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dailyunsolvedmysteries · 4 months ago

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The Strange Disappearance of Kenny Veach

Born in 1967, Kenny Veach loved the outdoors and connected with other hikers and outdoorsmen on social media. He was funny, creative, and energetic. He was also obsessed with the Mojave Desert.

Tired of the daily Monday-through-Friday grind, Kenny wanted to be his own boss, be in charge of his own life, and have the free time to immerse himself in his desert explorations. So, he quit his day job and decided to be an inventor. He started a YouTube channel, documenting his creations and his forays into the desert.

It was in June of 2014, using the name Snakebitmcgee, Kenny left a comment in response to a YouTube video that read: That ain’t nothing. I am a long-distance hiker. One time, during one of my hikes out by Nellis Air Force Base, I found a hidden cave. The entrance to the cave was shaped like a perfect capital M. I always enter every cave I find, but as I began to enter this particular cave, my whole body began to vibrate. The closer I got to the cave entrance, the worse the vibrating became. Suddenly, I became very scared and high-tailed it out of there. That was one of the strangest things that ever happened to me.

Unbeknownst to Kenny and the rest of the world, that comment would have tragic consequences.

Kenny’s comment on that video sparked a flurry of requests for him to prove his claim. Since he hadn’t documented the first trip to what would become known as “the M cave”, he needed to go back to the area to locate it and, this time, document what he found. On his second search for the cave, he went armed with a 9-millimeter handgun and a video camera.

When he returned from this hike, he uploaded the video of his excursion to his YouTube channel. In what has famously become known as the “M cave video,” Kenny was light-hearted and enthusiastic about his hike.

He documented some wildlife and found a whole horde of pine nuts that he gleefully ate on camera. He stood next to an abandoned mine shaft and rather sheepishly declared that he was unable to find the cave on his second hike.

Much to Kenny’s dismay, that video was met with criticism. Many thought he had made the whole thing up, and the public demanded proof of his claim of a mysterious cave with supernatural properties.

Viewers actively encouraged, and some even dared Kenny to go back out to the mountain range a third time.

However, one comment on his video, which has since been deleted, read, “No! Do not go back there. If you find that cave entrance, don’t go in, you won’t get out.”

Whether that comment was made by somebody teasing Kenny or whether it was a serious warning by somebody who was personally familiar with the cave is unknown.

Regarding the M cave, Kenny said, “I solo hike across mountain tops that most people wouldn’t dare go. I have been in more caves than I can count. I play with rattlesnakes for fun. But this one particular cave was beyond anything I had ever encountered.”

Hoping to put the naysayers in their place, Kenny hiked out to the territory a third time.

On the 10th of November 2014, Kenny once again made his way to the Sheep Mountain area, which is close to the U.S. Air Force installation called Area 51, known for its speculated connection to UFOs and secret government experiments. It’s located near Groom Lake and is within the Nevada Test and Training Range. As late as 2012, the U.S. government denied the existence of Area 51, and it is still closed to the public.

Kenny had informed his loved ones that he would be gone for a couple of days. When he failed to return home on the third day, his girlfriend, Sheryon Pilgrim, reported him missing.

Both ground and aerial searches were conducted, but no sign of Kenny could be found. Dave Cummings from Red Rock Search & Rescue reported finding Kenny’s cell phone next to an abandoned vertical mine shaft, where he filmed part of the M cave video. Specially trained individuals were called in to conduct a search of the mine. Unfortunately, aside from his vehicle and his cell phone, no trace of Kenny was ever found.

There are three main theories as to the fate of Kenny Veach: death by natural causes, murder, or suicide. Quite simply, the desert could have swallowed Kenny.

As of 2024, Kenny Veach has still not been found, even though more than thirty search and rescue team members scoured the Sheep Mountain area on three occasions.

#Kenny Veach #cold cases #missing #unsolved #unsolved mysteries

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okayto · 7 months ago

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Mini-Review: Scott Pilgrim Takes Off

Scott Pilgrim meets the girl of his dreams, Ramona Flowers, only to find out her seven evil exes stand in the way of their love.

An alternate take on the Scott Pilgrim story, which started as a series of graphic novels and received a live action feature film in 2010, this anime starts off by seeming to be a pretty straightforward animated adaptation of the film, but that soon changes.

I can't speak to how either adaptation compares to the original books (because I've never read them), but the film, Scott Pilgrim vs. the World, went heavy on the video game and comic influences in a way that I found fun when it came out, and still fun when I rewatched last year.

I'm here to talk about the anime, but it's worth bringing up the movie because my experience watching the show is inextricably linked to having previously watched the movie. I don't know how the anime would be without that; probably fine, but likely somewhat of a different experience without having a "previous" storyline to compare to.

Because for the first episode, the anime hews pretty darn close to the film, making it seem like you're just watching the same thing but in cartoon format. But it diverges at the end of the first episode, at which point it becomes super intriguingly clear to the viewer that they're going to get a different story.

And this is a fun story! These characters are mostly young adults, many of them if not aimless, then just kinda doing what they can in basic jobs to get by. Scott is a loser—like, an entertaining loser because of the plot, but the guy is 23 and initially dating a 17-year-old, which (in both versions) is made clear that everyone outside of the couple thinks this shouldn't be happening.

One of the things that becomes clear within a few episodes in this version is that compared to the film, Knives-the-17-year-old gets way more focus and is allowed to develop as a character beyond "enthusiastic high schooler with a giant crush on a loser." It's really nice to see, and it's part of a larger trend in this show of developing characters beyond the title guy and his actual love interest, Ramona.

Actually, Ramona gets more development, too. She's a much more prominent and active character in this show than the movie; as the plot goes on she deliberately inserts herself into various Shenanigans as she pursues answers to a mystery, and the audience gets a better grasp of who she is as a character, not just the object of Scott's instant attraction.

She and Knives aren't the only ones; even the League of Evil Exes gets more development! (Or, for people who haven't seen the film, they get introduced to the League as characters with personalities beyond "showing up to a single fight because some guy wants to date their ex-girlfriend.")

The fights make great use of animation as a medium. The colors are saturated, the movement has weight. I wondered, before watching, how the art style would translate because it's fairly thick and chunky, but it actually turned out fantastic. Animation is smooth, and the art consistently feels like a style rather than a bunch of chibi versions of adults.

Finally, I have to mention my favorite character: Wallace Wells, Scott's roommate who actually functions as an adult, and whose deadpan sarcasm I could watch all day. He's a great foil to Scott (immature, enthusiastic), but he is also just a pleasure to have on screen (although unfortunately, a lot of his snark doesn't appear to have been gif'd).

Verdict

English dub? Yes! They notably got all the main film actors to reprise their roles for the English voices, which is a bonus for film viewers. For anime-only watchers, they're just good, solid voices—generally normal people voices, not frenetic cartoon voices.

Visuals: Great, I actively enjoyed literally watching the show.

Worth watching? Definitely for enjoyers of the film, and almost-definitely for anyone else. It's a fun action-y show with good animation direction and plenty of humor.

Where to watch (USA, July 2024): Netflix

Click my “reviews” tag below or search “mini review” on my blog to find more!

#Scott Pilgrim Takes Off #Scott Pilgrim #anime #reviews #recommendation #the first episode just such a good job of following the film that when it diverged I initially thought we'd entered a dream sequence #incredibly fun watching experience

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factinhistory · 5 months ago

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What Day of the Week Does the Pope Come Out?

The Pope, as the spiritual leader of the Roman Catholic Church, has a demanding schedule that includes regular public appearances and special events. His weekly and occasional appearances are not merely ceremonial but serve to engage with the global Catholic community, offer guidance, and address current issues. This article provides a comprehensive overview of the Pope’s public schedule, focusing on the days of the week he typically makes these appearances and the significance behind these events.

Weekly Papal Appearances

General Audience

The General Audience is a central part of the Pope’s weekly schedule, traditionally held every Wednesday. This event is a significant occasion for Catholics and others interested in hearing the Pope’s messages. Held in St. Peter’s Square or, during adverse weather conditions, in the Paul VI Audience Hall, the General Audience draws thousands of visitors from around the world.

The purpose of the General Audience is multifaceted. It allows the Pope to address a large audience, offering reflections on faith, Church teachings, and current global issues. The audience typically includes a formal address in which the Pope shares insights on various theological and moral topics. This is followed by greetings to individual pilgrims and groups. The tradition of holding the General Audience on Wednesdays is rooted in early Christian practices when Christians would gather mid-week for special prayers and reflections. This day was chosen to reflect the importance of mid-week spiritual nourishment and engagement.

In addition to the address, the General Audience often includes a catechetical teaching, which can be part of a series on specific topics. This teaching is aimed at deepening the understanding of the Catholic faith among the faithful. The General Audience is also a platform for the Pope to acknowledge and bless various groups, including religious orders, youth groups, and international delegations. The presence of the faithful from diverse backgrounds underscores the global reach of the papacy and the inclusive nature of the Catholic Church.

See Also: What Day of the Week Did God Rest?

Sunday Angelus

Another important weekly event is the Angelus prayer, which takes place every Sunday at noon. The Angelus is recited from the window of the Apostolic Palace overlooking St. Peter’s Square. This tradition has become a staple of the Pope’s weekly schedule, offering a moment of reflection and prayer for both pilgrims and viewers around the world.

The Angelus is significant for several reasons. It is a time when the Pope addresses the faithful with a brief message, often reflecting on the liturgical readings of the day or current events. The prayer itself, traditionally recited at noon, is a reminder of the Annunciation and the Incarnation of Christ, celebrating the pivotal moment when the Angel Gabriel announced to Mary that she would conceive Jesus. The Pope’s address during the Angelus is typically brief, providing a succinct reflection that is accessible to a broad audience.

The Sunday Angelus is also a moment for the Pope to offer his blessing to those present in St. Peter’s Square and to the millions watching via television and online streams. This weekly event not only provides spiritual guidance but also reinforces the Pope’s connection with the global Catholic community. The tradition of the Angelus highlights the importance of the Sabbath in Catholic practice and serves as a regular opportunity for communal prayer and reflection.

Special Papal Events

Liturgical Feasts and Holy Days

In addition to weekly appearances, the Pope participates in special liturgical feasts and holy days throughout the year. These events are scheduled according to the liturgical calendar and are significant for the Catholic Church. Major feasts include Christmas, Easter, and the Feast of the Immaculate Conception, among others.

On these occasions, the Pope leads solemn Masses and delivers homilies that reflect the significance of the feast. For example, Christmas is celebrated with the Midnight Mass on December 24, and Easter is marked with the Easter Vigil on Holy Saturday. These events are central to the liturgical life of the Church and provide the Pope with opportunities to offer profound spiritual insights and blessings to the faithful.

The celebrations for these major feasts are often elaborate and include various ceremonies and rituals. The Pope’s participation in these events underscores their importance and provides an opportunity for the global Church to unite in worship and celebration. The liturgical feasts also serve as occasions for the Pope to address significant theological and moral issues, offering guidance and encouragement to the faithful.

Papal Audiences and Travels

The Pope’s schedule also includes various audiences with dignitaries, religious leaders, and other notable figures. These meetings are often arranged throughout the week and reflect the diplomatic and pastoral responsibilities of the papacy. The Pope’s ability to meet with a diverse range of individuals highlights the global reach of the Catholic Church and the importance of personal interactions in his ministry.

In addition to meetings and audiences, the Pope frequently undertakes pastoral visits both within Italy and internationally. These travels are often organized around specific events, anniversaries, or significant occasions. For instance, the Pope may visit a country to address local issues, celebrate important milestones, or engage in interfaith dialogue. These trips are meticulously planned and have a substantial impact on the local Catholic communities and the broader international community.

The timing of these visits and meetings is not confined to specific days of the week but is arranged based on the Pope’s availability and the significance of the events. The Pope’s travels and audiences underscore his commitment to global engagement and pastoral care, reflecting the international dimension of his role as the leader of the Catholic Church.

Historical Patterns and Changes

Historical Significance

Historically, the patterns of papal appearances have evolved over time, influenced by various factors such as the needs of the Church, historical events, and changes in communication and transportation. Early Popes had different schedules based on the customs and practices of their times, which included less frequent public appearances and more localized engagements.

As communication and transportation methods advanced, the modern papacy adopted a more global approach to public appearances. The establishment of regular events like the General Audience and the Angelus reflects the Church’s commitment to maintaining a consistent connection with the faithful. These practices have become integral to the papal schedule, providing regular opportunities for the Pope to address and engage with the global Catholic community.

Recent Changes and Adaptations

In recent years, the Pope’s schedule has undergone various adaptations due to factors such as health concerns, global events, and technological advancements. For example, during the COVID-19 pandemic, many public events were modified or held in a limited format to adhere to health guidelines. These changes affected the traditional patterns of papal appearances, demonstrating the flexibility of the papal schedule in response to contemporary challenges.

Despite these adjustments, the core elements of the Pope’s public appearances, such as the General Audience and the Sunday Angelus, have remained central to his role. The adaptability of the papal schedule reflects the enduring significance of these events and the Pope’s commitment to maintaining a connection with the global Catholic community, even in the face of unforeseen circumstances.

Conclusion

The Pope’s public schedule includes a range of regular and special events that provide opportunities for engagement with the global Catholic community. Weekly appearances such as the General Audience on Wednesdays and the Angelus on Sundays are key components of his routine, offering spiritual guidance and reflection. Special liturgical feasts and holy days, along with various audiences and travels, further highlight the dynamic nature of the papal schedule.

Understanding the days of the week on which the Pope makes these appearances sheds light on the structure and significance of his duties. The consistency of the General Audience and the Sunday Angelus reflects the importance of maintaining regular communication with the faithful, while special events and travels demonstrate the global reach and adaptability of the papacy. The Pope’s schedule is a testament to the ongoing commitment of the Catholic Church to engage with the world and provide spiritual leadership in an ever-changing context.

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bloglutfi · 1 year ago

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Revealing a deep message in the 38th elected work of Denny Ja: Then they pray Friday at the Church

In this modern era, art has extraordinary power in delivering important messages to the community. One of the artists who has succeeded in uncovering in -depth messages through his work is Denny JA. His latest work entitled “Then they pray Friday at the church” in the spotlight at the 38th art exhibition held by Barubaru. In this work, Denny JA described an unusual moment and attracted attention, namely those who performed Friday prayers in the church. The contrast between Islamic and Christian places creates confusion and reflection for the audience. However, behind the contrast, Denny JA wants to convey an important message about tolerance, diversity, and relations between religious believers. Through beautiful and detailed essay poetry, Denny Ja shows the diversity of culture and religion in Indonesia. He described various characters with various ethnic backgrounds and beliefs. This emphasizes that in this diversity, we all must respect each other and live side by side with peace. Denny Ja also uses a strong symbolsiMBOL in his work. The church is depicted with a warm and light atmosphere, reflecting the true kindness and affection that occurs in it. Meanwhile, the pilgrims who performed Friday prayers were shown by solemn and solemn, showing their sense of devotion to religion and God. Through this contrast, Denny Ja wants to arouse our awareness of the importance of respecting and understanding differences. Although we have different beliefs and traditions, we all have the same right to worship and live in peace. This message is becoming increasingly relevant in the midst of differences that often divide society. In addition, Denny Ja also highlighted the importance of dialogue between religious believers. This essay poem illustrates a rare moment and provoked the question, “Why do they pray Friday at the Church?” This question encourages us to think more deeply about the importance of understanding each other and respecting differences. In this work, Denny Ja also invites us to look into ourselves. By presenting various characters in his work, he encourages us to reflect on our own identity and how we relate to the people around us. Are we able to see the good and values that exist in our differences? This work also provides strong hopes about a more tolerant and harmonious future. Denny Ja wants to inspire us to create a society that respects each other, working together, and living in peace. Through art, it shows that we all have an important role in building a better world. In this 38th art exhibition, Denny Ja’s work was the main focus and received high appreciation from visitors. Many are impressed with their ability to describe in -depth messages through essay poetry. This work managed to move emotions and embrace viewers with the story delivered. Revealing a deep message in the 38th elected work of Denny Ja, “Then they pray Friday at the Church”, is an experience that inspires heart and mind. Denny Ja has proven that art is a strong tool in delivering important messages to the community.

Check more: Uncover a deep message in the 38th elected work of Denny Ja: Then they pray Friday at the Church “”

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fmhiphop · 2 years ago

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Ladies First: A Story of Women in Hip-Hop - Netflix Unleashes a Powerhouse of Female Talent

Netflix is about to unleash a firestorm of female talent with their upcoming documentary, Ladies First: A Story of Women in Hip-Hop. With a star-studded lineup featuring some of the most iconic and trailblazing women in the industry. This film promises to be a celebration of women's contributions to hip-hop. Set to premiere on August 9, the documentary dives deep into the history and evolution of women in hip-hop. Showcasing their struggles, triumphs, and unwavering determination. From the pioneers who shattered glass ceilings to the contemporary artists breaking barriers today. Altogether, Ladies First promises to be a powerful and insightful look into the world of female rappers. What To Expect From Ladies First The first trailer of the documentary packs a punch, leaving viewers eager for more. It's a sneak peek that teases the raw honesty and unapologetic attitude that define these fierce women. With a backdrop of thumping beats and electrifying visuals, the trailer sets the tone for what appears to be an fascinating experience. Another aspect that sets Ladies First apart is its stellar cast of interviewees. Netflix has created an A-list of hip-hop royalty. The likes of Queen Latifah, MC Lyte, Da Brat, and Remy Ma bring their iconic presence to the screen. Providing firsthand accounts of their struggles and victories. Their stories are bound to inspire not only aspiring artists, but anyone with a dream in their heart. However, the star power doesn't stop there. The documentary also delves into the roots of hip-hop with legendary figures like Sha-Rock and Roxanne Shante. Reminding us of the often overlooked but significant role women played in the genre's foundation. As the trailer flashes through time, it becomes evident that the legacy of these pioneers continues with the new generation. Coi Leray, Tierra Whack, Kash Doll, Saweetie, and more, are all featured. Showing viewers that all in all the future of hip-hop is in capable hands. The documentary's release comes hot on the heels of several other successful music-related releases from Netflix. Reaffirming their commitment to delivering top-notch content for music enthusiasts. With the recent Wham! documentary, the announcement of the Scott Pilgrim anime series, as well as Erykah Badu's appearance in The Piano Lesson, the streaming giant is clearly striking the right chords with its audience. As we wait eagerly for Ladies First to hit our screens, there's no doubt that it will speak to viewers worldwide. Also, it will serve as a powerful reminder that women have always been at the forefront of hip-hop. Spitting rhymes and breaking stereotypes with every beat. So mark your calendars for August 9, because Ladies First: A Story of Women in Hip-Hop is coming in hot. And it is sure to leave a mark on the music industry. Overall, prepare to be inspired, empowered, and entertained by these incredible women who continue to change the game, one verse at a time. Check out the trailer below: https://youtu.be/QMcnPdp54aE For more insight check out FMHipHop Brittany Belizor | Instagram @brittieb_ | Twitter @bbelizor Read the full article

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kabrainy · 4 years ago

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The Mitchells vs. the Machines (2021)

“Families can be hard, but they’re so worth fighting for. The might be one of the only things that are.”

Sony Animation’s latest film, The Mitchells vs. The Machines, shows that the company is moving in the right direction. This film was previously titled Connected, and this new title works much better since it better represents the films main two themes, and the logo is more stylised to better replicate the film’s stylistic choices.

First off the bat here, this film comes across as “ok boomer” the movie, but as the film progresses this prejudicial guess disappears from the viewers’ mind. This is an incredibly entertaining, fun, beautiful, and surpisingly heartfelt & meaningful film. The stylistic choices reminded me of Scott Pilgrim in the sense that its trying to pay homage to another medium, here it’s the internet with memes and youtube videos. This is a very fun aspect of the film and feels like a trip at moments, however at some points the humour here does fall flat and leans more into cringe. Nevertheless, I hope Sony continues this trend of stylistic films, with this and Spider-Verse they expose audiences to unique animation.

Now, back to the comedy of the film. Most of the time it really is funny, especially with The Mitchells. They’re dynamic throughout is clearly dysfunctional, but by the end is very functional. Things that characters don’t find funny or charming about one another eventually becomes something they can all laugh about and appreciate about them as a unit. This film relies a lot on running gags, which is very funny throughout, some gags play an important role in the third act of the film. The set-ups and pay offs are unexpected but very welcome.

Back to the Mitchells, the family dynamic is really fun, and you can tell this is a passion project by the filmmakers because of this. The father-daughter troubled relationship is a common cliche in films but here it feels very real and honest. They both have issues with one another, that by the end are ironed out, it never feels like one is painted more like an antagonist than the other. Their realised similarities feel really sweet, and them working together in the end, again was cliche and predictable, but felt very appropriate.

Now, the ‘machines’ aspect of this film is the weakest part. PALs goal, motivations and actions feel very diluted. This is all definitely because it’s an animated kids film but I think more threat could have been conveyed at more points, especially looking at other animated films where the villains feel more threatening. Olivia Colman’s PAL wasn’t very entertaining as well, most of the humour that missed was in those scenes. The plot holes and the issues I have with the film almost entirely come from this side of the story, it could have been ironed out for sure. PAL’s defeat didn’t really make sense in reality, and what the film had explained and set-up.

This film is very fun, and emotional at many points, some people might cry (one of us did cry), even in the first 20 minutes. The Mitchell’s individually, and as a unit are great and well-written. Katie is a relatively good protagonist for the plot and represents a lot of filmmakers and artists in the world. This is also one of the few films to have a gay protagonist, that isn’t starring in a romance film/ plot. I think it’s good to have this type of representation because it kind of normalises it.

It’s great, and I’d recommend it to anyone really.

8/10

#the mitchells vs the machines #film #film review #animation #eric andre #olivia colman #danny mcbride

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jackcinephile · 4 years ago

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L'Inferno (1911) Movie Review!

As promised, we're gonna be celebrating this Spooky Season with a Devilman Crybaby headcanon! In order to fully express my HC, I will be reviewing icons of horror cinema and literature that helped contribute to many of the themes and ideas that are prevalent in Go Nagai's original manga. So, without further ado, let us descend into the Blind World. Put all fear and cowardice aside. I will be your guide through this eternal place, where you shall hear the shrieks and see the tormented spirits who all bewail the second death.

And how appropriate? Because our first film is the 1911 adaptation of The Inferno by Dante Alighieri. I suppose it's only right to begin this saga of horror films with one of the first horror films ever made. Okay, "first horror film" is actually debatable, so keep in mind that I said "ONE of the first." In any case, it remains one of the most important landmarks in horror cinema.

"Stopped, in the middle of what we call life,

I looked up and saw no sky, but rather a dense cage of leaf and tree and twig,

For I was lost."

The film opens as the iconic poem does. Dante Alighieri is a middle-aged man who finds himself lost in a dark, gloomy forest. This opening of the story always had a way of making me feel somewhat lonely and isolated. In my interpretation, I always saw this forest as being symbolic of how Dante felt after the death of Beatrice. Allow me to explain...

For those who don't know, Dante met a young girl named Beatrice when they were both nine years old. The young boy immediately fell in love with her, even though they hardly interacted. Despite their lives continuing in separate directions, Beatrice had always and forever held a special place in Dante's heart. When he received word that she had died, Dante was absolutely devastated. He felt that she deserved to be immortalized in what he intended to be his magnum opus; The Divine Comedy.

I believe that this opening to the Inferno is actually Dante going to a journey to find Beatrice so that he could say goodbye to her. Along the way, he got lost, both literally and spiritually. That, in my opinion, is what this forest symbolizes. In many ways, this opening kind of reminds of the opening to Silent Hill 2, just from how dismal it is.

Having said all that, I think the film does a very poor job of conveying those emotions. Sadly, I just don't feel any of the despair that was present in the original poem. He just wanders around for a few seconds, then steps out into a clearing. But don't worry! As soon as Dante steps into the clearing, the film IMMEDIATELY gets better. Upon entering this clearing, Dante finds himself at the base of, what I believe to be, Mount Purgatory. I can only assume that's where he is, because the gates of Hell are at its base, and Dante seems to suggest the gates of heaven are at its summit, just like Purgatory. Unfortunately, his path is blocked by three ravenous beasts: a leopard, a lion, and a she-wolf, all representing different Earthly sins. He runs back the way he came, before being rescued by a strange apparition. It's here that the film begins to remind us all of why the original poem is regarded as a self-insert fanfic...

Upon introducing himself to the apparition, Dante learns that it is the actually the ghost of Virgil, author of the Aeneid. The significance of Virgil being in the story is that he was Dante's favorite poet of all time, and Dante always longed to meet and interact with him. It's literally a self-insert fanfic of Dante meeting and interacting with all of his inspirations. It's honestly a mystery to me why I love The Inferno so much, because it's everything I hate! It's a Catholic's fanfic about why he sees himself and his friends as morally superior and why everyone he ever disagreed with is going to Hell. Somehow, in spite of all that, I still love it.

So why did Virgil even decide to help Dante in the first place? Well, remember when I talked about Beatrice dying? It turns out, she descended from Heaven into Hell to ask him for help, because she knew how important he was to Dante. She tasked Virgil with being Dante's guide, after seeing that he has gone astray.

This is where the film's innovation starts to take shape. Beatrice has often been drawn as having a halo around her head. The problem is, how do you show that in a film made in 1911? The effect was strikingly realized with, what I assume to be, spinning rods covered in reflective material. I can only guess this is how it was done, but it appears right to me, because that's how a similar effect was created for the lightsabers in the original Star Wars. It looks like the rods were placed behind the actress, so that the rig couldn't be seen, making it appear as if the light was emanating from her head. This scene also displays an early appearance of wire work on film. In those days, that shit wasn't easy. It was even harder to hide the effect, which this film does fairly well.

So, Virgil explains to Dante that he must take him on a pilgrimage through the three different stages of the afterlife. To be perfectly honest, I never understood why. Maybe I'm just an idiot with little to no reading comprehension. It's also a factor that I haven't read parts II and III of the Divine Comedy, so maybe it's elaborated better in there. From what I gathered, since Dante is going on a journey to find the literal Stairway to Heaven (Led Zeppelin intensifies) Virgil needs to take him to Hell and Purgatory, so he can face his sins and better appreciate Paradise. And thus, Virgil's pilgrimage to lead Dante through the Afterlife begins!

"Through me, the way to the City of Woe

Through me, the way to everlasting pain

Through me, the way among the people lost

Divine Power made me

Eternal I endure

Abandon Hope, all ye who enter here"

That is the inscription above the Gates of Hell. It is here, that Dante is already planning on turning back. Virgil literally tells him to stop being a pussy, and I was satisfied. Once they enter the gates, it becomes apparent to the viewer, if it hasn't already, that this isn't just an adaptation of Dante's work. This film is actually a cinematic translation of the ICONIC illustrations by Gustave Dore that were created in the middle of the 19th century. So much care and detail was put into recreating his AMAZING artwork, that many consider to be his magnum opus. This film was basically the Zack Snyder's Watchmen of its day!

Those familiar with the story will recognize this iconic scene that is being recreated onscreen. Dante and Virgil have come to the shores of Acharon, where the souls of the damned board Charon's vessel to be taken before Judge Minos, who lives in Limbo.

Speaking of Limbo, that is the first spiral of Hell Dante visits. This is where good people who weren't Christians come to face eternity. Their punishment is meant to be the denial of Paradise, but if you ask me, it doesn't seem so bad. Apparently Dante felt the same way, because this is where he meets his other great inspirations, such as Homer and Ovid! The poets all enjoy their visit together before Virgil must take Dante on his way. This is honestly the part that makes me cringe the most. Nothing reeks of self-insert fanfic more than meeting your idols and being greatly respected by all them. This is exactly why I abandoned my Silent Hill fanfic.

Anyway, Minos's throne lies at the lower boarder of Limbo. The king himself appears as a giant naked bearded man with a snake tail. The tail is used to determine the punishment of sinners by wrapping around Minos's own neck multiple times. However many times the tail coils determines which spiral the sinner is sent to.

And here we get to my favorite scene in the whole film: Lust! This spiral perfectly displays the true innovation of special effects. In this spiral, sinners are punished by being caught in a tumultuous whirlwind. The wind symbolizes the tumultuous feelings that arise between lustful lovers. It's one of Dore's best illustrations, and it blows my mind that the filmmakers were able to recreate it so well!

Our two pilgrims move onward to the Spiral of Gluttony, where we come across Cerberus. He guards this spiral, but Virgil subdues him by throwing a clump of dirt in his face (still more respectful than Lore Olympus). Honestly, Gluttony is nothing to write home about. It's just a raining landscape with people laying in the mud. Still, I have to give credit for the meticulous recreation of Dore's art!

Down in Greed, who else do we find guarding this spiral, other than Plutus?

SIDE NOTE: I've read a very strange "translation" of his dialogue. The original line reads, "Pape Satan, Pape Satan, allepe!" Strangely, no one seems to agree on what exactly this means, so most translations are different. Particularly, in the case of Douglas Neff, he translates "Pape" to "Papa," which is strange because "Pape" means "Pope" in Itialian. Then, he changes "allepe" to "you are my king." Let's also not forget that Plutus was also occasionally used as an epithet for Hades and/or Pluto. This means Douglas Neff literally wrote Hades to say, "Daddy Satan, I worship you" (still more respectful than Lore Olympus)!

In the Spiral of Greed, the sinners are forced push heavy sacks of gold around for eternity. Once again, this scene is nothing special, but still an admirable recreation of the illustrations that inspired it.

The next scene, however, shows off more of the innovative talent that makes this film so amazing! Virgil and Dante move on to the Spiral of Anger, where the sinners are punished by being submerged in the black sludge of the River Styx. The only way across is by boat. This is where Phlegyas comes in. The two poets stand by a giant tower which they use to signal for passage to the City of Dis. Along the way, the boat is stopped by Dante's political and intellectual rival, Philipo Argenti. It's here that one realizes just how petty Dante truly was. "Oh, I disagree with you politically. Therefore, you deserve to drown in sludge for all eternity!" He sounds like people I used to know. Hell, he sounds like me in high school!

All while this is going on, we see an amazing special effect of a double exposure of Dis in the background. It's an amazing miniature of the city's outer wall, optically printed to take up the entire top half of the screen.

Finally, they make it to the other side of the river, where we actually get a cameo by Hades' and Persephone's children! No, not Zagareus, Makaria, and Melinoe. None of those people were Hades' and Persephone's children. I'm actually referring to the Erinyes (also known as, the Furies). They block Dante's entrance to the city's gates, so Virgil calls upon the aid of an Archangel to rid them of the Furies. It is here that Dante asserts the superiority of Christianity over the Hellenistic faith (still more respectful than Lore Olympus).

Within the City of Dis, Hell begins to look more like how we always imagined, with fire and brimstone. In the Spiral of Heresy, sinners are stuffed into eternally burning ovens embedded in the ground.

Beyond that is the only omitted sequence from the poem. In the original Divine Comedy, the Spiral of Violence is originally guarded by the Minotaur! Beyond that are sinners, stewed in a boiling river of blood (The Phlegethon). On the banks, we see a heard of Centaurs practicing their archery on them. These are the individuals who were violent towards other people. In order to cross the river of blood, Dante and Virgil must ride on the back of one of the centaurs. You know, having heard of centaurs' notorious reputation for being horrible rapists, it makes me concerned for the sake of our Pilgrims. Maybe they didn't include this in the film because they couldn't figure out how to make a centaur?

On the other side of the Phlegethon, Violence continues into the suicide forest (*Logan Paul reference here*). Here is where sinners, who were violent against themselves, are punished. Once judged to this spiral, they grow into trees. The symbolism being that trees are a symbol of life, of which these sinners have deprived themselves. I'm surprised this scene isn't more controversial. After all, seeing as how seriously mental health has been taken recently, it's fucking awful to tell someone they're going to Hell for committing suicide! As a peice of horrific imagery, I love this scene, but knowing that Dante actually believed this makes me despise it.

In addition to being a horrifying concept, this scene also includes one of the first instances of bloodshed in a horror film. Virgil explains to Dante that he can speak with the sinners if he breaks one of their branches. When he does, blood sprays out of the tree like a drinking fountain!

After a brief conversation with the sinners, Dante moves on to the final section of violence, where people were violent against God. Here the sinners are punished in a desert that perpetually rains fire.

Now, not every special effect in this film is good. Because when Dante rides down to the eighth spiral on Geryon's back, it is such a stiff, unnatural, badly puppeteered marrianet that they couldn't even keep stable for the shot!

"There is a place in Hell called the Malebolge..."

Now, we get to my favorite part of the whole poem: The Spiral of Fraud. Here the deceivers are punished in a myriad of ways, depending on how they lied to others.

In the first Spiral of the Malebolge, those who pander towards others are mercilessly whipped for all eternity. This marks the first appearance of the classic image of the winged demons that we all know and love.

In the second spiral, the flattererers bathe in a stagnant pond of their own feces and vomit. This symbolizes the value of the words that they spew at other people. I think this might be where the expression, "You're full of shit," came from. Think about it; you say that to people whom you think are lying to you, and this is in the Spiral of Fraud.

Incidentally, this punishment was referenced in a Turkish horror film called Baskin -- a film about a small group of off-duty police officers who crash their car and wake up in Hell. In that film, the main characters realize they're in Hell when they find demon raping someone, while shoving her face in a bowl of her own face and vomit. Baskin is not a part of this HC, so I'll have to talk about it later. For now, I'll just say it's one of the best horror films I've ever seen!

In the third spiral, those who joined the Catholic Church for their own personal gain are buried head first, with their feet sticking out in the air.

In the fourth spiral, fortune tellers have their heads turned backwards. This prevents them from looking forward, symbolizing their attempts to see into the future.

In the fifth spiral, the sinners are repeatedly dipped in boiling tar. This scene is especially interesting because it shows that the demons we see aren't actually monsters. They're just creatures doing their jobs, punishing sinners. In fact one of the demons named Malecoda assigns a group of demons to help escort Dante and Virgil through the rest of the Malebolge. That, unfortunately, doesn't work out, however, because the demons are distracted by a sinner trying to escape, so Dante and Virgil move on alone. What's also unfortunate, is that other demons, who assume that Virgil and Dante are also sinners trying to escape, chase them into the next spiral. Luckily, each demon is confined to their own spiral, so they can't keep chasing them.

In the sixth spiral, the hypocrites are forced to wear robes made of solid gold. They also find Caiaphas nailed to the ground. As someone who has Jesus Christ Superstar on his top three list of favorite albums, I was happy to see Caiaphas get referenced.

In the seventh spiral, the thieves are bound by snakes, whose venom causes them to burn to ashes. One thief in particular gets attacked by a giant lizard that makes him into a lizardman (someone tell Alex Jones).

In the eighth spiral, the false advisors are eternally engulfed in flames.

In the ninth spiral, the sowers of discord are viciously mutilated. My favorite part about this scene is that it's one of the first instances of gore in a horror movie. The prophet Muhammad has been cloven from his belly to his throat with his guts spilling out all over the place. That's right! Muhammad is depicted in the Inferno. Not only that, but Gustave Dore drew him. Damn. Dante has no chill. Hey, the founder of the most homophobic religion in the world rots in eternal Hell? I'm not complaining! This kinda makes up for the portrayal of suicide victims.

In the tenth spiral, the falsifiers are punished with enternal leprosy.

At last, we make it to the Spiral of Treachery, at the center of the earth. Here, the traitors are frozen within the Lake Cocytus.

"Lo! Dis Himself!

Emperor of the Kingdom of Woe"

Finally, at the climax of this horrific epic, we see Satan, and it's not what you're expecting! He is in the very center of the lake, frozen up to his waist in ice, and forced to eat the three greatest traitors of all. His body is covered in course fur, and he has three heads and six wings. Satan's appearance in this story is disarming and almost pathetic in a way. You'd imagine Satan to be this fearsome king, but he's just shown to be suffering like everyone else. It's kind of sad, really.

The film ends with Dante and Virgil climbing down Satan's leg fur and ending up at the base of Mount Purgatory.

L'Inferno is one of the first true masterpieces of horror! It's hard to believe that this movie is almost 110 years old! Just think of how it would have been to see it in theaters for the first time when it was new. We owe it to this film for proving the language of Cinema could be used to tell the most epic stories possibly conceived.

You can watch the film for yourself here:https://youtu.be/cMUPbPOGPdM

youtube

Now, you're probably thinking, "What the Sam Fuck does any of this have to do with Devilman Crybaby?" Well, for starters, in Go Nagai's original manga, the character Asuka Ryo implies that Dante's Divine Comedy might have been based on a true story. This is futher validated when the demon Xenon appears and bears a strong resemblance to Dante's description of Satan. But beyond the surface-level details, let's discuss some of the deeper implications of what Hell actually is. Within this headcanon, the Afterlife is an entirely separate dimension, occupying the same space as our Earth, but invisible to our eyes. There is a way, however, to see and explore this separate dimension. You see, when different dimensions intersect at certain angles, they sometimes leave gaps through which we can come through and cross over to the other dimension. It was through one of these gaps that Virgil was able to find Dante. These angles and gaps between dimensions will be further explored in a later film.

#dante's inferno #dante's divine comedy #l'inferno #devilman crybaby #devilman crybaby headcanon #Youtube

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alittledizzy · 5 years ago

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Hi, Mandy! The podcast with Phil is up! When you have time to listen to it, do you think, you could share some of your thoughts with us? Maybe even do some time stamps with commentary? Like, of course no pressure, but it would be awesome if you decide to express your opinion on the matter ;))) Have a nice day 🌷

My main thought: I love how much more comfortable Phil is talking about his anxiety and things that make/made him anxious now. I’ve never heard him dig in quite so much on how his brain works with insecurities and how intense he can be about editing and how that can cause him to mentally spiral with anxiety.

Besides that, I don’t think he said much here we didn’t already know, but I sure as heck enjoyed listening to him say it all again.

Timestamps!

2:30 - Phil would have shown up in pajamas if he’d known it was for a podcast. 2:37 - Interviewer asks Phil when he first realizes he was creative. “I think I just came out of the womb and did jazz hands in the hospital.” 3:00 - His parents gave him a video camera for Christmas when he was eight and he made little friends with his friends. He talks about the horror film he and his friends made when they were ten (that he’s made youtube videos about). He learned to edit then by pausing a video cassette tape and putting the footage in and editing in real time, before he could do it on a computer. He doesn’t know where that creativity came from, but he’s been making videos as long as he’s been able to make videos. 3:51 - He used to watch movies hundreds of times. He wore out the Gremlins VHS tape. He wanted to make things like that, or his own version of that entertainment. 4:05 - Gizmo the Gremlin was his mentor. No, he didn’t have a mentor, but he’s thankful to his parents for letting him do it. If he’d done his homework they’d just say, “Go for it. I’ll get you a video camera if you want to make videos.” He acknowledges that not everyone had that means of doing it, though now everyone has a phone and anyone can do it if they wanted to with a phone recording. 4:40 - When he was young his family was mostly his audience, though they let him play the horror film he made when he was ten at school. “I think having that audience reaction, I was like oh people are actually laughing and enjoying it.” 5:20 - He started youtube because he was impressed by the fact that anyone, anywhere can make something and have the chance to broadcast yourself. He saw people like Smosh and LonelyGirl15. He liked watching people’s lives all over the world. 6:01 - He got two comments on his first video and couldn’t believe it. One from Australia and one ‘somewhere else’ saw it and cared. 6:39 - He had imposter syndrome at the first Vidcon he went to. He went into a party and thought he shouldn’t be in the same room as people like Smosh. It was a learning experience. 6:58 - He found it crazy that a hundred people would come to a panel or meet and greet to see him and it made him feel like this was real, it was really happening. 7:32 - The interviewer asks him how he’s maintained trust with the audience and his answer is, “You’d have to ask the audience, they’re the ones that are still watching. 7:40 - He thinks being himself in his videos has help, he hasn’t had the need to reinvent himself or become somebody else. He feels like his audience are more friends than fans. 8:26 - "You have your long term collaborator, Dan Howell-” “Yes.” 8:27 - He finds it refreshing to collaborate, especially in comedy videos. He thinks he works well in an improvisation style environment, like on the gaming channel. It helps to have someone to laugh and have comedy banter with. It also helps to have someone else with creative ideas so you aren’t in your own head all the time. 9:20 - The interviewer asks about the transition from youtube to the stage shows. It was a big leap - they had ten crew members and it was a learning curve. He’s quite a shy person so going on stage in front of 2000 people was far out of his comfort zone compared to making videos alone. “It was kind of… fighting off my anxiety and thinking, I can do this, these people are here to see me for a reason.” 10:33 - They interviewed potential crew members (about a five minute interview) and they needed to be other creative people and understand the internet. They needed people who understood what they were making, and also wanted people that had a sense of humor and knew how to have a laugh. 11:30 - Specifically talking about TATINOF: they were trying to turn everything people loved about their youtube videos into a stage show, with a narrative flowing through the whole thing. They wanted it to be bigger than anything anyone had seen from youtubers before. 12:12 - You will not be seeing Phil on Strictly any time soon. 12:45 - TATINOF was about 70% scripted but it got changed up based on what the audience were like or what the reactions were. American found different jokes funny than Sweden and they learned to change and mold it. 13:09 - During TATINOF learned he can actually do scripted stuff, because there were scripted sections. He used to say he can’t act but he thinks he did okay with the scripted stuff in TATINOF. 13:52 - Section about the Radio 1 show. It started with him and Dan collaborating as youtubers with Radio 1, and the BBC decided to give them a show. He specifically says that Youtube say how many good comments and views youtube videos get, and that’s how the show came about. It started freelance and then they got the main show. 14:40 - With the radio show, because it’s live you really have to be aware of what you’re saying. There’s an art to working the desk with the music in the background and when to dip it down. They were learning on the go and it was terrifying. For the first three months he’d wake up in the middle of the night with night sweats and have nightmares about saying something wrong. He had panic dreams about the radio, but they got into a flow and he thinks it was an entertaining and innovative radio show. He always likes something that pushes the boundaries of the technology. 15:25 - He shades how 'old school’ the radio is because they had to play music videos off of dvds. If a dvd skipped or broke then the show would just go off air and they’d have to improvise. It was good preparation for doing stuff on stage. 15:55 - He talks about the stage show in America that lost power and improvising it in an unplugged way. He was relieved when people were happy with it. 16:38 - He thinks there are things traditional media could take from digital media: free flowing, less restrictions. On the radio ideas had to go through about ten processes. “By the time you’ve gone through these ten steps of checking, the fun of the creativity is gone about. It’s not about breaking the rules, it’s about trying to be more improvisational and spontaneous when you can. Not everything needs signing off by five people before you tell a joke.” 27:49 - He likes that youtube is more fresh and reactive to pop culture. It feels fresher than television - cites people doing the floss dance on Netflix shows now. It was funny a year ago, and it was written a year ago, but it’s not as funny now. 18:35 - The positive to traditional media is more people bringing experienced voices to the table helping you develop something. Youtubers know a few things instinctively but someone that’s been a scriptwriter for ten years can completely blow your mind. 19:25 - He would like to think the main thing his audience values is authenticity, but he actually thinks it is accessibility that they value more. He’s not like a movie or pop star. 20:14 - He’s fourteen years in and still tries to think of videos that would make him laugh or he wants to watch, but he’s trying to branch out some this year. “Trying new things.” He doesn’t think there’s any shame in seeing someone else’s video and thinking of doing his own take on that. 21:20 - He looks to Safiya Nygard for inspiration - he likes that there’s so much research and planning in her videos. Even if it’s a silly video she has all the facts and goes to all the videos. He got to meet her the last Vidcon and it was nice to hang out with her. 21:56 - He’s inspired by traditional media, too. For a long time it was Scot Pilgrim vs. the World, he used to think if he was going to make a video that was it. He starts talking about editing here and goes in pretty hard on what editing means to him over the next few minutes. 22:50 - He’s good at suspending his disbelief. It’s a good sign if you’re lost in a world. When he saw 1917, he forgot he was in the cinema. 23:13 - “It’s more when I’m watching my own videos, I can’t - I find it really hard to watch it as a viewer. I find I’m so critical of myself and I just see the edits and I’m just like, oh that could be different, that could be different. And even if after I’ve uploaded it I’ll get a text from my friend and they’re like 'oh that was so funny’ but in my head I’m like oh but I could have cut two seconds off that bit. So I think I should learn, and other people should learn, not to be so critical of yourself. Because there can be a point where - I made a video in December and I was looking back at the footage and I was like, I can’t upload this, this isn’t - this isn’t good enough. But then I just persevered with the editing and it turned out to be really funny. But that self doubt was creeping in like, people aren’t gonna watch this, people aren’t gonna like this. So I need to work on that a bit and think - if people are enjoying my videos I should be able to enjoy them as well.”24:11 - It’s hard not to be numbers obsessed because youtube tells you as soon as you sign in what’s performing well and not. You don’t want to get that feeling when you first log in to your channel, and you can’t really avoid it. “You’ve got to see it as a learning thing rather than an everybody hates me thing.” 25:42 - Once a video is out in the world, he lets it go. He doesn’t obsess over it. He’s more critical in the editing process and actually pressing go rather than after the fact. 26:08 - He’s particularly proud of his coming out video because of the unexpected reaction. The video production wasn’t incredible but he’s proud of the message. 26:40 - They ask him how he’d have felt in 2006 knowing where he’s at now. “No. I’d probably run away.” 26:47 - “I was so shy and anxious, I couldn’t even like… phone for a hairdressers appointment. I was that nervous about public interaction and talking and stuff like that. So the fact that I’ve got to this level now where I can go on stage or talk on a panel it’s just like - it’s kind of mindblowing looking back at where I was. I’m proud of myself for that.” 27:15 - He’s ready to sink his teeth into a big new project, to do something new that’s very Phil and his own thing. He’s obsessed with interactivity. He was making interactive videos ten years ago with youtube annotations and he thinks now broadcasters and traditional media is more accepting of that technology and narrative structure. 28:15 - He pitched one interactive thing that didn’t work out. He shouts out Complex and also Markiplier’s interactive youtube original. 29:02 - It’s good to get feedback on an idea that’s rejected. It would be weird if everyone said yes all the time. He goes a bit in depth here on potential reasons why a project may be rejected and not taking it as an attack or a big negative thing. 30:33 - If he made a film he’d write it, not be the star of it. He’s excited to see where that creative process goes. He’s written a few short stories and tried a long form script. He’s a control freak so he won’t release it until it’s perfect. 31:03 - He sees Youtube as his work, and scripting and pitches as a hobby. He’s not under a deadline with writing and can enjoy free flowing creativity, unlike youtube where he needs to make a video every week. 32:00 - Discussion about the illustrator they had for TABINOF, who worked on The Mighty Boosh.33:00 - When ask him for one thing he’s inspired by at the moment, he says Bandersnatch and talks about it a bit. He still has Scott Pilgrim and Gremlins in his heart, though. “Gizmo’s the one.”

#anon asks #phan asks #Anonymous #long post

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eretzyisrael · 5 years ago

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Agnieszka Traczewska, an accomplished documentary filmmaker and photographer from Krakow, Poland, remembers the first time she saw a group of Chassidim – Jews who adhere to a branch of Orthodox Judaism and revere a particular rabbi who leads their community. The Jews were in Poland to visit the grave of a famous rabbi, and when Agnieszka caught a glimpse of the men in their long dark coats, black hats and long beards, she remembers being shocked. Growing up in communist Poland, Agnieszka had learned about the Holocaust and how it decimated her country’s Jews: “I didn’t expect that anybody survived from the Jewish community," she recalls.

In an Aish.com exclusive interview, Agnieszka explains how that early glimpse of Chassidic pilgrims sparked a decades-long interest in photographing Chassidic Jewish communities. Agnieszka’s exquisite, award-winning photographs give us a glimpse into the insular world of Chassidic Jewish life. Photographing these communities has also profoundly shaped Agnieszka’s ideas about Judaism and God.

"The Jewish identity of those places was totally forgotten, totally erased.”

“I come from Krakow,” explains Agnieszka. As a child, she learned about Polish history but without understanding the large Jewish community that called Poland home for over a thousand years. Before the Holocaust, Krakow was home to a vibrant Jewish community and the towns and villages around it sparked some of the Chassidic dynasties that still thrive today. “As a child, I travelled with my parents around many small villages and towns in Poland," Agnieszka explains, and went on numerous school trips. “Nobody even mentioned that most of those villages or towns were 50%, 60% Jewish – sometimes even 80% before the war. The Jewish identity of those places was totally forgotten, totally erased.”

While the Jewish history of many Polish villages may have been forgotten within Poland, whole communities of Chassidic Jews outside of Poland remembered their names and honored the history of the towns their families came from. “That was the second surprise” of seeing groups of Jewish pilgrims visit Polish towns such as Bobowa (Bobov in Yiddish), Lublin, Lelow (Lelov in Yiddish), Radomsko, Krakow and Warsaw. “I realized how much these people inherited from these places, that I had no idea about.” Seeing groups of Chassidic men travel all the way to Poland simply for the opportunity to pray at the graves of great rabbis moved Agnieszka; she wanted to take photographs of these men and try to document their emotional visits to the towns and villages she’d so long taken for granted.

A friend told Agnieszka about an annual visit that Chassidic Jews made to the town of Lezajsk on the yahrzeit Rabbi Elimelech Weisblum (1717-1787), one of the founders of the Chassidic movement. Agnieszka went along and took photos of the men as they prayed and found herself very moved by their fervor and devotion. She decided to continue this work, taking photos of Jews who returned to Poland to pour out their souls in prayer at the graves of the great rabbis buried throughout the country.

“When I started to speak with Chassidim, they said ‘Oh, my zeidie was from Bobov, my bubbie (grandmother) was from Lublin,” Agnieszka recalls. She was blown away by the fact that so many Jews who’d grown up all over the world retained such intense feelings of connection to Poland. “I decided that if nobody else wants to remember this Jewish history in Poland, I will be the one. I didn’t want to conquer the world – this photography was just my private archeology project to remember the Jewish past, and to learn about it myself.”

Agnieszka’s beautiful photographs bring to mind paintings by the Dutch masters such as Rembrandt and Vermeer who bathed their subjects in light and captured a sense of serenity. Largely self-taught, she has a palpable sense of communing with her subjects, and helping the viewer to feel as if they have got a glimpse into the very soul of the people in her photographs.

In an interview with the Yiddish newspaper Der Forverts Agnieszka recalled visiting the Jewish cemetery in the Polish town of Radomsko, where the great Chassidic Rabbi Shlomo Chanoch HaCohen Rabinowicz, known as the Radomsker Rebbe (1882-1942), is buried. “I am the only woman standing outside the ohel,” (an open-air memorial for the Radomsker Rebbe) Agnieszka described, "and somehow I have to get there from the cemetery gate. What should I expect? Open confrontation? Admonishment that I do not belong here?” Agnieszka prepared to be yelled at by the black-clad Jewish men for invading their space.

The Jewish visitors did begin to shout – but with joy. “I told you she would come!” they said to one another. Somehow, Agnieszka had become a legend: the non-Jewish woman who wanted to photograph moments of beautiful Jewish prayer. “What kind of coffee do you want?” the visitors asked her. “Would you like a cookie?”

It did take years to break into the insular community and meet Chassidic Jews who’d help her. About twelve years ago, Agnieszka was in Bobowa, taking photos of Jews praying at the grave of Rabbi Shlomo Halberstam (1847-1905), the founder of the vibrant “Bobover” Chassidim. While many Jews who are Bobover Chassidim are intensely insular and unlikely to strike up a conversation with someone who’s not Jewish, particularly a person of the opposite sex, some Bobover Chassidim are more used to interacting with the secular world. (New York Criminal Court Judge Ruchie Freier, for instance, is a well-known Bobover Chassid whose high profile has defied stereotypes of what Chassidic Jews can do.)

One of the men praying at the site was Duvid Singer, from Boro Park, a heavily Chassidic neighborhood in Brooklyn. Duvid and his wife Naomi have visited Poland numerous times, leading Jewish heritage tours with their company Heritage and Discovery and helping to restore Jewish cemeteries and other sites around Poland. With his deep knowledge about Poland, Duvid was intrigued by Agnieszka’s work. The Singers got to know Agnieszka and began to collaborate with her. Agnieszka describes befriending the Singers as a “turning point” in her life; she describes Duvid Singer as her teacher and almost her “rebbe”, her spiritual mentor. The Singers, recognizing that Agnieszka was trying to be respectful in her work photographing Jewish subjects, gave her a helping hand.

Through the Singers, Agnieszka got to know other Chassidim and began travelling all over the world photographing Chassidic Jewish families and settings. While her early photos in Poland were primarily of Jewish men, because the vast majority of pilgrims travelling to pray at the graves of rabbis were male, once she began visiting Chassidic Jews in their homes, Agnieszka began to get to know Chassidic women, developing a deep connection with the wives and mothers who hosted her.

Agnieszka’s parents both died when she was young, and she has no siblings and few other relatives. “It’s not so easy to be a lonely individual in the universe,” she notes. “The people I’ve had the closest connection to in recent years were Chassidim.”

Her photo won second place in National Geographic’s Photograph of the Year Award in 2014, beating out 18,000 other pictures.

Agnieszka published a book of photos of Chassidim visiting the graves of rabbis in Poland in 2018 called Powroty / Returns, and has exhibited her photographs in over forty shows worldwide. She’s working on another book of photos of Chassidic Jews all over the world.

She finds it amazing that whenever she enters a synagogue or a Chassidic home, whether it’s in San Paolo or Antwerp or Israel, the same timeless Jewish traditions are preserved and followed.

One of Agnieszka’s most celebrated photographs was taken in Jerusalem’s Meah Shearim neighborhood at a large Chassidic wedding in 2014. Agnieszka had got to know an extremely religious Chassidic family in Meah Shearim, befriending the wife and getting to know her eighteen children. When the family’s oldest son got married, Agnieszka was invited to the wedding.

The wedding was a grand affair, but Agnieszka’s most treasured photo is from a quiet moment right after the ceremony. In Orthodox Jewish weddings, it’s traditional for the bride and groom to spend a few minutes alone together right after the marriage ceremony. For many couples, these moments are the first time they have ever been completely alone together. As the bride and groom entered a room where they’d be secluded together for the very first time as man and wife, Agnieszka followed them, along with the groom’s mother, to the door. As the mother in law waved goodbye to the couple, Agnieszka snapped a photo of the beaming, happy young couple. Coming from a very Orthodox religious tradition, this couple had never been alone before and had never even held hands. This was a huge moment of transformation for them.

That photo, which she named “First Time”, won second place in National Geographic’s Photograph of the Year Award in 2014, beating out 18,000 other pictures. Agnieszka was shocked that her photo won, noting that most of the winning pictures in National Geographic’s contests are of the great outdoors. Agnieszka recalls, “With this photo, they said they loved it because it showed not a physical volcano, but a volcano of emotion, an eruption of emotions.”

When she heard that her photo had won such a prestigious prize, Agnieszka excitedly phoned the family and shared her good news. “They said they were so happy for me. I don’t think they understood that this photo would be so widely published.” The award-winning photo was reproduced all over, in newspapers and magazines, including in Israel. The family, so used to being modest and outside the public eye, was shocked to see the picture everywhere.

Since she’s started photographing Chassidic communities, Agnieszka has found that her own life has profoundly changed as well. Brought up Catholic, she used to consider herself not religious. Now, Agnieszka explains that she feels much more spiritual and regularly prays. Being exposed to such intense spirituality has made her feel much closer to God, as well.

“Very often when I accompany groups of Chassidic Jews coming to Poland – especially when I have an opportunity to be with them for a long time (as they pray) I observe a growing temperature of davening” Agnieszka explains, using the Yiddish term for prayer. “I see their attempt to communicate with Hashem” – the Hebrew term for God. “I sometimes had the feeling that there were some divine transcendental moments that I’d never be able to see otherwise.”

Agnieszka's exquisite photos can be viewed on her website http://www.agnieszkatraczewska.com/

#Israel #Poland #Agnieszka Traczewska #Chasidim #Photography

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fmhiphop · 2 years ago

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Ladies First: A Story of Women in Hip-Hop - Netflix Unleashes a Powerhouse of Female Talent

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aion-rsa · 4 years ago

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Disney+ Halloween Movies for Kids: The Best Family Films to Watch This Spooky Season

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It’s the season for thrills and chills, but if you’re planning to watch movies with your kids as Halloween approaches, you might not be looking for the scariest horror films. Luckily, there’s plenty of family friendly fare on Disney+ to add some spooky to your Halloween season.

The Adventures of Ichabod and Mr. Toad

When you’re looking for The Legend of Sleepy Hollow on Disney+, it doesn’t come up on its own. The short from 1949 was released in tandem with another short based on the Wind in the Willows. The combined films were released under the full title of The Adventures of Ichabod and Mr. Toad, and that’s exactly what you have to type in to get it to come up.

The story, which is based on Washington Irving’s original text, tells of the ill-fated romance between schoolmaster Ichabod Crane and Katrina van Tassel in 1790 Sleepy Hollow, New York. When Katrina’s unofficial fiance discovers that Ichabod is superstitious, he tells the story of the Headless Horseman—and Ichabod, on his ride home, encounters a pumpkin headed spirit. The next morning, Ichabod is nowhere to be found; a shattered jack-o-lantern and his hat are all that remain. While some younger viewers may find the tale distressing (Disney didn’t pull punches back in the 1940s), those with a taste for ghost stories will happily enjoy their shivers.

Trick or Treat

What happens when Huey, Dewey, and Louie come to Uncle Donald’s for trick or treating? Donald’s full of tricks! Luckily, Witch Hazel takes pity on the nephews and helps them get their just desserts. This 1952 classic is only nine minutes long, so it’s a great short to open your Halloween family movie night! You can also pair it with the 1937 “Lonesome Ghosts” (Mickey, Donald, and Goofy in a haunted house), or the creepy 1936 short, “Thru the Mirror,” an Alice in Wonderland inspired Mickey short.

Mr. Boogedy

This 1986 Made for TV Disney Sunday Movie may bring back childhood memories for parents! In it, a family moves to a spooky New England town only to discover that their house is haunted. The two Halloween-loving parents are inclined to believe that the hauntings are just a practical joke from the creepy old man who runs the town’s historical society.

The kids, on the other hand, are determined to get the evil ghost—a 300-year-old pilgrim whose spurned love caused him to sell his soul to the devil for a magic cloak—out of their house once and for all. With kid heroes (and the creative use of a ghost-fighting vacuum cleaner), this one might be so bad that it’s good.

The Nightmare Before Christmas

Yes, technically this is a Christmas film, but there’s not a lot that’s Halloweenier than Jack Skellington, the Pumpkin King, and the monsters of Halloween Town taking over Christmas.

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Released in 1993, this stop-motion animated film from producer Tim Burton was originally deemed “too scary” to be released under the Disney label, but in the years since, it’s become a favorite, especially of older kids and their parents. The characters Jack Skellington and Sally have plenty of reach beyond the original film too, appearing on t-shirts and other accessories worn to celebrate this time of year.

Coco

Coco isn’t officially a Halloween movie, either, but it’s a great way to celebrate both Hispanic Heritage Month (which runs until Oct. 15, 2020) and Dia de los Muertos. Miguel just wants to play music, but in his family, it’s forbidden. When he steals a guitar from a crypt on Dia de los Muertos, he finds himself transported to the land of the dead, surrounded by the beautifully painted skeletons of his dead relatives.

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Unwilling to promise he’ll never play music again, Miguel goes on the run, helped by a scoundrel, Hector, to reach the one person Miguel believes will get him home. This Pixar film hits all the right notes when it comes to family, to music, and to learning how to accept and love people for who they are. It also has alebrijes: beautifully colorful magical animals that assist both the dead and the living through their trials.

Hocus Pocus

Possibly one of the most hotly debated family friendly Halloween films, this cult favorite of the 1990s features three sibling witches who were executed in 17th century Salem (so the witch trials were justified in this world?). But before their deaths, they declare they’ll be resurrected if a virgin lights a magic candle.

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Flash forward 300 years and a teenage boy finds a way to set them free. There are a lot of ribald jokes throughout, likely to go over the heads of young viewers, and the sisters really are wicked. (Early on, they suck the life out of a little girl and doom her brother to being an immortal black cat.) While for some families, this is a hard pass, for many others, it wouldn’t be Halloween without watching Bette Middler put a spell on you!

Escape to Witch Mountain

There are no actual witches in Escape to Witch Mountain (1975) and its sequels. Instead the first film revolves around two foster children, Tony and Tia, with special powers. When an “uncle” appears to bring them home, they realize he’s a villain who wants to use them, and they escape. Over the course of their adventures, they discover their true heritage: they’re aliens.

Tony and Tia’s adventures continue in Return from Witch Mountain, and the 2009 remake of the first film, Race to Witch Mountain, stars Dwayne Johnson as a cab driver who helps the two alien children (renamed Sara and Seth) to their destination.

Frankenweenie

Another Tim Burton stop-motion film, Frankenweenie tells the story of boy Victor Frankenstein, who resurrects his pet dog, Sparky, but is then blackmailed into telling other neighborhood children the secret behind reanimating their pets. The black and white animation and the somewhat creepy content makes this one better suited to tweens than the younger set, and parents will enjoy the homages to classic horror films in Burton’s storytelling.

Halloweentown Series

If you’re looking for a movie marathon, you might check out the Debbie Reynolds-led series of Disney Channel originals about a town full of witches, demons, skeletons, and goblins. The first, Halloweentown, came out in 1998. In it, 13-year-old Marnie is incredibly frustrated because her mother won’t let her celebrate Halloween. As it turns out, it’s because Marnie’s mother and grandmother (played by Reynolds) are witches; Marnie’s mother wants Marnie to be a regular mortal, but her grandmother wants to train her before she loses her powers forever.

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After overhearing their argument, Marnie is determined to get to the bottom of her history, so she follows her grandmother back to Halloweentown where she gets embroiled in the quest to find a talisman that will undo a demon curse on the townspeople.

In Halloweentown 2: Kalabar’s Revenge, Marnie, now with two years of witch training under her belt, has to undo a warlock’s plot to trap everyone in the mortal world as the creatures of their Halloween costumes. Halloweentown High features Marnie bringing several Halloweentown teens, disguised as humans, to her mortal high school, posing as exchange students from Canada. In the fourth film, Return to Halloweentown, Marnie (played by a different actress) decides to attend Witch U in Halloweentown for college.

There’s not a lot of serious food for thought in these, but the scare factor isn’t terribly high, and it’s notable as a Disney Channel Original movie series that ran for four films.

Monsters Inc.

For the younger set, there’s nothing better than Monsters, Inc. to bring shivers and giggles together in one film. This is the story of two roommate monsters, Sully and Mike, who work together at the scare factory. One day they find their lives derailed when a human child (supposedly poisonous to monsters!) comes through one of the closet doors that monsters travel through to scare children. They’re determined to get her back safely, with no one the wiser, and end up uncovering not only a huge conspiracy, but a new source of energy for monsters.

The prequel Monsters University hits some of the same scare and humor notes (with a great lesson on embracing who you are, and the skills you have, rather than trying to become something you’re not). If you’ve only got time for one, though, pick the original, and be prepared to hear your kids say “Mike Wazowski” over and over…

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What are your favorite family friendly Halloween films? Tell us in the comments.

The post Disney+ Halloween Movies for Kids: The Best Family Films to Watch This Spooky Season appeared first on Den of Geek.

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mzashleypie · 6 years ago

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Worldbuilding Done Wright

Edgar Wright uses the editing in his films to create a viewing experience that puts the audience directly in the shoes of his characters. Wright’s films often focus on stories of an average guy who rises to the occasion and becomes an unexpected hero, using intense sound effects and cuts to heighten the stakes of even the most average of scenes. This style is distinctive and becomes something that you expect in each scene, making the subversion of these expectations in certain scenes all the more important. Wright uses the editing as a tool of the world that isn’t necessarily part of the onscreen world, but that is able to better present to the audience what the characters are seeing and feeling. Wright does this particularly well in his films Shaun of the Dead and Scott Pilgrim vs The World, using both distinctive sound editing and cuts and zooms to create and then to reinforce the plasticity of their worlds.

In Scott Pilgrim, we are quickly thrown into the day to day routine of Scott’s life. We see Scott go on a date with Knives to the record store and we are seamlessly taken from location to location throughout the course of their conversation when we finally see them at the arcade at the end of the sequence. This scene is intended to show the repetitiveness and mundanity of Scott’s life at this point in time and how every moment blurs together. Unless you are really paying attention to the scene, the viewer may also fail to notice the change from the record store to the outdoors and that the conversation topic has changed. Wright designed this scene precisely to put the viewer in Scott’s shoes and show how little he is paying attention to any of the details of his day to day, cutting together different locations as the shots shift back and forth from a medium close on Scott to a medium close on Knives. The days are repetitive and blur together, shown with the clipping of time with Knives as they go from location to location and once again before the party. Afterward, Scott’s life moves as if in fast forward through the rest of day that he’s ignoring until he gets to see Ramona again. Before Ramona, everything in Scott’s life is moving so fast, he can’t even process what’s happening. This gives us a distinct feeling of connection to Ramona as the cause and effect to this change in perspective that we too would feel if we were Scott.

In Shaun of the Dead, we are similarly placed into the low-stakes life of our main character from the start. One of the first scenes that follows the credits shows Shaun as he follows a specific path on his way to work each day. The camera follows closely behind Shaun in one long take and we, the viewers, are put directly into his path as if it were our own. We see the way that Shaun passively walks past a homeless man, how he almost gets hit by a car, and how he fails to notice the man washing his car and nearly trips on his bucket. The first, he always expects, but even these other common, although not every day, changes, throw him off. Shaun, however, easily snaps back into his routine mindset and forgets they ever happened, continuing along his path. He proceeds to get the same drink from the same fridge that he gets from the shop every day and moves forward without truly looking or thinking, always expecting things to be the same. Shaun’s life is set to autopilot. He knows this routine so well that the next morning he fails to notice that the street is in disarray and that there is blood spread across the shop. There is no one to be seen in or out of the store, except for the homeless man turned zombie, who Shaun presumes is just asking for money and heads back home without skipping a beat. In both of these scenes, Wright uses the repetition of structure to show the bland state of his character’s life in a current moment in time. By repeating this structure and using a long take instead of several shots cut together, the viewer can see how things drag, but are never bad enough to work towards changing. These scenes make it easier to empathize with Shaun and see how easily one can become complacent in life when so little ever shifts, all while the audience is acutely aware that everything is about to change.

When Shaun is preparing for his day, there’s a dramatic close-up on each of Shaun’s tasks that makes them appear as if an epic montage before a mission. Shaun eats, brushes his teeth, and ends with him adjusting this nametag. With this quick series of cuts and loud sounds, the viewer may believe that there is going to be a build up to something more excited, only to be let back down with the dull reality of Shaun’s life. By analyzing this scene, we are able to see how simple editing can blow these things out of proportion and make them seem more extraordinary than they are. When this sequence is followed by his job at the appliance store, it becomes obvious that these mundane tasks are actually the closest to exciting anything in his day will get. This simple scene provides key insight into Shaun’s life and how these parts of his routine, such as hanging out with Ed and playing video games and going to The Winchester every night, are all he knows. We can clearly see that Shaun has an enthusiastic attitude, but nothing to apply it to since his life has stagnated since he finished school. Because it is clear that Shaun is well intentioned, but unreliable, it makes it hard for anyone aside from Ed who is the most unreliable to give him the benefit of the doubt and believe he is capable of doing more. This is why the zombie outbreak is such an important turning point, because Shaun could have done the same thing every day for the rest of his life otherwise.

When Shaun has finally gotten everyone inside of The Winchester, the zombies begin to surround the building and are on the brink of breaking in when Ed starts playing music on the jukebox. When the Queen song, “Don’t Stop Me Now,” starts playing, Shaun really gets to show his leadership skills. As the music revs up, Shaun quickly yells out instructions and gets everyone to grab a weapon. This is also a key moment of Wright’s rhythmic editing being used to emphasize both the stakes and fun of the moment. Shaun, Ed, and Liz get in position with their pool cues and begin to hit the zombie in time with the music. This moment highlights the fact that Shaun is capable of being more than he was before the outbreak and that, while their situation is dire, Shaun will never be the exact same person that he was before. As they continue to hit the zombie, the camera spins around the three and cuts to Shaun’s mom and Dianne also moving in time with the music almost as if dancing and also telling them when to land their hits. The tension of the fight builds up with the chorus of the song and the music ends as they throw the body of the zombie onto the jukebox just as the song would have ended in real time. This scene works to show how self-aware Wright is of the comedic setup of the world and how he wants to emphasize the fun of it even in a seemingly serious situation.

Once Scott meets Ramona at the party, we are able to see that his life slows down for the first time since the start of the film. It is only on these moments with Ramona that Scott is actually paying attention to what is going on and is trying. Unlike Shaun, Scott decides that he wants something new and goes after it, though he struggles. As you can see on his first date with Ramona where they meet at the park, there are soft dissolves from shot to shot and long takes of dialogue in between with near complete silence and darkness behind them as the snow falls. This is a stark contrast to the rapid cuts, scene changes and loud music that is often playing when Scott is surrounded by Knives or his friends. All of these subtle changes create the effect of time slowing down, but there is an actual slow down on screen when Ramona takes Scott through the door and they float through the darkness and back to her house. The fact that we live through this transition time instead of cut between locations further shows that Scott is able to live in the moment when she is around.

When Scott is fighting the Seven Evil Exes, the aspect ratio shifts to widescreen to make the action more cinematic. Lens flares and dramatic zooms are also added to the scenes to emphasize the change in tone in Scott’s character and how exaggerated these actions become. All of these technical aspects make it easier to buy into the video game elements and make actions out of the realm of possibility in reality, not only believable, but probable. When we see Scott fight for the first time against Matthew Patel, the aspect ratio shifts and the plasticity of the world is officially compromised, whereas before, we had only had Ramona going through the doors as something that “broke” the rules of the universe. In this moment, we are able to see that it is not just Ramona who has cool abilities tied to her, but that anyone can when their powers are called upon. We see Scott jump into the air to fight and that Matthew is able to float as well as spawn demon girls to fight alongside him. We see this all happening in a bar and while people are shocked by the revelation that Ramona dated him, but the actual circumstances of the situation don’t seem to be questioned. This reaction from the characters makes it easier for the audience to buy into the quick change to a video game dynamic and that these things are known to be possible in their universe, even if they are not everyday occurrences.

Both Scott Pilgrim vs The World and Shaun of the Dead are two prime examples of how Edgar Wright is taking the “everyday man” comedy to another level. Wright knows not only how to turn an ordinary guy into a hero, but how to turn every day circumstances into something extraordinary. He has taken the act of worldbuilding from something that is typically reserved for sci-fi and fantasy and the suspension of disbelief we give to action films and has combined them to bend reality into a believable separate space. Wright does not simply rely on the written dialogue and visual comedy of the actors, but uses editing and shot choice to act as a key character in his films. By expanding beyond the actors, Wright is able to make the stories that we’ve all heard before, both Scott and Shaun essentially being stories of self-discovery and getting the girl, and make them new and refreshing by including you in the experience of the world as you know it changing around you. By watching these two films together, you can see how Scott’s world is supposed to be an extension of our own and how visual cues can assist in this, not just keeping the action in line with the comic book and video game aesthetic, but allowing for gags and information to occur simultaneously with dialogue and scene changes. This allows for a larger story to be compiled into a short span of time without making it feel rushed or dragged out. Shaun’s world is simply our own world as seen through optimistic eyes when disaster strikes. This editing is key to highlighting the dramatic and important moments to Shaun and that would matter to us if we were put in his place. The dialogue and characters are additionally extremely ordinary and are the most believable of the zombie outcomes you could imagine. Shaun of the Dead is what would happen if you and a group of your friends had to team together and that’s why the rhythmic editing and dramatic sequences make such a difference. In this way, Wright is able to present dramatic change without actually changing much in the lives of his characters and quickly makes you forget that the outbreak happens throughout the course of one day.

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#scott pilgrim #edgar wright #film analysis #scott pilgrim vs the world #shaun of the dead #film review #film #movies #worldbuilding #essay #mzashleypie #ashley robles

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angelofberlin2000 · 6 years ago

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Feb. 8, 2019

The Beatific Imperfection of Keanu Reeves in The Matrix, 20 Years Later By Angelica Jade Bastién

Throughout the 1990s Keanu Reeves created a form of action stardom that no other actor has quite achieved before or since — one predicated less on testing the limits of his body than on highlighting its beauty. And 1999’s The Matrix marked the entrancing culmination of all he had been experimenting with during that decade.

Twenty years and two sequels later, it is hard to imagine anyone else but Reeves as Neo, the counterculture hacker turned savior. But before he came onboard, directors Lana and Lilly Wachowski considered several others, including Tom Cruise, Nicolas Cage, and Will Smith (who reportedly turned down the role so he could do the widely derided Wild Wild West, one of the greatest mistakes of his career). These actors, at least at the time, hewed closer to a more traditional form of Hollywood machismo. But The Matrix is a film that operates on multiple levels: It’s a cyberthriller of unbridled intimacy, a scalpel-sharp action flick, a curious testament to optimism, and a still-worthwhile study of technology’s all-consuming power on our lives. It needs a lead who can operate on such levels as well.

As an action star, Reeves has repeatedly shown interest not just in the limits of the body and its raw strength, but also in its grace. He isn’t like Tom Cruise, who pushes his body to ever-increasing extremes — leaping out of planes or onto the side of buildings with carefully calibrated aplomb. Nor does he possess the jokey charisma of a Will Smith. When we look at the most towering examples of Hollywood action stars — from the jaunty elegance of Errol Flynn, to the muscle-bound machismo of Sylvester Stallone and Arnold Schwarzenegger, all the way down the line to the less distinct, glossy statesmen of the ever-expanding Marvel Cinematic Universe — Keanu Reeves remains an outlier.

For The Matrix, the Wachowskis coaxed a genuinely transcendent performance from Reeves, while also successfully synthesizing a host of inspirations (from cyberpunk literature to anime classics to various strains of philosophy detailing our notions of consciousness). The results profoundly rewrote the expectations of what an action star could be. Neo’s mournful, curious gaze and joyful compulsion as he learns about the real world brought to the fore the idea that more soulful, willowy folks could carry a hidden lethality — a suggestion new to the American landscape, which often preferred its action stars’ powers conscripted to immensely muscled bodies, with true emotion either nowhere to be found or wrapped in slickly delivered sarcasm. Reeves suggested that an action star should feel, at full tilt.

In the wake of Neo’s slender poise, the notion of the “unlikely action star” became quite common. No longer did action films need to be anchored by chiseled, emotionally limited commandos like Stallone or martial arts experts with expressive charm like Wesley Snipes. An action star could be James McAvoy stumbling headlong into great power and various conspiracies in Wanted or pure maternal fury like Uma Thurman in Kill Bill I and II. The saviors of a film could be as different as Michael Cera’s lanky, perennially awkward protagonist in Scott Pilgrim Versus the World and Matt Damon’s peripatetic amnesiac in The Bourne Identity and its sequels. Think of Kate Beckinsale sauntering and slicing herself a bloody trail in gleaming latex in the Underworld franchise, or Reeves’s previous co-star Charlize Theron magnificently glaring her way through the wildly uneven Aeon Flux and the bombastic Atomic Blonde.

The melodramatic, FX-heavy superhero origin stories that proliferated throughout the 2000s also owe a huge debt to The Matrix. The film’s entrancing FX showed Hollywood that any actor could be credible as an action star even if they had to do the impossible — flying into the starry night sky, leaping over buildings with ease, or dispatching various foes at such high speeds that their movements blurred, with nary a hair out of place. You could even do it without the months of training Reeves and his co-stars put in to make their physical performances work all the more beautifully. Even those action flicks that operate as portraits of hangdog, middle-aged men with unique sets of violent skills — think Liam Neeson’s Taken and its various imitators — are indebted to how Reeves opened new veins of emotion in the genre. (Undoubtedly the most potent of this latter subgenre is Reeves’s own neon-soaked John Wick franchise.)

More striking though is how much The Matrix and its star influenced the internal lives of action leads going forward. The “get the girl and save the world” model will always exist, but in the 20 years since The Matrix, the inner dimensions of our heroes have expanded. Unlike other action stars, Reeves’s masculinity is fluid, mutable. He often suggests — with a smirk, or glare, or the careful precision of his balletic violence — that the emotional turmoil of his characters is more than just a plot point, but rather a physical reality interwoven into the performance. He’s one of the few male action stars who is also a gracious scene partner. It’s more than just kindness; there’s a sense that he’s completely sure and secure in his own masculinity. It’s why he was able to play characters as disparate as Ted Logan in Bill & Ted’s Bogus Journey and Scott Favor in My Own Private Idaho. With Keanu, The Matrix takes on greater shades than merely being a propulsive, slickly engrossing blockbuster. The way he foregrounds Neo’s curiosity and loneliness adds an untold dimension to the film, about what it means to find not just your purpose but your family as well.

Watch as he modulates this curiosity: around Trinity (Carrie-Anne Moss), it is tinged with the nascent twinge of lust; when he’s in Morpheus’s orbit, it is colored with awe. The Matrix marries the actor’s interests, sensibilities, and background in ways that he would capitalize on in later work. Reeves has British, Chinese, and Native Hawaiian ancestry, and his love of Hong Kong action flicks echoes in later works, like his directorial debut The Man of Tai Chi and the John Wick franchise. With a star as vulnerable as Keanu, The Matrix avoids being a typical Chosen One narrative and instead becomes something more dynamic: a testament to our need for community.

As writer-directors, the Wachowskis carry a potent belief in humanity’s essential value. Whether through the sterile, machine-created world that we recognize as our own or the cataclysmic, gray future Neo finds himself navigating, they remind viewers that our bodies are things of beauty, to be molded, altered, and even transcended in order to reflect our inner desires and realities. Reeves doesn’t just reflect this, but complicates it as well.

Reeves has proven over the roughly 30 years of his acting career to be an essentially generous and curious performer with a near-beatific ability to be utterly present. This is often mistaken for a blank-slate quality. But he is far from blank. He has a roiling inner life, from the moment we meet him in The Matrix — surrounded by the detritus of his largely digital existence and with Massive Attack slinking from his headphones. As we watch him rebound from navigating a maze of cubicles with only the voice of a stranger as his guide to joyfully showcasing Yuen Woo-ping’s ecstatic fight choreography, we feel not only the wonder of this world the Wachowskis have created, but the joy of witnessing a star go supernova.

#keanu reeves #the matrix #angelica jade bastien

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man-creates-dinosaurs · 6 years ago

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When a fandom chooses to celebrate a particular franchise can be an interesting thing. Usually it’s the day and/or month that said franchise debuted. Ergo Jurassic Park fans mark June 11 with special significance since the original Jurassic Park debuted on June 11, 1993. But in the case of Star Wars fans, they celebrate on May 4, even though the first Star Wars movie premiered on May 25, 1977. Why? Because you don’t just pass up the opportunity for a pun like “May the Fourth be with You.” Interestingly, the first Alien film was also released on May 25, 1979, but fans of that franchise don’t seem to consider that date to be any more important than Star Wars fans. Instead Alien fans celebrate their franchise on April 26 in reference to LV-426; the planet from the first two films. The first ever Sherlock Holmes story was published in November of 1887, but Sherlockians celebrate the legacy of the World’s Greatest Detective in January, the month which Sherlockian extraordinaire Christopher Morley determined was the month of Holmes’ birth; Jan. 6, 1854 to be exact.

And then there are King Kong fans. The original 1933 Kong film premiered in New York City on March 7. But fans of the monarch of Skull Island tend to go ape at the very opposite end of the year, in November, during the week of Thanksgiving. To understand why requires a little bit of a history lesson.

The association between Thanksgiving and King Kong goes back to an independent TV station known as WOR-TV Channel 9 which serviced the Tri-State Region (New York, New Jersey and Connecticut) and first went on the air in October of 1949. In 1955, WOR-TV purchased the broadcast rights to RKO Radio Pictures’ film library, giving them access to some 700+ movies. Among these were the original King Kong, its sequel Son of Kong (1933) and its thematic follow-up Mighty Joe Young (1949). WOR-TV was actually the first television station in history to air King Kong, and their initial 1956 screening of the monster movie classic broke records with an estimated 9,395,820 viewers tuning in to watch the then 23-year-old film.

Flash forward to 1976. Producer Dino De Laurentiis and director John Guillermin’s much touted remake of Kong is slated to hit theaters December 17. Someone at WOR-TV decides they can cash-in on the hype and compete with Thanksgiving Day football by airing a marathon consisting of RKO’s three giant ape films. And perhaps unexpectedly the ploy worked and ratings for the 1976 Thanksgiving marathon were good enough for WOR-TV to repeat the stunt the year after. And then again the year after that. And as everyone knows once you’ve done something three years in a row it officially becomes a tradition.

Perhaps the only people who possibly may have had a problem with celebrating the legend of King Kong in November were Godzilla fans. Because as it turns out, November 3, 1954 is when the original Godzilla debuted in Japan. Perhaps wanting to head such a holiday dispute off at the pass, starting in 1977 WOR-TV added an additional movie marathon to their station for Black Friday with the Toho made King Kong Escapes (1967), followed by King Kong vs. Godzilla (1962) and Godzilla vs The Smog Monster (1971). Subsequent Black Friday lineups would be more purely Godzilla-focused and include such films as Godzilla vs The Sea Monster (1966), Son of Godzilla (1967), Godzilla vs Megalon (1973) and Godzilla vs MechaGodzilla (1974).

Ultimately WOR-TV would keep running Kong and Godzilla films on Thanksgiving and Black Friday until 1985 when the station lost the broadcast rights to the RKO library. Some reports I’ve read indicate that WOR-TV continued playing Godzilla films until 1987 before retiring the tradition altogether. Giant monster movie fans older than myself still remember this tradition of airing Kong and Godzilla films on Thanksgiving and as a result have pasted this practice on to the younger generation, meaning that between Godzilla’s birthday at the start of November and impromptu Kong-a-Thons during the week of Thanksgiving, November is pretty much kaiju month all around.

And this year in particular everyone seems to be on board with a new version of the 2013 Australian King Kong musical having just debuted on Broadway and Legendary Pictures having just begun filming 2020′s epic Godzilla vs Kong.

So this Thanksgiving, after you’ve had your fill of turkey maybe sit down and watch some Kong and Godzilla movies - because that’s what the pilgrims came to this country for, right?

My knowledge about fan holidays was greatly supplemented by this wonderful database on them found at The Daily Dot.

#thanksgiving #king kong #godzilla #mighty joe young #son of kong #fandom #fans #kaiju #kaiju eiga #stop motion #stop-motion animation #wor-tv

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vampirkaninchen · 6 years ago

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Well, here it is; I want to say things about The Punisher’s season two, and why I felt so sadly let down by it. I won’t rant about Billy’s looks (you’ll never see me complain about Ben’s face ever), or about that uncomfortable patient-psychiatrist relationship. Instead, I want to argue that this season had very fundamental storytelling issues, which is surprising given how excellent the first season was. Before I do though, let me say that I’ll always love the interplay of rage, violence, and vulnerability with which Jon Bernthal plays Frank, and that I was absolutely floored by Ben’s portrayal of Billy - I thought he was brilliant, and he really got me invested in the character - which makes it all the sadder that the season just doesn’t work as a whole.

I’m going to focus on Frank and Billy here, and one reason for that is that the entire Amy-to-Pilgrim storyline failed to draw me in. I really liked Amy and I’ll always be here for Frank softening for spunky youngsters, but even their relationship remained a bit rocky and had moments that really alienated me (Frank threatening Amy with a gun in the trailer, for example.) The entire plot seemed randomly grafted onto the rest, spliced in with no feeling for narrative flow: mysteries went unexplained for too long, characters were introduced too late, and the stakes were too low (political blackmail over homosexuality? Really?) Long story short: I lost the thread and I lost interest - which is sad because season one brilliantly intertwined the storylines to complement Frank’s struggles, his desires, regrets, and developpement. This time seemed like an excuse for bloodshed. That said, where season one, like all three Daredevil seasons really shone was in escalating things. I’ve always admired how they would take an event, see it through in one episode, and let the characters deal with the fallout in the next, letting both events and stakes get bigger and bigger. They lost all this in this season because the storylines were not interconnected. We see this also in Dinah Madani, who has no storyline at all - her dealing with her trauma from season one manifests in a few drinks and some half-hearted comments to Frank. Likewise Karen, who I know has had a big story arc in Daredvil season 3 but is still an important part of Frank’s story, only appeared to do a bit of pining, it seemed. That, to me, is a lot of wasted potential, because both women had integral parts in the first season; Dinah crucially influenced the plot with her decisions and Karen represented that human connection so essential to Frank Castle. In the same vein, then, that the show wasted so much story potential by not following up on the fallout of the Dinah-Billy relationship (a few nightmares don’t count), the connection between Frank and Billy was vastly distorted. I really liked the flashback leading up to Billy confronting his abuser (a scene that was heart-wrenching and really well done, I thought). Perhaps more flashbacks about Frank and Billy’s now-lost friendship would have grounded the story, especially against Billy’s arc of (literally) putting himself back together. Because that weird, warped vendetta we got did not work at all, and I’ll try to explain why. So; debonair sociopath Billy Russo has lost his memory of everything he did in season one, and with it why he deserved Frank’s punishment- to let him live with what he had done and what he had lost. And so we follow Billy dealing with his trauma, loss, and confusion in heart-wrenching ways, enhanced by Ben’s superb acting (my fav part of the season, let’s be honest). Not only does this arouse my sympathy as a viewer much more than it lets me emphasize with Madani’s casual drinking and Frank’s gratuitous murder sprees, it means that season-two-Billy is in no state or place to be held accountable for what he did before, not ethically, and not from a storytelling perspective. Exploring the Frank-Billy friendship from Billy’s new/old frame of mind would have given us tension and emotional depth, because we know Frank is in a vastly different place. They wasted that opportunity, and for me that damaged the story. Because, what does Frank do? He kills his way through a storyline I don’t much care about and repeatedly talks of ‘putting Billy down’ - for what? What exactly has Billy done since his punishment that merits this intention of Frank’s? The fact that he survived and made a surprising recovery (sort of)? We watch Billy painsakingly re-assmble himself with that combination of rage, confusion, and vulnerability that is usually Frank’s trademark (well done Ben, you’re doing great), and somehow Frank decides that this is not what he intended with the season one face-bash finale? That Billy isn’t suffering in the right way, or enough? You can’t dole out judgements and punishments until you’re satisified. That’s not how the law works, and while we all know Frank doesn’t give two figs about the law, it’s not how storytelling works, either. Even poetic justice must be earned. And this is where my main problem lies: Frank repeatedly asserts to Amy how ‘some people just need killing’, again and again he stubbornly claims Billy needs to die, waving aside the hesitant ethical reservations of Dinah, Curtis, and Karen alike. This is not exploring a theme, this is setting an intention: we know this season ends with Billy dead, but we’re not sure why. Somehow, he is blamed for Frank’s, Curtis’, and Dinah’s ongoing trauma from season one, while having little to none contact with either of them, nor remembering having caused that trauma. They hold him accountable for how they feel, but not only have they already tried and judged him in season one, and shouldn’t get do-overs, but Billy is not even aware of their trauma- he has his own trauma to deal with. Multiple things happen here: Billy becomes a scapegoat, not a villain, Frank doesn’t really get a character arc, and the stakes are lost. What are the stakes of Frank not killing Billy? What are the stakes of Billy getting killed? We know there is no redemption for him, he has nothing left to lose and nowhere left to go. Neither have Frank, or Dinah, or Curtis. What are the emotional stakes? What terrible thing happens if Billy lives? I don’t have answers. Meanwhile, Billy’s headcount doesn’t even rise from one to ten until episode eight, whereas Frank’s own headcount has been at least fifty from episode one. This is disproportionate. “This was always what I was”, asserts Frank, “I can do things other people can’t.” This, admittedly, is a killer line - but nothing new. Moreover, it’s ill-timed: This kind of (self-)revelalation demands build-up, demands a struggle against it first. If Frank had spent the season desperately trying not to be that killer machine the Punisher is, while repeatedly getting drawn into defending himself and others... that might have worked. But Frank has gleefully killed people since he went into that bathroom in the pilot, claiming to be “an asshole who doesn’t know better” (or whatever he said there). What’s more, that kind of big talk necessitates a strong, chaotic antagoistic force, and one that escalates until no law may stop or contain it anymore. Something like the cancerous organised crime of the previous season, a conspiracy, or an unstoppable, walks-away-from-explosions Vendetta Billy Russo. That kind of big talk demands strong opposition, build-up, and proof. Show, don’t tell, remember? The Billy we see is a petty criminal with the potential to escalate - but but mainly he’s busy coming to terms with himself. “This has to end” claims Frank. What is “this”? What and where is that monumental chaotic thing that cannot be stopped, contained, or made right without Frank’s unbrideled violence? It is certainly not the Billy who frequently relapses into utter confusion, and even the Billy whose thugs kill some people after Frank has already had his ‘epiphany’ is not enough. You can’t retroactively justify your character’s decisions. That’s not good storytelling at all. My point is; Billy’s and Frank’s storylines are out of joint. One does not complement or justify the other, I get tired with Frank’s vendettas if I’m not also shown that they’re necessary, and in the end, I don’t want to see Billy die, because his is the only story arc I’ve actually cared about. His death isn’t earned, Frank’s justice isn’t justice, it’s not resolution, or restoration, or anything that makes me feel good at the end of a story. Billy mainly dies because the other characters don’t know how to move on, and they blame him for it. That’s not enough.

#punisher spoilers #billy russo #frank castle #the punisher #storytelling #i had to leave this somewhere #*sighs deeply*#i tried

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