#art by britt martin

[ilynpilled]

tywin au where instead of terrorizing the realm he terrorizes twitter timelines by becoming a millionaire educator tradcath account

[rhyliethelovelycaterfly]

Cast

Erika Henningsen Voiced Willy Charlie

Sam Lavagnino Voiced Catbug

John Omohundro Voiced Daniel "Danny" Vasquez

Hynden Walch Voiced Bonnibel Bubblegum

Olivia Olsen Voiced Marceline

Trey Parker Voiced Randy Beauregarde, Stan Beauregarde, Beavery The Beaver, Beary the Bear, Rabbity the Rabbit, Raccoony the Raccoon And Skunky the Skunk

Edward Bosco Voiced Joe Salt

Minelli Chavez "Tito" Jiménez II Voiced Marvin Teavee

Britt McKillip Voiced Ribbon

Vivian Nixon Voiced Millie Salt

Jordan Fry Voiced Lewis Teavee

Amy Birnbaum Voiced Kirby Gloop

Adrian Beard Voiced Squirrely the Squirrel

Mona Marshall Voiced Foxy the Fox, Batty The Bat And Chickadee-y the Chickadee

Matt Stone Voiced Harey the Hare, Opossumy The Opossum, Ottery The Otter, And Mousy The Mouse

April Stewart Voiced Porcupiney the Porcupine, Deery the Deer And Woodpeckery the Woodpecker

Jessica Makinson Voiced Wolfy The Wolf, Weasely The Weasel And Boary the Boar

Jeremy Jordan Voiced Lucifer Morningstar

Ian Jones-Quartey Voiced Wallow

Alex Walsh Voiced Christopher "Chris" Kirkman

Liliana Mumy Voiced Beth Tezuka

Colleen Villard Voiced Willy Charlie (Young)

Emma Tate Voiced Katsuma

Phillipa Alexander Voiced Poppet

Deleted Scene Cast

April Stewart Voiced Wendy Prinzmetal

Scrapped Characters Cast

Clancy Brown Voiced Eugene H Prune And Betsy Prune

Jess Weiss Voiced Chica Piker

Jade Kindar-Martin Voiced Bonnie

Michelle Ruff Voiced Cream Hypnoski

Rebecca Honig Voiced Vanilla Hypnoski

Tom Kenny Voiced Rabbit Hypnoski

I Gave Credit To @expandismgold For His Art That I Requested Him

[el-delacruz]

Samsung x Charles Jeffrey - Night mode from matilda finn on Vimeo.

DIRECTOR: MATILDA FINN DOP: BEN FORDESMAN EP: RUPERT REYNOLDS-MACLEAN PROD CO: BISCUIT FILMWORKS PRODUCER: SIMON EAKHURST PRODUCTION MANAGER: LUKE THORNTON DIRECTORS ASSISTANT: NELLIE HERON-ANSTEAD PRODUCTION CO-ORDINATOR: ROMA NESI PIO CHOREOGRAPHER: PIERRE BABBAGE AGENCY: MOTHER LONDON EDIT: STITCH EDITING EDIT PRODUCER: ANGELA HART EDITOR: LEO KING EDITOR ASSISTANT: LUKE ANDERSON POST PRODUCTION: TIME BASED ARTS POST PRODUCER: CHRIS ALIANO COLOURIST: SIMONE GRATAROLLA 2D LEAD: OLLIE RAMSEY 2D TEAM: THIAGO DANTAS, WILL ROBINSON, MICHAEL AVELING, RALPH BRISCOE, ADAM LEARY, TOM MACKAY-THOMAS SOUND: MARK HILLS @ FACTORY MUSIC: WAX WINGS CAST CO-ORDINATOR: GABIJA LAUCE COVID-19 CO-ORDINATOR: CAMILLA MORRIS LOCATION MANAGER (SHOOTING UNIT): GEORGE VERDON-SMITH LOCATION ASSISTANT (DAYTIME PREP): NICK JAY 1ST ASSISTANT DIRECTOR: BEN GILL 2ND ASSISTANT DIRECTOR: CHRIS MEARS 3RD ASSISTANT DIRECTOR: KITTY RAJAKULASINGAM RUNNER: ALEX MCALLISTER RUNNER: KAI RAJAKULASINGAM RUNNER: TIGER BREWER PRODUCTION/AGENCY RUNNER: AYESHA ANDERSON FOCUS PULLER: ANDREW BRADLEY CLAPPER LOADER: ADAM GREEN CAMERA TRAINEE: CAROLINA DA COSTA KEY GRIP: DAVID HOLIDAY GRIP (TECH RECCE ONLY): DAN MORIARTY GRIP TRAINEE: WILLIAM MILES DIT: MIKE MCDUFFIE VIDEO PLAYBACK OPERATOR: CHAZ NORTHAM VIDEO PLAYBACK ASSISTANT: RAPHAEL BALOGUN CAMERA CAR DRIVER: ALISTER BUGGE DRONE PILOT: PETE AYRISS DRONE REMOTE HEAD OPERATOR: TOM ALDCROFT MOTION CONTROL OPERATOR: JUSTIN PENTECOST MOTION CONTROL ASSISTANT: STUART GALLOWAY SOUND RECORDIST: SAM MENDELSSOHN GAFFER: JONO YATES DESK OPERATOR: JOE BEARDSMORE ELECTRICIAN: ALEX GIBBONS ELECTRICIAN: ALEX MAGILL ELECTRICIAN: BEN SKYRME ELECTRICIAN: DAX SHARKEY GENNY OPERATOR: TONY BRUCE RIGGING GAFFER: MICHAEL SMIT RIGGING ELECTRICIAN: CHRISTIAN HAYES RIGGING ELECTRICIAN: JOHN MALANEY RIGGING ELECTRICIAN: NICK BRITT RIGGING GENNY OPERATOR: PAUL ROWE RIGGER: JAMES MALLOY RIGGER: MICHAEL LEE FROST TELEHANDLER OPERATOR: STEFANO ZIPPO PRODUCTION DESIGNER: DAN TAYLOR ASSISTANT ART DIRECTOR (DRESSING): LAUREN DIX ASSISTANT ART DIRECTOR (DRESSING): PHIL BROCKLEHURST STYLIST (DRESSING): FREYA HAAK ART DEPARTMENT RUNNER (DRESSING): ANNIKA BERTFIELD ART DEPARTMENT RUNNER (DRESSING): BEA DAVIDSON MASTER PROPS (DRESSING): PHIL SMITH PROPS (DRESSING): ANDREW BALCON PROPS (DRESSING): ANDREW MATTHEWS PROPS (DRESSING): DONNCHA ALBERT RAHILL MASTER PROPS STANDBY: JASON BRADLEY MASTER PROPS PRODUCT STANDBY: LEO TURNBALL CONSTRUCTION MANAGER: NICK DILWORTH CONSTRUCTION: CASEY CONCANNON CONSTRUCTION: EAMONN CONAGHAN CONSTRUCTION: GERT RADEMEYER CONSTRUCTION: GREG SIMPSON CONSTRUCTION: MATT AMOS CONSTRUCTION: RAMZI JABBUR CONSTRUCTION: THIBAULT MARTINEAU SFX SUPERVISOR: STEVE HUTCHINSON SFX TECHNICIAN: CHRIS GIBBS SFX TECHNICIAN: ED SMITH SFX TECHNICIAN: SAMUEL HUE-VASHON STYLIST: BEN SCHOFIELD STYLIST ASSISTANT: KIT SWANN STYLIST ASSISTANT: SCOTT CRUFT MAKE-UP ARTIST: PHOEBE WALTERS MAKE-UP ASSISTANT: CHANTAL AMARI MAKE-UP ASSISTANT: ESME HORN MAKE-UP ASSISTANT: NIC PASKAUSKAS HAIR ARTIST: CLAIRE MOORE HAIR ASSISTANT: ANNA JOHNSON HAIR ASSISTANT: ERIKA FREEDMAN HAIR ASSISTANT: KRESZEND SACKEY PROSTHETIC SUPERVISOR: VICTORIA MONEY PROSTHETIC ARTIST: ALEX HARPER PROSTHETIC ASSISTANT: DOMINIQUE BUTLER H&S OFFICER/COVID SUPERVISOR: DAVE WATKINS UNIT MEDIC: DAVID BROAD PREP MEDIC: JAI MASSEY IFA CO-ORDINATOR & MAIN TESTER: ALEX RALLS IFA TECHNICIAN: ALEX CAMPBELL IFA TECHNICIAN: DIVINE ZAKI IFA TECHNICIAN: MADJID KALE IFA TECHNICIAN: MARK SANDBERG IFA TECHNICIAN: ROXANNE MARTIN IFA TECHNICIAN: STUART WALKER IFA TECHNICIAN: ZYGI VOLOSINTAS ANIMAL HANDLER: DEAN CLARKE ANIMAL HANDLER: CERYS WILLIAMS ANIMAL HANDLER: DERRY WELLS ANIMAL HANDLER: LUCY SMITH VET: DR. AIDA FERREIRA VFX SUPERVISOR: OLLIE RAMSEY CATERING: PHIL WARD BARISTA: ALEX CUNNINGHAM MINIBUS 1: MARK RIGHELATO MINIBUS 2: LEE RIGHELATO MINIBUS 3: PAT O’LEARY PREP 4 X 4 DRIVER: ANTON WRIGHT UNIT 4 X 4 DRIVER: PETER JONES UNIT 4 X 4 DRIVER: SIMON PHIPPS FACILITIES: GARY MOORE FACILITIES: PAUL HADDOCK FACILITIES: WARREN SMART SECURITY: ALEX LANEY SECURITY: ANTHONY RICHARDS SECURITY: BARZAN MOHAMED SECURITY: JAMEL WOODFORD SECURITY: JOHN TURNER SECURITY: MARK EDWARDS SECURITY: COLLIN WILLSON SECURITY: GRAHAM DYER SECURITY: LEIGH FOXALL SECURITY: ALAN LANEY SECURITY: RICHARD JOHNSON WIRE SUPERVISOR: BOB SCHOFIELD WIRE TECHNICIAN: MAX SCHOFIELD ARTIST: CHARLI XCX ARTIST MANAGER: SAM PRINGLE ARTIST MAKE UP ARTIST: FRANCESCA BRAZZO ARTIST MAKE UP ASSISTANT: ALEJANDRO ORTIZ ARTIST HAIR ARTIST: PATRICK WILSON ARTIST HAIR ASSISTANT: CHARLES STANLEY ARTIST NAIL TECHNICIAN: MICHELLE HUMPHREY TALENT: CHARLIE BUCKLAND TALENT: TRACY BARGATE TALENT: NIAMH WOODS TALENT: CY FOXX TALENT: AUSSIE TALENT: YILING ZHAO TALENT: EDEN JODIE TALENT: JASON BATTERSBY TALENT: JOHN KAMAU TALENT: KIA LEE TALENT: ALEX MARGO ARDEN TALENT: CAMRYN YULE TALENT: JENKIN VAN ZYL TALENT: NAN MTHEMBU TALENT: ALICE CORRIGAN TALENT: HUGO HAMLET

[emzeciorrr]

Samsung x Charles Jeffrey - Night mode from matilda finn on Vimeo.

DIRECTOR: MATILDA FINN DOP: BEN FORDESMAN EP: RUPERT REYNOLDS-MACLEAN PROD CO: BISCUIT FILMWORKS PRODUCER: SIMON EAKHURST PRODUCTION MANAGER: LUKE THORNTON DIRECTORS ASSISTANT: NELLIE HERON-ANSTEAD PRODUCTION CO-ORDINATOR: ROMA NESI PIO CHOREOGRAPHER: PIERRE BABBAGE AGENCY: MOTHER LONDON EDIT: STITCH EDITING EDIT PRODUCER: ANGELA HART EDITOR: LEO KING EDITOR ASSISTANT: LUKE ANDERSON POST PRODUCTION: TIME BASED ARTS POST PRODUCER: CHRIS ALIANO COLOURIST: SIMONE GRATAROLLA SOUND: MARK HILLS @ FACTORY MUSIC: WAX WINGS CAST CO-ORDINATOR: GABIJA LAUCE COVID-19 CO-ORDINATOR: CAMILLA MORRIS LOCATION MANAGER (SHOOTING UNIT): GEORGE VERDON-SMITH LOCATION ASSISTANT (DAYTIME PREP): NICK JAY 1ST ASSISTANT DIRECTOR: BEN GILL 2ND ASSISTANT DIRECTOR: CHRIS MEARS 3RD ASSISTANT DIRECTOR: KITTY RAJAKULASINGAM RUNNER: ALEX MCALLISTER RUNNER: KAI RAJAKULASINGAM RUNNER: TIGER BREWER PRODUCTION/AGENCY RUNNER: AYESHA ANDERSON FOCUS PULLER: ANDREW BRADLEY CLAPPER LOADER: ADAM GREEN CAMERA TRAINEE: CAROLINA DA COSTA KEY GRIP: DAVID HOLIDAY GRIP (TECH RECCE ONLY): DAN MORIARTY GRIP TRAINEE: WILLIAM MILES DIT: MIKE MCDUFFIE VIDEO PLAYBACK OPERATOR: CHAZ NORTHAM VIDEO PLAYBACK ASSISTANT: RAPHAEL BALOGUN CAMERA CAR DRIVER: ALISTER BUGGE DRONE PILOT: PETE AYRISS DRONE REMOTE HEAD OPERATOR: TOM ALDCROFT MOTION CONTROL OPERATOR: JUSTIN PENTECOST MOTION CONTROL ASSISTANT: STUART GALLOWAY SOUND RECORDIST: SAM MENDELSSOHN GAFFER: JONO YATES DESK OPERATOR: JOE BEARDSMORE ELECTRICIAN: ALEX GIBBONS ELECTRICIAN: ALEX MAGILL ELECTRICIAN: BEN SKYRME ELECTRICIAN: DAX SHARKEY GENNY OPERATOR: TONY BRUCE RIGGING GAFFER: MICHAEL SMIT RIGGING ELECTRICIAN: CHRISTIAN HAYES RIGGING ELECTRICIAN: JOHN MALANEY RIGGING ELECTRICIAN: NICK BRITT RIGGING GENNY OPERATOR: PAUL ROWE RIGGER: JAMES MALLOY RIGGER: MICHAEL LEE FROST TELEHANDLER OPERATOR: STEFANO ZIPPO PRODUCTION DESIGNER: DAN TAYLOR ASSISTANT ART DIRECTOR (DRESSING): LAUREN DIX ASSISTANT ART DIRECTOR (DRESSING): PHIL BROCKLEHURST STYLIST (DRESSING): FREYA HAAK ART DEPARTMENT RUNNER (DRESSING): ANNIKA BERTFIELD ART DEPARTMENT RUNNER (DRESSING): BEA DAVIDSON MASTER PROPS (DRESSING): PHIL SMITH PROPS (DRESSING): ANDREW BALCON PROPS (DRESSING): ANDREW MATTHEWS PROPS (DRESSING): DONNCHA ALBERT RAHILL MASTER PROPS STANDBY: JASON BRADLEY MASTER PROPS PRODUCT STANDBY: LEO TURNBALL CONSTRUCTION MANAGER: NICK DILWORTH CONSTRUCTION: CASEY CONCANNON CONSTRUCTION: EAMONN CONAGHAN CONSTRUCTION: GERT RADEMEYER CONSTRUCTION: GREG SIMPSON CONSTRUCTION: MATT AMOS CONSTRUCTION: RAMZI JABBUR CONSTRUCTION: THIBAULT MARTINEAU SFX SUPERVISOR: STEVE HUTCHINSON SFX TECHNICIAN: CHRIS GIBBS SFX TECHNICIAN: ED SMITH SFX TECHNICIAN: SAMUEL HUE-VASHON STYLIST: BEN SCHOFIELD STYLIST ASSISTANT: KIT SWANN STYLIST ASSISTANT: SCOTT CRUFT MAKE-UP ARTIST: PHOEBE WALTERS MAKE-UP ASSISTANT: CHANTAL AMARI MAKE-UP ASSISTANT: ESME HORN MAKE-UP ASSISTANT: NIC PASKAUSKAS HAIR ARTIST: CLAIRE MOORE HAIR ASSISTANT: ANNA JOHNSON HAIR ASSISTANT: ERIKA FREEDMAN HAIR ASSISTANT: KRESZEND SACKEY PROSTHETIC SUPERVISOR: VICTORIA MONEY PROSTHETIC ARTIST: ALEX HARPER PROSTHETIC ASSISTANT: DOMINIQUE BUTLER H&S OFFICER/COVID SUPERVISOR: DAVE WATKINS UNIT MEDIC: DAVID BROAD PREP MEDIC: JAI MASSEY IFA CO-ORDINATOR & MAIN TESTER: ALEX RALLS IFA TECHNICIAN: ALEX CAMPBELL IFA TECHNICIAN: DIVINE ZAKI IFA TECHNICIAN: MADJID KALE IFA TECHNICIAN: MARK SANDBERG IFA TECHNICIAN: ROXANNE MARTIN IFA TECHNICIAN: STUART WALKER IFA TECHNICIAN: ZYGI VOLOSINTAS ANIMAL HANDLER: DEAN CLARKE ANIMAL HANDLER: CERYS WILLIAMS ANIMAL HANDLER: DERRY WELLS ANIMAL HANDLER: LUCY SMITH VET: DR. AIDA FERREIRA VFX SUPERVISOR: OLLIE RAMSEY CATERING: PHIL WARD BARISTA: ALEX CUNNINGHAM MINIBUS 1: MARK RIGHELATO MINIBUS 2: LEE RIGHELATO MINIBUS 3: PAT O’LEARY PREP 4 X 4 DRIVER: ANTON WRIGHT UNIT 4 X 4 DRIVER: PETER JONES UNIT 4 X 4 DRIVER: SIMON PHIPPS FACILITIES: GARY MOORE FACILITIES: PAUL HADDOCK FACILITIES: WARREN SMART SECURITY: ALEX LANEY SECURITY: ANTHONY RICHARDS SECURITY: BARZAN MOHAMED SECURITY: JAMEL WOODFORD SECURITY: JOHN TURNER SECURITY: MARK EDWARDS SECURITY: COLLIN WILLSON SECURITY: GRAHAM DYER SECURITY: LEIGH FOXALL SECURITY: ALAN LANEY SECURITY: RICHARD JOHNSON WIRE SUPERVISOR: BOB SCHOFIELD WIRE TECHNICIAN: MAX SCHOFIELD ARTIST: CHARLI XCX ARTIST MANAGER: SAM PRINGLE ARTIST MAKE UP ARTIST: FRANCESCA BRAZZO ARTIST MAKE UP ASSISTANT: ALEJANDRO ORTIZ ARTIST HAIR ARTIST: PATRICK WILSON ARTIST HAIR ASSISTANT: CHARLES STANLEY ARTIST NAIL TECHNICIAN: MICHELLE HUMPHREY TALENT: CHARLIE BUCKLAND TALENT: TRACY BARGATE TALENT: NIAMH WOODS TALENT: CY FOXX TALENT: AUSSIE TALENT: YILING ZHAO TALENT: EDEN JODIE TALENT: JASON BATTERSBY TALENT: JOHN KAMAU TALENT: KIA LEE TALENT: ALEX MARGO ARDEN TALENT: CAMRYN YULE TALENT: JENKIN VAN ZYL TALENT: NAN MTHEMBU TALENT: ALICE CORRIGAN TALENT: HUGO HAMLET

[theghostofpyke]

RIP me for a) being able to recognise this screenshot as a tv tropes screenshot b) being able to deduce the term in question is "adaptational attractiveness" from this screenshot alone c) thus making me able to find the page which i do solely with the aim to check on that "source" d) the "source" in question being a link to a fanart of theon greyjoy by britt martin (to my knowledge not an official art?) e) which.................. hilariously depicts another brown-haired white guy who even kind of looks like alfie

offended on alfie allen’s behalf only guy putting his entire pussy into that show and bitches are on tv tropes calling him mid

[forbidden-sorcery]

Angel of Death by Britt Martin

[ashleyrowan]

[leguin]

by request, some of the most interesting articles/reviews/obituaries of 2021:

“all work and no play” by sam adler bell | dissent magazine

“honoring a water warrior: how harry williams fought for paiute water rights in owens valley” by jeanine pfeiffer | kcet

“shitty men du jour: france’s literary #metoo” by madison mainwaring | the baffler

“where does it end?” by samuel stein | the baffler

“‘the water is coming’: florida keys faces stark reality as the seas rise” by oliver milman | the guardian

review of kevin richard martin’s return to solaris by jared dix | the quietus

“understanding the horror of slavery is impossible. but a simple cotton sack can bring us closer.” by rebecca onion | slate

“kip kinkel is ready to speak” by jessica schulberg | huffington post

“the anti-trans lobby’s real agenda” by jules-gill peterson

“did james plymell need to die?” by leah sottile | high country news

“big and slow” by elisa gabbert | real life

“a world where george floyd and ma’khia bryant would still be here is a world without police” by mariame kaba and andrea j. ritchie | newsone

“between a rock and a god place: rural oregon’s war on the homeless” by theo witcomb | the baffler

“lost and unfounded: will kafka’s work survive the distorted representations made in his name?” by judith butler | jewish currents

“celebrate the good news of the crab“ by daniel lavery | the chatner

“’i’m taking back what’s mine‘: the many lives of thandiwe newton” by diana evans | vogue

“i have one of the most advanced prosthetic arms in the world - and i hate it” by britt h. young | input mag

“‘their spirits were trapped in those masks’“ by avi steinberg | topic

“gay stories for straight allies” by huw lemmy | utopian drivel

“the memory war” by katie heaney | the cut

“built trades” by andrew yamakawa elrod | phenomenal world

“the internet is rotting” by jonathan zittrain | the atlantic

“do no harm: the complex ethics of portraying suicide” by jess mcallen | the baffler

“how the personal computer broke the human body” by laine nooney | vice

“community service: inside the native tribe transforming justice” by abacki beck | bitchmedia

“when ‘foundation’ gets the blockbuster treatment, isaac asimov’s vision gets lost” by julian lucas | the new yorker

“gary bettman & the nhl are who we thought they were” by sean gentille | the athletic

“iohan gueorguiev, ‘bike wanderer’ of the wilderness, dies at 33″ by alex traub | the new york times

“the dying art of the blockbuster film trailer” by merryana salem | kill your darlings

“vanishing: a bond across centuries” by daniel hudon | the revelator

“loving lies” by bill adair | airmail

[ashleybravin]

I’ve been participating in the @sktchy “30 Faces / 30 Days - Pen and Pencil” challenge, so I thought I would share a few portraits from the first 15 days. What I like most about this challenge is that there are ten different instructors, so you get to experiment with different mediums and stylistic approaches to portraiture. Learning a lot, which is always a good. Portrait instructors (in order): Juan Perednik (@juanperednik), Tiffany S. Davanzo (@slaybaughstudios), Alvin Chong (@artofalvin), Kyle Legaspi (@kyle_theartist), Kirsten Britt (@kirsten_britt_mixedmediaartist), David Tenorio (@david_tenorio_art), Joan Martin (@joanmartin_artist), and Zak Rybaki accessibility: A collection of portraits made in pen and ink. #Art #Artworks #Artist #ArtistsOnInstagram #ArtistsOfInstagram #ArtDaily #DailyArt #Artsy #InstaArt #ArtistsofInstagram #ChronicallyIllArtist #DisabledArtist #Drawing #PenAndPencil #PenAndInk #Graphite #Ink #BallpointPen #Portrait #Portraiture #Sktchy #30Faces30Days (at Nashville, Tennessee) https://www.instagram.com/p/ChctYpfLrcQ/?igshid=NGJjMDIxMWI=

[andromedasummer]

Summer plz do the blorbo post for elder scrolls / skyrim if an entire franchise is too many to pick from, OR your fire emblems

LAURA ILY okay i will do both canon elder scrolls characters and also custom followers because... they tend to have more personality AND i will also do my beloved fire emblems

Elder Scrolls + Custom Followers:

blorbo (favorite character, character I think about the most)

Lucien Flavius okay hes just. Hes my dragonborns best friend. Her unrequited love. Her walking dictionary. The person that proves shes still capable of falling in love. The person and reflective of the world she wants to protect. The person she hopes shes friends with till the end of time. Hes important to her and hes important to ME.

scrunkly (my “baby”, character that gives me cuteness aggression, character that is So Shaped)

All of the kids characters but especially and specifically Sissel and Britte. Both girls are abused by their dad (with one girl taking it out on her sibling to cope) and its a tradition to use my thane pass kill him in every playthrough i do and adopt his kids. Have done so for the past 10 years of playing this game. They are my babies. I will raise them well.

scrimblo bimblo (underrated/underappreciated fave)

I really love all of the companions even though I hate the companions history. I feel like characters like Athis and Ria don't get enough love compared to more popular ones like the twins and Aela. Ria is like the nicest person to you when join! Shes still learning and likes hanging out with Vilkas! Shes nice! And Athis is the only elf unless you play an elf character. Which opens up a lot of cool dynamic stuff about his own experiences in the companions and how your presence could change things!

horse plinko (character I would torment for fun, for whatever reason)

Any of the shitty racist stormcloaks. Any of the shitty racist thalmor. Nebarra specifically in convoluted and irritating ways.

poor little meow meow (“problematic”/unpopular/controversial/otherwise pathetic fave)

Everyone is so MEAN (in a funny way) to Martin Septim yes hes weak monk white boy but have you considered when he died I was 13/14 and he was my HoK's best friend and the only part of the game i remember is him sacrificing himself for you and all of Tamriel and I cried so hard my parents wouldn't let me use the family computer afterwards??? Have you all considered that???

glup shitto (obscure fave, character that can appear in the background for 0.2 seconds and I won’t shut up about it for a week)

I love Brelenya and Onmund and J'zargo they got so fucked over by the college's insane shit happening. only students at the country's single academy for magic and we all only ever had one lesson truly the worst college experience <3

eeby deeby (character I would send to superhell)

Goodbye Ulfric you stupid shit. I'm taking over the Stormcloaks, wiping out the racist scapegoat-like moron opinions of it all and focusing on being anti-thalmor, anti-genocide and pro-immigration i am calling ALL peoples of skyrim to fight for its independence i am calling hammerfell to help and high rock to help i am uniting tamriel against the thalmor and i am make them die.

Fire Emblem:

blorbo (favorite character, character I think about the most)

ROBINROBINROBINROBIN shes my girl shes my oc shes mine fire emblem shes my girl shes been through so much I am writing a 75 part story about her I have word docs full of aus about her past i love her so much my friend commissioned art of her for my christmas present shes my sister my queen my everything

scrunkly (my “baby”, character that gives me cuteness aggression, character that is So Shaped)

i would kill for owain you all dont understand thats my fucking boy. adhd/autistic king of naming swords. extremely romantic and also a nerd. gone through so much but still so full of goodness and love and SO creative and articulate i'm so fucking mad they screwed up his romance in fates because the romance he has with the player character in awakening is uncomfortable i refuse to date the 2nd gen characters.

scrimblo bimblo (underrated/underappreciated fave)

you are all so ignore Frederick. literally enemies to lovers with robin but instys fucked it up. fantastic husband and father in awakening. hardworking dedicated man

horse plinko (character I would torment for fun, for whatever reason)

i think it would be funny to put ingrid in a jar and shake her till all the racism falls out. might take a while but i am good at causing hurt.

poor little meow meow (“problematic”/unpopular/controversial/otherwise pathetic fave)

edelgard was right minus the fascism. she had every right to destroy the church though and i would do it again. just.... maybe not put her in power next time. shes not really got the ability to consider many other peoples opinions. ironically too set in her ways.

glup shitto (obscure fave, character that can appear in the background for 0.2 seconds and I won’t shut up about it for a week)

Gatekeeper fucking obviously. That my boy.

eeby deeby (character I would send to superhell)

if youve been on call with me while talking about fire emblem you would know about the vicious hatred i hold in my heart for corrin and how weak of a fucking character they are. They actively make me mad the entirety of all 3 fates storylines with their shit decision making and flimsy ideals. i hate them with my entire life they can fuck of.

[thecreaturecodex]

Angel, Bene Ishim

Image © Green Ronin Press, by Britt Martin. Accessed at the Green Ronin Art Gallery here

[Commissioned by @thetygre​. Yes, this is an angel, not a devil, demon, tiefling, etc. Although the flavor text in The Avatar’s Handbook stresses their role in acting as spies behind fiendish ranks, both the commissioner and I pinged to the idea that these are a great way to explain the folkloric devil, where the Devil Himself shows up to get wrecked by some country bumpkin, child or Santa Claus. Of course that’s an angel doing PR work! To quote Thomas More, “the proud spirit cannot endure to be mocked”.

The name (but not the concept) appears to be derived from a genuine angel in Jewish traditions, but evidence online is spotty. The Wikipedia entry for ishim doesn’t cite a lot of sources, and the sources cited include the reliably unreliable Rosemary Ellen Guiley. An angel by that name did appear on Supernatural, though, for what it’s worth. I don’t think he had little horns or a high collar.

Edit: I seem to have misplaced the statistics. I was editing this in-frame a while, so maybe tumblr ate them, or maybe I just screwed up.]

Angel, Bene Ishim CR 7 NG Outsider (extraplanar) This figure looks to be the very spitting image of a fiend, with red skin, slick black hair, small horns and a goatee. He smirks evilly and winks, drawing his cape with a flourish.

Although they are sometimes called “fallen angels”, bene ishim are nothing of the sort. Instead, they are angels that assume the guise of fiends in order to either infiltrate their holdings or teach mortals about fiendish weaknesses. Many folkloric tales of devils losing fiddle contests, giving information when having their three golden hairs plucked, or being generally outwitted by children are in fact the work of bene ishim. They tirelessly work in the mortal realm to spread propaganda that evil creatures are untrustworthy, foolish and beatable by common folk. Some even enter regular relationships with a given town or country, appearing at festivals or holidays in order to be “defeated” to raise morale and teach valuable lessons. They delight in appearing to people leaning towards evil deeds, either enticing them to channel their temptation in more productive ways or if that fails, ensuring that their actions are both futile in causing harm and notable enough to result in rehabilitation.

In the lower planes, bene ishim have a second, related mission; to defuse the plans of evil through sabotage and theft. Bene ishim locate powerful evil items to steal, research and destroy, turn members of a fiendish army against each other, and generally attempt to focus the attention of evil on itself rather than on good or the mortal world. Even if they are caught out, their magical powers can force devils or demons to fight their allies instead of the bene ishim. Between this and their ability to blend into shadows, few bene ishim remain in combat long, preferring to slip away while enemies are distracted with each other.

A bene ishim is a shapechanger, able to disguise itself as either a mortal or a fiend as its mission requires. They usually take fiendish forms that fit its overall humanoid size and build, such as bearded devils, hydrodaemons or succubi. Their natural form resembles a tiefling or cambion to sufficient degree that they usually try to pass themselves off as one of these creatures if they know fiends with true seeing (such as erinyes) lie between them and their goal.

Bene Ishim   CR 7 XP 3,200 NG Medium outsider (angel, extraplanar, good, shapechanger) Init +8; Senses darkvision 60 ft., low-light vision, Perception +12 Defense AC 21, touch 14, flat-footed 17 (+4 Dex, +7 natural); +4 deflection vs. evil hp 68 (8d10+24) Fort +5, Ref +10, Ref +11; +4 vs. poison, +4 resistance vs. evil DR 5/evil; Immune acid, cold, petrifaction; Resist electricity 10, fire 10; SR 18 Defensive Abilities alter alignment, personal protective aura, shadow blend Offense Speed 30 ft. Melee masterwork trident +12/+7 (1d8+4) or 2 claws +11 (1d4+3) Special Attacks redirect blows, sneak attack +1d6 Spell-like Abilities CL 8th, concentration +11 At will—align weapon, detect evil, detect magic, invisibility (self only) 3/day—greater teleport (self plus 50 lbs. objects only), locate object, obscure object, sending 1/day—confusion (DC 17), crushing despair (DC 17), good hope, plane shift (self only) Statistics Str 17, Dex 19, Con 16, Int 17, Wis 16, Cha 16 Base Atk +8; CMB +11; CMD 25 Feats Alertness, Combat Reflexes, Improved Initiative, Iron Will Skills Bluff +18, Diplomacy +9, Disguise +18, Escape Artist +13, Knowledge (arcana) +9, Knowledge (planes) +12, Perception +12, Sense Motive +18, Sleight of Hand +13, Spellcraft +9, Stealth +13, Use Magic Device +18; Racial Modifiers +6 Bluff, +6 Disguise, +6 Sense Motive, +6 Use Magic Device Languages Abyssal, Celestial, Common, Draconic, Infernal SQ change shape (humanoid or evil outsider, polymorph), fiendish guise Ecology Environment any land or underground (Nirvana or evil plane) Organization solitary, pair or cell (3-6) Treasure double standard (masterwork trident, other treasure) Special Abilities Alter Alignment (Su) A bene ishim can choose the strength and alignment of its aura as a standard action. Any creature trying to detect its aura must succeed a DC 17 Will save or read it as the angel’s chosen aura instead. The save DC is Charisma based. Fiendish Guise (Su) A bene ishim can use its change shape ability to take the form of Tiny, Small, Medium or Large evil outsiders. It does not gain any of their abilities unless those abilities can be assumed by the spell polymorph. Personal Protective Aura (Su) A bene ishim gains a +4 deflection bonus to Armor Class and a +4 resistance bonus to saving throws against attacks and effects made by evil creatures. Treat this as a double strength protection from evil effect. Redirect Blows (Su) As an immediate action, a bene ishim can force a creature attempting to attack it to succeed a DC 17 Will save or instead attack the nearest evil outsider. If no evil outsider is in reach of the enemy’s attack, it instead injures itself, dealing 1d8 points of damage plus its Strength modifier. This is a mind-influencing compulsion effect. Shadow Blend (Su) In any condition of illumination other than full daylight, a bene ishim disappears into the shadows, giving it concealment (50% miss chance). Artificial illumination, even a light or continual flame spell, does not negate this ability; a daylight spell, however, does. A bene ishim can suspend or resume this ability as a free action.

[cloudeddemonthoughts]

Art by Britt Martin

[citylightsbooks]

City Lights Bookstore’s Antiracist Reading List | UPDATED

Human creativity is integral to revolutionary resistance—the urgent plea, the silenced cry, the righteous rage. It is imperative that we educate and illuminate ourselves to deepen our commitment to justice and equity for Black people and all people of color, and to pave the way for radical systemic change.

***

Of Poetry and Protest: From Emmett Til to Trayvon Martin Edited by Philip Cushway and Michael Warr 9780393352733        Norton    Have Black Lives Ever Mattered? Mumia Abu-Jamal  9780872867383       City Lights  Invisible Man Ralph Ellison  9780679732761       Vintage A Black Women's History of the United States Daina Ramey Berry and Kali N. Gross   9780807033555  Beacon         W.E.B. Dubois' Data Portraits: Visualizing Black America   The W.E.B. Du Bois Center at the University of Massachusetts     Edited by Britt Rusert and Whitney Battle-Baptiste  9781616897062        Princeton Architectural Press Race Man: Selected Works 1960-2015 Julian Bond Edited by Michael G. Long  9780872867949 City Lights       Hood Feminism: Notes from the Women That a Movement Forgot  Mikki Kendall   9780525560548       Viking The Warmth of Other Suns: The Epic Story of America's Great Migration  Isabel Wilkerson  9780679763888       Random House

The Echo Tree: The Collected Short Fiction of Henry Dumas Henry Dumas 9781566891493   Coffee House Everywhere You Don't Belong: A Novel Gabrielle Bump   9781616208790 Algonquin  The Meaning of Freedom and Other Difficult Dialogues Angela Y. Davis Foreword by Robin D.G. Kelley 9780872865808   City Lights   

No Fascist USA!: The John Brown Anti-Klan Committee and Lessons for Today’s Movements Hillary Moore and James Tracy Foreword by Robin D.G. Kelley 9780872867963   City Lights The New Jim Crow: Mass Incarceration in the Age of Colorblindness Michelle Alexander   9781620971932 The New Press Emergent Strategy: Shaping Change, Changing Worlds adrienne maree brown 9781849352604   AK  Black Skin, White Masks Frantz Fanon   Translated from the French by Richard Philcox 9780802143006  Grove The Wretched of the Earth Frantz Fanon Translated from the French by Richard Philcox Commentary by Jean-Paul Sartre and Homi K. Bhabha 9780802141323  Grove Citizen: An American Lyric Claudia Rankine 9781555976903   Graywolf  How to Be An Antiracist Ibram X. Kendi 9780525509288   One World The Fire Next Time James Baldwin 9780679744726 Random House No Name in the Street James Baldwin 9780307275929   Vintage How To Be Less Stupid About Race: On Racism, White Supremacy, and the Racial Divide Crystal Marie Fleming   9780807039847 Beacon The History of White People Nell Irvin Painter 9780393339741   Norton       Heaven Is All Goodbyes: City Lights Pocket Poet Series No. 61 Tongo Eisen-Martin 9780872867451 City Lights Afropessimism Frank WIlderson III 9781631496141     Liveright If They Come in the Morning . . . : Voices of Resistance Edited by Angela Y. Davis  9781784787691       Verso So You Want to Talk About Race Ijeoma Olua  9781580058827       Seal  Troublemaker for Justice: The Story of Bayard Ruskin, the Man Behind the March on Washington Jacqueline Houtman, Walter Naegle, and Michael G. Long  9780872867659       City Lights  We Are Not Yet Equal: Understanding Our Racial Divide  Carol Anderson with Tonya Bolden  Foreword by Nic Stone 9781547602520       Bloomsbury Stamped: Racism, Antiracism, and You - A Remix of the National Book Award-Winning Stamped from the Beginning  Jason Reynolds and Ibram X. Kendi 9780316453691       Little, Brown Woke: A Young Poet's Call to Justice  Mahogany L. Browne with Elizabeth Acevedo and Olivia Gatwood Illustrated by Theodore Taylor III Foreword by Jason Reynolds 9781250311207        Roaring Brook  Betty Before X Ilyasah Shabazz with Renée Watson  9780374306106       FSG Clifford's Blues John A. Williams  9781566890809       Coffee House  Native Son RIchard Wright  9780061148507  Harper Perennial Training School for Negro Girls Camille Acker  9781936932375       Feminist Press They Can't Kill Us Until They Kill Us: Essays Hanif Abdurraqib  9781937512651       Two Dollar Radio Just Mercy: A Story of Justice and Redemption  Bryan Stevenson  9780812984965       One World    The Source of Self-Regard: Selected Essays, Speeches, and Meditations  Toni Morrison  9780525562795       Vintage Oreo Fran Ross  9780811223225       New Directions Sister Outsider: Essays and Speeches  Audre Lorde  Foreword by Cheryl Clarke 9781580911863        Crossing Press Ghost Boys Jewell Parker Rhodes  9780316262262       Little, Brown Monument: Poems New and Selected  Natasha Trethewey  9780358118237  Mariner  The Sword and the Shield: The Revolutionary Lives of Malcolm X and Martin Luther King Jr. Peniel E. Joseph 9781541617865 Basic Dear White People Justin Simien Illustrated by Ian O’Phelan 97814769809 37 Ink Black Panther: The Revolutionary Art of Emory Douglas Edited by Sam Durant Preface by Bobby Seale Foreword by Danny Glover 9780847841899 Rizzoli Power to the People: The World of the Black Panthers Stephan Shames and Bobby Seale 9781419722400 Harry N. Abrams Press In the Break: The Aesthetics of the Black Radical Tradition Fred Moten 9780816641000 University of Minnesota Press The Known World: A Novel Edward P. Jones 9780061159176 Amistad Counternarratives: Stories and Novellas John Keene 9780811225526 New Directions Beloved: A Novel Toni Morrison 9781400033416 Vintage The Bluest Eye: A Novel Toni Morrison 9780307278449 Vintage Playing in the Dark: Whiteness and the Literary Imagination Toni Morrison Vintage 9780679745426 Mumbo Jumbo Ishmael Reed 9780684824772 Scribner Our Nig: Or, Sketches from the Life of a Free Black Harriet E. Wilson Edited with an introduction by Henry Louis Gates Jr. and Richard J. Ellis 9780307477453 Vintage Burn This Book: Notes on Literature and Engagement Edited by Toni Morrison 9780061774010 Harper I’m Not Dying with You Tonight Gilly Segal and Kimberly Jones Sourcebooks Fire 9781492678892 The End of Policing Alex S. Vitale 9781784782924 Verso The Crisis of the Negro Intellectual: A Historical Analysis of the Failure of Black Leadership Harold Cruse 9781590171356 NYRB Classics How Capitalism Underdeveloped Black America: Problems in Race, Political Economy, and Society Manning Marable 9781608465118 Haymarket From #BlackLivesMatter to Black Liberation Keeanga-Yamahtta Taylor 9781608465620 Haymarket Still Black, Still Strong: Survivors of the War Against Black Revolutionaries Dhoruba Bin Wahad, Assata Shakur, and Mumia Abu-Jamal 9780936756745 Semiotext(e) Frederick Douglass: Prophet of Freedom David W. Blight 9781416590323 Simon & Schuster Parting the Waters : America in the King Years 1954-63 Taylor Branch 9780671687427 Simon & Schuster Pillar of Fire: America in the King Years 1963-65 Taylor Branch 9780684848099 Simon & Schuster At Canaan's Edge: America in the King Years, 1965-68 Taylor Branch 9780684857138  Simon & Schuster A Taste of Power: A Black Woman's Story Elaine Brown 9780385471077 Anchor Angela Davis: An Autobiography Angela Y. Davis 9780717806676 International Publishers Co.   My Bondage and My Freedom Frederick Douglass 9780140439182 Penguin  Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself: A New Critical Edition  Frederick Douglass and Angela Y. Davis 9780872865273 City Lights Black Reconstruction in America, 1860-1880 W.E.B. Du Bois 9780684856575 Free Press

[aion-rsa]

Fear Street Part 3: 1666 Ending Explained

https://ift.tt/3etXAqp

This article contains Fear Street Part Three: 1666 spoilers.

It never could be as simple as reuniting an ancient skeleton’s hand with its wrist, right? That became obvious last week when the Fear Street trilogy’s ostensible heroine Deena Johnson (Kiana Madeira) attempted to break the curse of Sarah Fier by attaching all missing appendages in the alleged witch’s grave… only to be warped to Shadyside’s early days in 1666.

Now in Fear Street Part Three: 1666, we’ve learned the full unholy breadth of Shadyside’s curse, as well as their sister township Sunnyvale’s good fortune—and it’s dark. Involving a perversion of all that is good(e), the curse that has taken so many beloved characters over the centuries turned out to be more twisted than perhaps anyone expected… but not for Sarah Fier, a victim of superstition and misogynistic zealotry. And in the end, Sarah got the last blood-curdling laugh. Here’s how.

Goode Men, Wicked Slaves

For all those who became suspicious last week of the recurring Goode family, your paranoia has been vindicated: that cop really is the Devil. Or at least he’s in service of the Dark One.

By traveling to 1666, Deena was able to walk around in Sarah Fier’s shoes and get a taste firsthand of what it’s like to be wrongfully accused of witchcraft by a Puritanical community (even if she inaccurately later describes them to be Pilgrims). As it turns out, Sarah was not a witch; she was merely the young woman who’s secret love for Hannah Miller (Olivia Scott Welch) caused a spurned suitor named Solomon Goode (Ashley Zukerman) to take umbrage. And as it so happens, Solomon was the one actually dabbling in the dark arts….

Aye, it was Solomon Goode who spilled his blood on Satan’s stone, beginning the process of offering “one name” and soul for demonic corruption in turn for good fortune for the Family Goode. When Sarah rejects his offer to join his unholy bargain with Black Phillip—and more vexingly takes offense over his severing her hand—Goode accuses Sarah for the black magic that’s bewitched Shadyside: the curse which caused a murderous minister to blind children!

Sarah hangs, but not before offering a curse of her own: She will get back at Goode one day and reverse his damnable curse. In the meantime—and at a cost of more than 300 years of functional blood sacrifices—Goode and his family profit from their deal with Old Nick. From father to son, the mainline of the Goode family tree teaches the dark ways to each successive generation, who every decade or so offers a new name and a new soul. The person selected for damnation then goes on a killing spree, spilling blood that the Devil apparently feeds on. Beelzebub in turn grants the Goode family and their Sunnyvale town ongoing prosperity. Hence why by 1994, Nick Goode (also Zukerman) is a corrupt police sheriff and his brother Matthew Goode is the mayor of Sunnyvale.

Meanwhile, Shadyside persists in squalor until….

Magic Blood?

The most satisfying twist of Fear Street Part Three is that halfway through, it becomes Fear Street: 1994 Part 2! To be honest the accents in the 1666 portion of the film were a little dicey, as was the, uh, lack of Puritanism in a film set amongst Puritans. So best to go back to the era of flannel and overalls!

When Deena returns to the ‘90s, she realizes that Sheriff Goode has offered the soul of her girlfriend Sam Fraser (also Welch) to the Devil so she’d kill Deena and keep the secrets of Sarah Fier’s shallow grave buried. And since they have Sam locked up at Ziggy’s house, that means all the Goode family’s damned minions are soon going to be after them. But our heroes come up with a pretty nifty plan.

Thanks to how they saw Shadyside’s collection of nightmares pursue Sam in Fear Street Part 1, Deena and her brother Josh (Benjamin Flores Jr.) deduce that the ghouls will be strictly after Deena’s blood—which low-key makes me wonder how the monsters have such genetic precision to distinguish Deena’s DNA from that of her brother’s. In any event, they team up with adult Ziggy (Gillian Jacobs) and Martin (Darrell Britt-Gibson) by offering the movie-stealing line of the night:

Josh: Wanna help us kill Sheriff Goode?

Martin: Let me get my coat.

The plan for getting it done is also initially pretty solid. They sneak into the Shadyside mall after hours—which just so happens to be built on the site of the Camp Nightwing massacre, which in turn is above where the Goode family’s Satan’s stone is buried beneath the earth—and have Deena cut her hand, dripping blood into a bucket. Then by combining that blood with green paint, they’re able to create cursed blood trails throughout the mall, with each trail leading into a different department store. When four of Deena’s pursuant boogeymen show up, our Scooby gang locks the monsters into their department stores and waits for Sheriff Goode to arrive and inspect the remains of his handiwork. Instead of mangled bodies, he finds his teenage crush Ziggy, now ready to dump blood on his head like Carrie references never went out of style.

It’s an elaborate plan which was built on the idea of unleashing all the ghouls intended to kill Deena on their own master. However, it might’ve just been simpler to shoot him. Oh well. 

This final flourish of course goes horribly wrong but at least we get the fun sequence where the hapless heroes figure out they can delay the monsters by spraying each in Deena’s green blood, allowing for proxy fights between pseudo-Jason Voorhees and pseudo-Ghostface.

All Goode Things Come to an End

The actual resolution to this centuries-long terror turns out to be pretty simple. Deena follows Goode beneath the mall and to the Satan’s stone, as well as the literal unholy beating heart of the Goode family’s power. While she fails at stabbing the much bigger evil copper, she at least succeeds at running a knife through his power’s beating heart. It’s apparently as easy as that to undo the curse. It also allows the vengeful spirit of Sarah Fier to return from the dead and finally stab a Goode boy in the eye, sending him to Hell and Shadyside’s curse with him.

The plot’s mechanics are simple, but the implications are much more interesting. Because who else follows Nick and Deena toward the mouth of Hell but Sam, still possessed and now conveniently free of her restraints. She also attempts to thwart Deena and nearly kills her, yet Deena is able to make simple eye contact with her one great love and break through, shattering Satan’s grip.

It’s intriguing since, technically, we’ve seen Goode’s curse divide lovers before, with Tommy Slater (McCabe Slye) in Fear Street Part Two: 1978 not even hesitating to swing his axe into girlfriend Cindy’s heart. But then Deena and Sam’s love is strongly hinted at as being of a greater emotional purity. After all, Sam is clearly a descendant of Hannah Miller, the young woman whom Sarah Fier loved and saved from the noose by insisting that she alone was the witch of Shadyside, even bewitching poor Hannah into impure thoughts.

Are Deena and Sam the reincarnations of Sarah and Hannah? It’s possible, if even on a spiritual level since Sarah doesn’t appear to have any direct descendants. In any case, unlike so many slasher movies released between the 1970s and ‘90s, a lesbian romance is prominently featured at the center of this story, and is even the one redemptive light in Shadyside’s darkness.

Read more

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It also makes a striking juxtaposition next to Nick Goode’s dead body. This man might have been the current beneficiary of his ancestor’s bargain, but he represents something grimmer: the predatory nature of a society’s affluent feeding off the suffering and annual tragedies of their community’s underclasses. Sunnyvale flourished as a home for the wealthy while Shadyside wallowed in blood and trauma.

Kind of cuts deep the longer you think about it.

So… Who Took the Spell Book?

Of course this wouldn’t be an old school horror movie if it didn’t set up a sequel. Fear Street Part Three definitely offers resolution for its current narrative: Nick Goode is dead and exposed in the press as the Sunnyvale serial killer; Josh, meanwhile, may yet have his first girlfriend; and Deena and Sam are together, honoring Sarah Fier, if no one else will.

But beneath the reopened Shadyside Mall, we glimpse the book of black magic that Solomon Goode first used to make his pact, and a pair of hands belonging to an unseen face snatch it. Who stole the book and what are they up to?

Well, it’s worth noting that the Goode family has grown quite a bit in the 300-plus years since Solomon Goode accused Sarah Fier of witchery. Nick Goode appears to be the eldest son in the direct line. He’s the one taught the spells onscreen, and the boy who reads out Thomas Slater’s name—ironically in a bid to wrestle him away from Ziggy. However, just because Nick Goode is the one who damned Tommy and Ryan Torres in the last two Fear Street movies, it does not mean he was working alone.

Despite what Mayor Goode told the press about his brother, he almost certainly knew about his father and forefathers’ good work, as would the rest of the extended family. And here’s the thing…it will be so much harder next time for Deena (or, say, a new generation of millennial Shadysiders in the 2000s) to fight city hall. There’s also the likelihood that there’s more than one curse in that book of spells.

The Fear Street trilogy is over. The Fear Street shared universe may have only just begun. 

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[watusichris]

You Oughta “Get Carter”

Another old Night Flight piece, tied to a Turner Classic Movies airing, about a movie I never tire of watching. (Unfortunately, the Krays film “Legend” turned out to be not so good.) ********** The English gangster movie has proven an enduring genre to this day. The 1971 picture that jumpstarted the long-lived cycle, Get Carter, Mike Hodges’ bracing, brutal tale of a mobster’s revenge, screens late Thursday on TCM as part of a day-long tribute to Michael Caine, who stars as the film’s titular anti-hero.

We won’t have to wait long for the next high-profile Brit-mob saga: October will see the premiere of Brian Helgeland’s Legend, a new feature starring Tom Hardy (Mad Max: Fury Road, The Dark Knight Rises, Locke) in a tour de force dual role as Ronnie and Reggie Kray, the legendarily murderous identical twin gangleaders who terrorized London in the ‘60s. The violent exploits of the Krays mesmerized Fleet Street’s journalists and the British populace until the brothers and most of the top members of their “firm” were arrested in 1968.

The siblings both died in prison after receiving life sentences. They’ve been the subjects of several English TV documentaries and a 1990 feature starring Martin and Gary Kemp of Spandau Ballet. However, the Krays and their seamy milieu may have had their greatest impact in fictional form, via the durable figure of Jack Carter, the creation of a shy, alcoholic graphic artist, animator, and fiction writer named Ted Lewis, the man now recognized by many as “the father of British noir.”

Born in 1940 in a Manchester suburb, Lewis was raised in the small town of Barton-upon-Humber in the dank English midlands. A sickly child, he became engrossed with art, the movies, and writing. The product of an English art school in nearby Hull, he wrote his first, unsuccessful novel, a semi-autobiographical piece of “kitchen sink” realism called All the Way Home and All the Night Through, in 1965.

He soon moved sideways into movie animation, serving as clean-up supervisor on George Dunning’s Beatles feature Yellow Submarine (1968). However, now married with a couple of children, he decided to return to writing with an eye to crafting a commercial hit, and in 1970 he published a startling, ultra-hardboiled novel titled Jack’s Return Home.

British fiction had never produced anything quite like the book’s protagonist Jack Carter. He is the enforcer for a pair of London gangsters, Gerald and Les Fletcher, who bear more than a passing resemblance to the Krays. At the outset of the book, recounted in the first person, Carter travels by train to an unnamed city in the British midlands (modeled after the city of Scunthorpe near Lewis’ hometown) to bury his brother Frank, who has died in an alleged drunk driving accident.

Carter instantly susses that his brother was murdered, and he sets about sorting out a hierarchy of low-end midlands criminals (all of whom he knew in his early days as a budding hoodlum) responsible for the crime, investigating the act with a gun in his hand and a heart filled with hate. He’s no Sam Spade or Phillip Marlowe bound by a moral code – in fact, he once bedded Frank’s wife, and is now sleeping with his boss Gerald’s spouse. He’s a sociopathic career criminal and professional killer – a “villain,” in the English term -- who will use any means at his disposal to secure his revenge.

Carter’s pursuit of rough justice for his brother, and for a despoiled niece, attracts the attention of the Fletchers, whose business relationships with the Northern mob are being disrupted by their lieutenant’s campaign of vengeance. As Carter leaves behind a trail of corpses and homes in on the last of his quarry, the hunter has become the hunted, and Jack’s Return Home climaxes with scenes of bloodletting worthy of a Jacobean tragedy, or of Grand Guignol.

Before its publication, Lewis’ grimy, violent book attracted the attention of Michael Klinger, who had produced Roman Polanski’s stunning ‘60s features Repulsion and Cul-de-Sac. Klinger acquired film rights to the novel before its publication in 1970, and sent a galley copy to Mike Hodges, then a U.K. TV director with no feature credits.

Hodges, who immediately signed on as director and screenwriter of Klinger’s feature – which was retitled Get Carter -- was not only drawn to the taut, fierce action, but also by the opportunity to peel away the veneer of propriety that still lingered in British society and culture. As he noted in his 2000 commentary for the U.S. DVD release of the film, “You cannot deny that [in England], like anywhere else, corruption is endemic.”

Casting was key to the potential box office prospects of the feature, and Klinger and Hodges’ masterstroke was securing Michael Caine to play Jack Carter. By 1970, Caine had become an international star, portraying spy novelist Len Deighton’s agent Harry Palmer in three pictures and garnering raves as the eponymous philanderer in Alfie.

Caine had himself known some hard cases in his London neighborhood; in his own DVD commentary, he says that his dead-eyed, terrifyingly reserved Carter was “an amalgam of people I grew up with – I’d known them all my life.” Hodges notes of Caine’s Carter, “There’s a ruthlessness about him, and I would have been foolish not to use it to the advantage of the film.”

Playing what he knew, Caine gave the performance of a lifetime – a study in steely cool, punctuated by sudden outbursts of unfettered fury. The actor summarizes his character on the DVD: “Here was a dastardly man coming as the savior of a lady’s honor. It’s the knight saving the damsel in distress, except this knight is not a very noble or gallant one. It’s the villain as hero.”

The supporting players were cast with equal skill. Ian Hendry, who was originally considered for the role of Carter, ultimately portrayed the hit man’s principal nemesis and target Eric Paice. Caine and Hendry’s first faceoff in the film, an economical conversation at a local racetrack, seethes with unfeigned tension and unease – Caine was wary of Hendry, whose deep alcoholism made the production a difficult one, while Hendry was jealous of the leading man’s greater success.

For Northern mob kingpin Cyril Kinnear, Hodges recruited John Osborne, then best known in Great Britain as the writer of the hugely successfully 1956 play Look Back in Anger, Laurence Olivier’s screen and stage triumph The Entertainer, and Tony Richardson’s period comedy Tom Jones, for which he won an Oscar for best adapted screenplay. Osborne, a skilled actor before he found fame as a writer, brings subdued, purring menace to the part.

Though her part was far smaller than those of such other supporting actresses as Geraldine Moffat, Rosemarie Dunham, and Dorothy White, Brit sex bomb Britt Ekland received third billing as Anna, Gerald Fletcher’s wife and Carter’s mistress. Her marquee prominence is somewhat justified by an eye-popping sequence in which she engages in a few minutes of steamy phone sex with Caine.

Some small roles were populated by real British villains. George Sewell, who plays the Fletchers’ minion Con McCarty, was a familiar of the Krays’ older brother Charlie, and introduced the elder mobster to Carry On comedy series actress Barbara Windsor, who subsequently married another member of the Kray firm. John Bindon, who appears briefly as the younger Fletcher sibling, was a hood and racketeer who later stood trial for murder; a notorious womanizer, he romanced Princess Margaret, whose clandestine relationship with Bindon later became a key plot turn in the 2008 Jason Strathan gangster vehicle The Bank Job.

Verisimilitude was everything for Hodges, who shot nearly all of the film on grimly realistic locations in Newcastle, the down-at-the-heel coal-mining town on England’s northeastern coast. The director vibrantly employs interiors of the city’s seedy pubs, rooming houses, nightclubs and betting parlors. In one inspired bit of local color, he uses an appearance by a local girl’s marching band, the Pelaw Hussars, to drolly enliven a scene in which a nude, shotgun-toting Carter backs down the Fletchers’ gunmen.

The film’s relentless action was perfectly framed by director of photography Wolfgang Suchitzky, whose experience as a cameraman for documentarian Paul Rotha is put to excellent use. Some sequences are masterfully shot with available light; the movie’s most brutal murder plays out at night by a car’s headlights. The breathtakingly staged final showdown between Carter and Paice is shot under lowering skies against the grey backdrop of a North Sea coal slag dump.

Tough, uncompromising, and utterly unprecedented in English cinema, Get Carter was a hit in the U.K. It fared poorly in the U.S., where its distributor Metro-Goldwyn-Mayer dumped it on the market as the lower half of a double bill with the Frank Sinatra Western spoof Dirty Dingus Magee. In his DVD commentary, Caine notes that it was only after Ted Turner acquired MGM’s catalog and broadcast the film on his cable networks that the movie developed a cult audience in the States.

Get Carter has received two American remakes. The first, George Armitage’s oft-risible 1972 blaxploitation adaptation Hit Man, starred Bernie Casey as Carter’s African-American counterpart Tyrone Tackett. It is notable for a spectacularly undraped appearance by Pam Grier, whose character meets a hilarious demise that is somewhat spoiled by the picture’s amusing trailer. (Casey and Keenan Ivory Wayans later lampooned the film in the 1988 blaxploitation parody I’m Gonna Git You Sucka.)

Hodges’ film was drearily Americanized and relocated to Seattle in Stephen Kay’s like-titled 2000 Sylvester Stallone vehicle. It’s a sluggish, misbegotten venture, about which the less that is said the better. Michael Caine’s presence in the cast as villain Cliff Brumby (played in the original by Brian Mosley) only serves to remind viewers that they are watching a vastly inferior rendering of a classic.

Ted Lewis wrote seven more novels after Jack’s Return Home, and returned to Jack Carter for two prequels. The first of them, Jack Carter’s Law (1970), an almost equally intense installment in which Carter ferrets out a “grass” – an informer – in the Fletchers’ organization, is a deep passage through the London underworld of the ‘60s, full of warring gangsters and venal, dishonest coppers.

The final episode in the trilogy, Jack Carter and the Mafia Pigeon (1977), was a sad swan song for British noir’s most memorable bad man. In it, Carter travels to the Mediterranean island of Majorca on a Fletchers-funded “holiday,” only to discover that he has actually been dispatched to guard a jittery American mobster hiding out at the gang’s villa. It’s a flabby, obvious, and needlessly discursive book; Lewis’ exhaustion is apparent in his desperate re-use of a plot point central to the action of the first Carter novel.

Curiously, the locale and setup of Mafia Pigeon appear to be derived from Pulp, the 1975 film that reunited director Hodges and actor Caine. In it, the actor plays a writer of sleazy paperback thrillers who travels to the Mediterranean isle of Malta to pen the memoirs of Preston Gilbert (Mickey Rooney), a Hollywood actor with gangland connections. Hilarity and mayhem ensue.

All of Lewis’ characters consume enough alcohol to put down an elephant, and Lewis himself succumbed to alcoholism in 1982, at the age of 42. Virtually unemployable, he had moved back home to Barton-upon-Humber, where lived with his parents.

He went out with a bang, however: In 1980, he published his final and finest book, the truly explosive mob thriller GBH (the British abbreviation for “grievous bodily harm”). The novel focuses on the last days of vice lord George Fowler, a sadist in the grand Krays manner, whose empire is being toppled by internal treachery. Using a unique time-shifting structure that darts back and forth between “the smoke” (London) and “the sea” (Fowler’s oceanside hideout), it reaches a finale of infernal, hallucinatory intensity.

After Lewis’ death, his work fell into obscurity, and his novels were unavailable in America for decades. Happily, Soho Press reissued the Carter trilogy in paperback in 2014 and republished GBH in hardback earlier this year. Now U.S. readers have the opportunity to read the books that influenced an entire school of English noir writers, including such Lewis disciples and venerators as Derek Raymond, David Peace, and Jake Arnott.

Echoes of GBH can be heard in The Long Good Friday, another esteemed English gangster film starring Bob Hoskins as the arrogant and impetuous chief of a collapsing London firm. Released the same year as Lewis’ last novel, the John Mackenzie-directed feature is only one of a succession of outstanding movies – The Limey, The Hit, Layer Cake, Sexy Beast, and Lock, Stock and Two Smoking Barrels among them – that owe a debt to Get Carter, the daddy of them all.

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Globe, April 6

Cover: Prince Harry and Meghan Markle beg Queen Elizabeth to let them come home because they were wrong 

Page 2: Up Front & Personal -- Jennifer Garner, Katy Perry carrying a pillow through an Australian airport, Gerard Butler carries the 2020 Olympic flame to Sparta 

Page 3: Joaquin Phoenix steps out barefoot after a Beverly Hills karate class, Corbin Bernsen, Kendall Jenner hops a fence in West Hollywood 

Page 4: Ellen DeGeneres is locked in a fierce war with upstart chatterbox Kelly Clarkson who has vowed to unseat the catty comic as TV’s talk show queen bee 

Page 5: Wonder Woman hunk Lyle Waggoner took a shocking secret to his grave -- he hated the TV series about the Amazon superhero who made him famous because he resented that his character Gen. Steve Trevor constantly had to be rescued by star Lynda Carter on the original ‘70s series, fans of Modern Family have been clobbered with a double emotional blow -- the hit sitcom has wrapped its final season and the show’s beloved pooch Stella has passed away, David Bowie plunged into a steamy year-long affair with sultry former Harlem madame Laurita Watson and it was OK with then-wife Angela

Page 6: Cover Story -- Desperate Prince Harry and Meghan Markle realize they made a mistake and beg Queen Elizabeth to take them back 

Page 8: Coronvirus home remedies and herbs 

Page 10: Malia Obama’s fiance Rory Farquharson was caught on camera cuddling another girl and the wedding is off -- the breakup comes as a relief to President Barack Obama who was alarmed over Malia’s nonstop partying 

Page 11: With the shooting of his final James Bond film wrapped up Daniel Craig and wife Rachel Weisz are considering baby no. 2 and it’s brought them closer together, a sicko Ariana Grande superfan made it past security on the grounds of her L.A. mansion to bring a love note right to the singer’s door and then spat on the brave cops who came to arrest him 

Page 12: Celebrity Buzz -- Jon Voight, Brandi Glanville dated both Matt LeBlanc and David Schimmer before marrying ex-husband Eddie Cibrian in 2001, Hoda Kotb has a problem with perspiration so Today show’s wardrobe wizards are warding off unsightly sweat stains with a water repellent used to keep rain off tents when camping, Steven Weber ate a potent cannabis-infused cupcake at Sarah Silverman’s and ended up high as a kite and possibly had a long conversation with Joaquin Phoenix, Dakota Johnson’s eclectic Hollywood home is a one-of-a-kind showstopper two doors down from Jimmy Kimmel

Page 13: Katie Holmes after a workout class in NYC, Andrew Garfield gets a makeup touch-up on the set of Tick Tick...Boom, Christina Aguilera, Aaron Carter got a facial tattoo with the first name of new girlfriend Melanie Martin

Page 14: Scott Foley is set to headline new Fox pilot The Big Leap, Jesse Tyler Ferguson took art pieces from the set of Modern Family, Fashion Verdict -- Keira Knightley 4/10, Michelle Rodriguez 3/10, Greta Gerwig 1/10, Eiza Gonzalez 9/10 

Page 16: On a therapy tape Amber Heard admits she smashed Johnny Depp so hard with a door that she knocked him to the ground and then socking him in the jaw -- Depp’s lawyers played the tape at Amber’s deposition for the $50 million slander suit he filed against her 

Page 17: Johnny Depp’s former flames Winona Ryder and Vanessa Paradis have come out swinging in his nasty domestic violence suit against ex Amber Heard

Page 19: 10 Things You Don’t Know About Carey Mulligan, Chrissy Teigen thinks her enhanced boobs have gone bust after motherhood but she fears going under the knife again could kill her, MTV beauty Britt McHenry has confirmed her secret battle with a brain tumor after her condition was leaked 

Page 20: True Crime 

Page 24: Coronavirus rocks Tinseltown royalty -- Heidi Klum fell ill during a taping of America’s Got Talent sparking fears for her health amid the coronavirus crisis and notorious germophobe Howie Mandel was spotted in a full hazmat suit, after a frightening five days being hospitalized with the coronavirus in Australia Tom Hanks and wife Rita Wilson showed their wacky and serious sides as they completed their quarantine in a rented home, Kelly Ripa made an awkward joke about the virus terror sweeping America by starring in a wacky episode about her serious medical problem -- wrinkles 

Page 25: Pandemic panic stuns Today show, frazzled mom-of-five Tori Spelling freaked out when the coronavirus scare caused a run on toilet paper and stores ran out, George Clooney’s tone-deaf sister-in-law Tala Alamuddin is facing serious blowback for hawking fashion face masks that do nothing to protect frightened people from the coronavirus 

Page 26: Orlando Bloom swore off sex for 6 months before meeting Katy Perry 

Page 36: Health Report 

Page 44: Straight Talk -- The Bachelor bosses destroy lives and get rich doing it 

Page 45: Al Pacino’s crumbling physical state and deepening mental funk are so alarming his relatives and friends are planning an intervention in a desperate bid to keep him alive, Teresa Giudice has not only dumped her husband Joe Giudice she’s dumping on him by blabbing that he doesn’t turn her on anymore 

Page 47: Hollywood Flashback, Bizarre But True