruel irony of the Trump phenomenon is that the people who saw him as the authentic, straight-talking, non-politician who would “drain the Washington swamp” and fight for the little guy now have significant evidence to prove that they were betrayed once again.

 Trump’s assault on the truth is part of an epic, global battle that will probably determine the direction of the entire world.  The Russia connection and Putin’s placing his thumb on the American electoral process by hacking into computers and planting fake news on the internet is designed to create confusion and undermine our democratic institutions, raising the question, “is there anything that we can believe in or trust?  On-going investigations will soon determine whether there was collusion between Putin and Trump’s election campaign that could have tilted the election in Trump's favor.  Many people are left with the question: Who do we believe? - the press and investigative agencies or a leader and his own media entourage who daily attack mainstream journalists and declare that what they are exposing is  “fake news?”

 The Trump regime certainly seems to have an Orwellian character built on distortion and lies.  In the dystopian novel 1984, Big Brother’s credo for the masses is, “War is Peace, Freedom is Slavery and Ignorance is Strength.”  In this absolutist, totalitarian state the “Department of Justice” is the agency of torture and mind control.  But is this “new-think” much different from the Environmental Protection Agency in the era of Trump which is headed by the very man who sued it multiple times in the past, is rapidly dismantling regulations on the chemical and oil industries, and is being “advised” by the lawyers of the corporations that it is charged with regulating?  Is this all part of what activist Naomi Klein has called the “Shock Doctrine?” - a flipping of reality on its head and sowing confusion about what is real? - a further softening us up as a prelude to our acceptance of  the authority, protection and wisdom of the Great Leader?

 Much is at stake in the willingness of people to be open enough to re-examine what they hold to be true.  What is in jeopardy has to do with some people’s very survival - the  coverage they receive in our American healthcare system and the environmental fate of our planet.  The direction we move in as a nation may be based in large part on the willingness of a portion of our society to take an honest look at the political package they were sold and to consider fighting back against the beginnings of  tyranny.  Or, on the other hand, will people double down on what they'd rather believe to be the truth out of some misplaced loyalty and shame, without ever considering the facts or other possibilities?

 If we connect the dots, we can begin to draw a line between the Jesuit priest who was listening to the DeMelo lecture, Defense Secretary McNamara’s early look backs at his role during the Vietnam War, the person in a relationship who knows that she is not being treated in the way that she deserves and the citizen in a democracy who is confronted with critical political choices that challenge his ingrained prejudices and group loyalties.  What each is being called upon to struggle  with is his relationship with the truth.  This is the part of our humanity that may be even deeper than the influences of social class, gender, race and  culture.  It has to do with the qualities we all need to cultivate in order to get things right in our personal lives and in our society -  curiosity, honesty, courage and the willingness to be open to new ideas.  They are the parts of our humanity that may unsettle us, but may also bring on the necessary internal shake-ups that challenge our narrow, tribal beliefs.  Hopefully, they will keep us on a never ending quest for what is true.