#as well as the brief hypnosis scene in the original film

[arwenkenobi48]

I am losing my mind over this clip from a Finnish stage production of Robin Hood because they seriously upped Prince John’s cuteness factor

When Robin and Little John rob him while disguised as fortune tellers, they just straight up hypnotise him and steal all his stuff once he’s asleep 😂

See for yourself:

Plus I love how Sir Hiss is depicted as a little green sock puppet, he’s too fucking cute 🥰🥰

[warehouse13pod]

Show Notes 103 "Magnetism"

Agents, you are getting sleepy… Very sleepy…

Click play on the player above to listen to this week’s episode while you read, if you so choose.

Wow! We covered so much this week! Where to start… Where to start…

Well, first of all, we had a lovely Warehouse Agent from our Patreon page where people can be Patrons for our show (Hey, did I mention we have a Patreon) introduce us!

This week’s Warehouse Agent was a representative from Emp-RSS.com, an online presence dedicated to empowering women to find their voice and providing mentors for young women entering the workforce. I can’t think of a Patron more appropriate to Myka’s arc this episode.

So, the first thing we had questions about was what all the jurisdictions were for the Secret Service, CIA, FBI, and NSA. I linked the answers above, They’re pretty dry, BUT—

The interesting thing I found—as a person who is decidedly NOT a law enforcement agent or a lawyer—is that basically the Secret Service’s jurisdiction is basically whatever protects presidents, vice presidents, former presidents and their spouses and children. Unlike other agencies that have geologically defined jurisdictions, the Secret Service’s jurisdiction seems pretty vague. I can definitely see how that could be exploited by the Warehouse. Pete and Myka are technically protecting those people but also protecting, like, literally everyone else in the world. LOL.

The episode opened with Pete and Myka in France taking the blade of the guillotine that took the life (and head!) of Marie Antoinette. Want to know more about Marie Antoinette and her grizzly end? Boy, oh boy do the History Chicks have you covered! They have an amazingly detailed and informative two part episode dedicated to her fascinating life—there was much more to her than a beheading and a misquote about some cake (Part 1, Part 2). The link to each part links to the audio for each episode as well as the show notes for each respective section. Don’t worry about the fact that the episode is called a “reboot.” You’re not missing something. The first episode of the History Chicks ever recorded was about Marie Antoinette, and it was very poor audio quality. They deleted the original file, re-recorded the episode, and included new information the second time around—hence, reboot.

Still not enough Marie? Don’t worry! There’s more! On the History Chicks’ side podcast, The Recappery, they recap the 2006 film, Marie Antoinette. That episode is also a two-parter (Part 1, Part 2).

There are so many emotional moments in Marie Antoinette’s life that could have led to the creation of artifacts. The History Chicks cover those and anything else you want to know, too! They did a series of Biography Channel mini-documentaries on famous historical women. Three(!) of them focused on Marie Antoinette: a general one about her life, one about the scandalous but rarely discussed affair of the diamond necklace, and one about her small house called the Petit Trianon on the grounds of Versailles.

Moving on, we talked about the famous Mission Impossible scene that Pete was attempting to imitate with perhaps, ahem, a tad less grace. This is the image we were talking about:

Miranda brilliantly discussed the importance of Affect Theory to the Warehouse and its artifacts. Here’s a very brief overview about that.

Miranda made a reference to the purple goo shower that Artie inflicted on Myka and Pete being like slime. For those who didn’t grow up watching the American television network, Nickelodeon, here’s what you need to know about getting slimed. It was a huge thing when we were growing up. On kid/family game shows on Nick (the affectionate slang name for Nickelodeon Network), contestants who lost or got a wrong answer or who won a prize were punished/rewarded with being slimed—i.e. having green goo rained down upon you from above. Why were punishments and rewards both related to slime??? 1) Because it’s always funny to see adults have copious amounts of green goop poured onto adults heads. 2) It supposedly tasted like vanilla pudding!

To this day, adults attending or presenting at the Kids Choice Awards (presented by Nick) should be wary…anybody can be slimed.

We also mentioned that Myka and Jill share a love of True Religion flap-pocket jeans. Here’s what those are.

We talked about the collaborative involvement between M.C. Escher, Nikola Tesla, and Thomas Edison in the early days of the Warehouse.

Tesla and Edison didn’t like each other very much. And the internet is full of links that can fill you in as to why. I wouldn’t even know where to start. So, instead, please enjoy this rap battle between Tesla and Edison from the legendary Epic Rap Battles of History YouTube channel. (I can’t speak for Miranda, but I am totally #TeamTesla).

We also went into a little more detail on M.C. Escher. In particular, we discussed his art works, Relativity and Drawing Hands.

We also discussed his vital contributions to science and to mathematics (Math Link 1, Math Link 2).

Jill also talked about how much second-hand embarrassment she felt when Myka started talking about how much she hated men to Father Braid. Here’s actual footage of Jillian watching that scene.

That scene and earlier discussions of Myka’s feminist rage led to a discussion about the Bechdel Test. The test is a huge part of feminist theory, media studies, and film studies. And, honestly, it’s a super low bar that you’d be astounded how few pieces of media even reach. Want to see if your favorite movie passes the test? Click here! There’s actually a film festival dedicated to celebrating films that pass the test. The theory is not without its critics, however. Many people think that the bar of the Bechdel Test is not high enough and we need to expect more of female representation in media than their mere existence in scenes together and the absence of discussions about men. I’m inclined to agree that we should expect more, but I also think that the Bechdel Test is still a great way to assess if a piece of media is able to do a basic job of representing women on screen. Interested in the criticism? There’s an op-ed from The Washington Post and The Verge that might pique your interest.

When discussing magnetism, with Jill and with our incredible and intelligent guest, Kameron Sanzo, Miranda mentioned her (not really) favorite song (LOL). Here’s that song that asks the ever important question, “Fuckin’ Magnets. How do they work?!”

If you’re actually interested, this is how magnets work.

Anyway…

Other things Miranda discussed with our guest, Kameron Sanzo, include animal magnetism and mesmerism as well as hypnosis. Some cursory information about the founder of Mesmerism, Anton Mesmer, can be found here. A fun exploration of mesmerism can be found in the eleventh episode of the Audible original podcast, Stephen Fry’s Victorian Secrets, which has been linked before in a previous episode’s show notes, because of its relevance to Spiritualism. You can purchase the podcast from Amazon or with an Audible subscription.

Of course, this episode would not be complete without addressing the creator of this week’s artifact, James Braid. There was some discussion of the similarities and differences between hypnosis and mesmerism especially before and after the development of the scientific method.

Now, I’m not a doctor.

(And yes, I know that fans of Brooklyn Nine-Nine and Parks and Recreation just said “Not a doctor” in the voice from the end credits. Don’t worry, Internet. I’ve provided a clip of that for you, also)

Now that we’ve got that out of the way…

I’m not a doctor and don’t want to seem like I know too much about the evolution and modern usage of hypnosis/hypnotherapy in a medical sense. But what I can say is that—while mesmerism is widely understood by scientists to not be a real thing—hypnotherapy is actually still quite relevant to modern medicine. Its origin may share the outlandish nature of mesmerism. However, there is apparently a difference between traditional and modern hypnosis. There is also a difference between hypnosis and hypnotherapy. The Mayo Clinic goes into more detail on the topic as does Psychology Today.

Kameron Sanzo also compared mesmerism and hypnosis with Reiki. Here’s a couple links that provide more information on what Reiki is (Link 1, Link 2).

Finally, we also discussed the use of filmic language and angles and how they can induce feelings of fear and anxiety. No one was better at this than Alfred Hitchcock. Here’s some information on the filmic language he created (high-angle shots, other techniques).

Now, let’s delve into some ~Heavy Themes~

We gave a shout-out to Eddie McClintock to celebrate his 18 years of sobriety! A monumental achievement!

Addiction is a serious issue and if the themes covered in this episode of the podcast or show regarding addiction affected you in any way and you need or want help, here are some links that may provide what you’re looking for.

For substance abuse, please consult Alcoholics Anonymous or Narcotics Anonymous. If you are a loved one of someone who struggles with alcoholism, there are resources for you, too! Please check out Al-Anon—not to be confused with Alcoholics Anonymous.

The episode also with issues of suicide, abuse, and gun violence. Please, please reach out if you are struggling with trauma or mental wellness as a result of abuse, mental illness, or any other reason.

Some resources that may help (where possible, phone numbers are listed beside links to resources in case your web usage is monitored and you don’t feel safe clicking links):

The Suicide Prevention Lifeline: 1-800-273-8255

The Substance Abuse and Mental Health Services Administration: 1-800-622-HELP (1-800-622-4357)

For LGBTQIA+ listeners who are struggling, here is a whole list of resources.

The Domestic Violence Hotline: 1-800-799-7233

Finally, if you are non-verbal or are deaf/hard of hearing/unable to use a phone for any reason: THERE ARE STILL RESOURCES FOR YOU!!!!

Please, don’t give up hope.

Check out the Crisis Text Line: Text HOME to 741741 

We love you. Stay safe, Agents.

[doomonfilm]

Screenings : Donnie Darko (2001) [Theatrical Cut]

I remember one night, after band practice or a show, me and my usual group of film-loving friends sat down to hang out, and someone suggested that we watch Donnie Darko, the film they’d just rented.  Assuming it was some weird, silly teenage superhero movie, we threw it on.  About 2 hours later, we were all forever changed.  I thought that, due to it’s limited initial run and its cult status on DVD, I’d never get the chance to see Donnie Darko on the big screen, but when it comes to Alamo Drafthouse screenings, anything is possible.

Teenager Donnie Darko (Jake Gyllenhaal), a young man with a history of anxiety and issues, is awakened by a mysterious voice one night.  Upon following the voice, he meets Frank (James Duval), a mysterious man in a disturbing rabbit outfit and mask who tells Donnie that the world will end soon... in 28 days, 6 hours, 42 minutes and 12 seconds, to be exact.  Donnie immediately blacks out, and is woken up on a local golf course.  Upon returning home, Donnie is shocked to discover that a jet engine of unknown origin, according to his sister Elizabeth (Maggie Gyllenhall), crashed through the Darko roof, directly where Donnie would have been sleeping.  As Donnie attempts to move forward with this information, his visions become more vivid and disturbing, leading to a diagnosis of paranoid schizophrenia by therapist Dr. Thurman (Katharine Ross).  As Donnie’s visions of Frank increase, he is given information that seemingly connects to his real life, including a discussion with Dr. Kenneth Monnitoff (Noah Wyle) about time travel and predetermination that almost crosses lines, a friendship with schoolmate Gretchen Ross (Jena Malone) that buds into a relationship, and encounters with motivational speaker Jim Cunningham (Patrick Swayze) that lead to news nobody could possibly prepare for.  As the countdown that Donnie was given approaches its end, the frequency, urgency and importance of events that take place pull Donnie and everyone around him into a paradoxical climax of circumstances and happenings that skew existence beyond normal understanding.

As mentioned in the opening, Donnie Darko holds court with films like Requiem for a Dream (or mother!, for that matter), Dancer in the Dark, and a handful of others as wholly immersive film experiences of the 2000s.  It is extremely hard to view Donnie Darko without some period of deep reflection or realization, sometimes one that lasts for days.  Despite having such a complex narrative, the outer framework of the film is completely engaging and accessible.  The 1980s period touches provided are subtle, but authentic, on both a visual and a soundtrack level.  Within that combination of complex narrative and period look are tons of easter eggs for viewers to find, some that will only be recognized or make sense upon repeat viewings, and many that you may not spot until providing time between viewings.

The circular nature of the narrative is extremely interesting... the combination of time travel and a countdown to the supposed ‘end of the world’ puts me in the mind of someone stuck in a time loop that resembles a prison, with certain actions having to take place in order to fulfill their role in the loop (the ‘traveling within God’s channel’ that Donnie speaks of).  With that in mind, the logical dilemma that is presented in the film’s closing moments is that much harder to piece together, as the characters now regret/reflect on a past that is technically an alternate version of their future.  You’re very much left to feel like Samantha trying to piece together where the jet engine came from, or who Donnie was talking to when she walked by the bathroom.  That deep path is also paralleled with the equally complex narratives of a love story between Donnie and Gretchen, and a coming of age story for the troubled Donnie as he goes through his own skewed version of the hero’s journey.

On a technical level, this film stands up to the immense writing and acting talent.  There are plenty of traditional camera set-ups, but for a few scenes, some expressive camerawork is employed : long tracking shots, speed ramps and rigs that raise or rotate the camera are all used to punctuate key moments.  Most of the special effects are subtle enough to feel real and blend into the world, with my only objection being the slightly cartoonish nature of Donnie’s chest spear morphing into a finger and beckoning him to follow.  The soundtrack on both the theatrical version and the Director’s cut fit quite well, a strange anomaly considering that drastically different song choices are made in a few scenes, and both choices tend to work well across the board.  As mentioned before, the film is set in the 1980s, and the pop culture references integrated into the film work quite well.  

The cast is deep, and the chemistry runs strong across the board between characters.  This was my true introduction to Jake Gyllenhaal, and his performance made me a fan for life (as well as putting Maggie on my radar, with her brief but charming appearance).  Mary McDonnell and her strain in trying to present a perfect household balances well against Holmes Osborne and his laissez faire attitude.  Katharine Ross brings genuine concern with her role, and plays with fire once or twice via hypnosis.  James Duval gives a hauntingly still performance as Frank, making his human reveal that much more heartbreaking.  Jena Malone is stellar as usual, with that trademark smirk she carries around like she knows secrets we have no clue of.  Drew Barrymore and Noah Wyle turn in memorable performances as beacons of hope in a bleak situation.  Patrick Swayze provides a character with a tremendous fall from grace, giving us the stuff we love with a depth that crushes in one of his final performances.  This cast, in all honesty, is DEEP, but performances by Beth Grant, Jolene Purdy, Patience Cleveland, Alex Greenwald, Seth Rogen and more keep this world rich and engaging. 

Truth be told, Donnie Darko is one of the best films to come out in my lifetime.  It’s one of those gifts that keeps on giving... creates more questions than answers... and I wouldn’t have it any other way.

[tornrose24]

Captain Underpants is the living personification of the friendship between George and Harold (part 2- reflections on the film.)

WILL CONTAIN MAJOR SPOILERS for the film so read at your own risk. It explores the events of the film as well as provide a look into both personas of the same person. Go back to part one if you want to know more about this study in the following link:

https://tornrose24.tumblr.com/post/161139186922/captain-underpants-is-the-living-personification

OR click the keep reading tab if you have seen the film.

....Well, wow. In some ways the film proved my study right and in some ways it challenged it. Its funny, I’m tempted to say that Captain Underpants inherited George’s confidence as well as Harold’s love for cute things. He might as well have been like an overgrown little brother to the both of them, but its also clear that he’s still technically Krupp if he was more confident and took a level in kindness. Though half the time its always easy to keep forgetting that he’s actually someone under hypnosis. Anyway, lets take a look at the film….

The film starts right on George and Harold covering the story behind their creation in his origin comic, which demonstrates the collaboration within their friendship/putting their talents together and showing their creativity. I also found it interesting that the voice we hear for Captain Underpants in the 2D animation of the comic was Ed Helms instead of either Kevin or Thomas and I wonder if that hinted at something. Was that the voice the two imagined for him or was it to foreshadow what was to come? Yet already we see that Captain Underpants keeps the two together and symbolizes their friendship. He’s the creation that they take the most pride in, as they mention a little later on. But it leads right to Mr. Krupp’s introduction and what does he do? HE RIPS THEIR COMIC UP! It PERFECTLY symbolizes and foreshadows that he will soon try to separate the two boys in addition to already setting himself up as everything George and Harold is against. Remember how I said one persona tries to separate them, but the other brings them together in the first part? Its immediately demonstrated even before the actual Captain Underpants character shows up! (On a side note, since that ripping up the comic thing happened to Pilkey in his youth... was it ok to make him relive that in that? I hope he was ok with it). And, wow, way to cause Harold so much stress and give us that imagine spot after giving him and George their punishment Krupp (jerk face). Even after he tells them his punishment and is out of sight, he still feels like an ominous force against them and it terrifies Harold who doesn’t want to be alone. I understood that Krupp was technically doing his job-some teachers need to separate students in class so that they can get their work done if they can’t keep themselves in check and something like this would have to be under extreme circumstances-but he’s so eager over the idea of destroying a good friendship between those two boys. Its really something that he shouldn’t enjoy doing, but why? Of course it later becomes an extreme case of irony when they come to an important realization about Krupp, but we’ll get to that later. Because karma is NOT kind to Krupp and he gets a very ironic yet very fitting punishment for his cruelty towards the boys and his students. It was a little different in the book, but in this case I would say he completely brought it upon himself. Yet there is something much more going on here and it goes much deeper. Something is not what it seems in the first quarter of the film, but I’ll also get to that later. In retaliation for Krupp’s actions, George hypnotizes him but it is the two boys together who agree to make him become their prized creation in a perfect collaboration that reflects how they operate. George usually comes up with the ideas and Harold brings them to life and when they make the fateful command they are in perfect synchronization. The product of their friendship takes over the man who was so opposite in every way and he comes to life, stands with confidence, and lets out a glorious ‘TRA-LA-LAAAAAA!’ And after they take in what they have done with such awe and disbelief, they have a good laugh over it.Yet in the world of Captain Underpants, irony is still as strange towards the boys as it has been for Krupp when things get out of hand.... When Captain Underpants decides to seek out trouble, the boys are forced to go after him and it starts a chain of them trying to look out for him and keep him out of trouble as if he were a younger brother or a student, thus forcing a role reversal between them and the man he used to be. Still they work together to keep him safe and hey they got an adventure out of it too (operating that crane and driving it for one thing). Also its noteworthy that CU was very quick to be drawn towards them after his ‘birth’.... almost like an imprinting sort of thing. And when I think of it, the boys could have done something much worse to him before he became CU or even left him on his own to meet an unfortunate demise and yet they didn’t. They are both well meaning and good at heart and that all also lived in CU. I thought CU’s interactions with the boys were sweet and there were times were it was easy to think of him as an accomplice in the things that happened at the school. If they did something, he would go along with it, including the funniest rendition of ‘Hallelujah’ I’ve ever heard (and thank the stars they were able to get Ed Helms to sing for even a brief moment). Honestly, if he was their age he would have made a great addition to their team. He was so much like a kid and it was sweet that he wanted to help the boys make the other students happy, but of course it went out of hand really fast. CU was limited by how much George and Harold put into him as a character in their stories and was of course a reflection of the minds of two fourth graders as opposed to a more careful adult. Sadly the chaotic side had to be with the good counterpart while the only one who had order had to be the mean counterpart. And that really is such a blow because those boys were not only juggling a ticking bomb in the form of a kind man who could easily turn back into their principal up to that point, but CU unintentionally helped Krupp separate the two as they long feared. CU WANTED to bring them all together in his own way but his naivety and lack of caution became his undoing as much as it had been for the boys. The climax was pretty interesting to observe to because it was really reflected that George and Harold were the true protagonists of the story and for half of it they had to do a lot of figurative fighting in order to save the day, though all it took was for them to be true to themselves and overcome the power of that ray. Yet beforehand they used CU as a distraction since that was all he seemed to be good for to them at the time. For that one moment they took him for granted but when it seemed like he was doomed, they were horrified for him. It was kind of a nasty hint at what was about to happen to them in nearly losing their sense of humor–they almost lost him and in turn they almost lost themselves. It’s not until George and Harold’s friendship is able to overcome... whatever that ray thing was called again, I don’t remember... anyway, its fitting that after that they both are in trouble in a place they can’t easily escape from on their own, they call out for help. And this call for help (not just from his creators but his friends) awakened CU and caused him to ingest that green stuff that caused him to the exact super powers that the boys created for him and come to their aid when they truly needed it. Both George and Harold really did save the day though their friendship and their creativity. And everything they were was gifted into one being who worked alongside them, even when he could have gotten them out of there and tried to take on the bad guy by himself when he finally got those powers. Instead all three worked together–the creators and the creation. The final treehouse scene was really good, but when I think back on it, it made me realize that both personas and the events of the film worked on a way that lead to the boys realizing that no matter what would happen they would always be friends and that something like being placed in different classrooms can’t change that. It’s a moment that makes them wiser and a little more mature. Yet it’s this acceptance that leads to them deciding that they need to make amends/fix their mistakes and destroy the hypno ring to erase their living fantasy they created together and bring back a man who represents the reality that they must face, but they will do so with newly gained wisdom and maturity. I admit I wondered if something would happen like this in the film, though it turned out differently (I was expecting a sad but heartwarming good bye hug, darnit!). CU did bring them together, but he also unintentionally helped them learn that friendship can truly last forever and can not be destroyed if the bond is too strong, even if you ever seem so far away from each other. And as corny as it sounds, I think they knew he wouldn’t be gone forever because in a way he would be as everlasting as their friendship.

Now let’s look at the force that threatened to force the two away and why I personally think he is far more interesting than his book counterpart. Even if Krupp was trying to keep the two apart and wanted to suppress their creativity, he was unintentionally strengthening it when they resolved to make their classmates be happy and laugh at their comics and pranks. But why on earth would this man take so much joy in separating these two when it turns out he is alone without any friends of his own? And yeah I know he has relatives in the books but it’s so much different here.  Was this the ‘spreading the bitterness’ that Helms hinted at in one interview? Its easy to see him as the mean principal as a child, but when you look at him with an older mind then you realize that something has to have gone wrong for him to be like that and never change. I think he was so keen on destroying that friendship because he never had it and maybe he might have been jealous but I could be reading too much into that last bit. One moment that stood out for me was when Krupp finally signed the documents without anyone to stop him and was of course ecstatic about it... but then he sees the casserole Edith made and he quickly just died out and looked so depressed. Did he realize that he just condemned the boys to a fate much similar to his own? That he destroyed something similar to what he possibly wanted more than anything no matter how much he might deny it? Something that he unknowingly had with the last couple of people he would have wanted it from? Were the boys at least able to achieve something he possibly never had that he still doesn’t have the confidence to reach for? Or did he realize just how hollow this ‘victory’ actually was when he himself didn’t have the thing he sought to destroy? That has to be one figurative slap in the face for him and maybe more so than the irony and karma that haunted him the moment he destroyed the comic and solidified his status as the cruel principal. Its so mind blowing that DreamWorks Animation took this character with little hope of redemption in his source material (nor was he seemingly deserving to have the affections of anyone who could have chosen someone better) and was able to look carefully at him and give him a vulnerability and humanity. The way they showed his house, looking so battered and hostile on the outside, yet so dark and isolated within (complete with not so cheerful blue tones similar to those within the school, yet much more darker) was a great way to reflect and convey who he was to George and Harold as well as the audiences. The books were aimed at children and yet these people took a long look and realized that so much more could be done with him. So now it all ties into the last few scenes of the film in which the man who separates now becomes the man who binds. When George and Harold realize that perhaps the reason CU could be so nice was because he had friends and Krupp was the opposite because he was alone, they work together to set him up with Edith in their own way through ‘the prank for good.’ And its through this collaboration together that they not only help bring genuine happiness in Krupp’s life, but it leads to him starting to be a little nicer in turn by returning the comics to the boys... and revealing that he DID read them AND he enjoyed them, though in a way someone might try to regard a guilty pleasure. This is important because, in proving the favorite fan theory correct, this means that the power of George and Harold’s friendship and creativity was shown to Krupp through those comics and they were good enough that he enjoyed them as much as he would never admit it. They unknowingly gave him something to make his life a little brighter, which also meant that the living embodiment of their friendship was placed within Krupp and was also waiting to find the goodness that was suppressed to help lead him to his own happiness and for him to hopefully become a better person. The man Krupp could have been no longer has to be a sad illusion, but perhaps he can now be able to work towards becoming like that man. The greatest irony of it all is that the creation of George and Harold that Krupp was so against at the beginning was how the boys were able to see that he was alone and that he did have the potential to be good. It’s why I like the movie more than the books because it allows children to try to see adults in a different light and acts upon Pilkey’s notes that adults would find it harder to look within to reflect and change themselves over just yelling at the world. I should also add that it is super crucial that educators need to be aware of the interests and hobbies of their students in order to encourage them and help them succeed. And while the book version of Krupp fails so horribly at that, the movie version was finally able to open up and recognize the talents of George and Harold and tell them that what they made was actually pretty good. In doing so it could improve all three of their futures and those who attend the school, as well as an understanding of one another for the better. And I should point out that CU also helped both Krupp and Edith out in the romance area. Especially with Edith because he was open, kind, and gave a sweet compliment towards her, which seemed to help her become a little more confident. I think it was cute that CU also seemed to like Edith very much since he was still technically Krupp, but with his confidence at the front. I know he didn’t seem so keen on romance in the books, but if CU was momentarily rendered speechless and took in Edith’s fully exposed face with such awe then it suggests how much of the original personality is able to come through and keep CU alive like a real person instead of him just being someone under a trance. I DO want to know what the heck Edith saw in Krupp to begin with. Did she get to see a glimmer of the goodness that was suppressed before the events of the film? I can think of other literary characters who could have been far worser crushes, but that aside everything about the relationship is super adorable. (And I’d love to gush about it some day).

So... what is the takeaway from the film? Friendship and creativity have more power then we think and we are truly blessed if we have them in our lives in some way or another. George and Harold were able to cause change for positivity, bring humor and light in others lives as well as for each other, stop a mad man by being themselves, see the pain within their greatest antagonist and bring him joy (and hopefully help him become a better person) and it was all thanks to their greatest creation who embodied their ideals and the best within them, as well as the idea that compassion and having some much needed optimism can lead to a better world. But of course, the boys could not get rid of Captain Underpants forever and it was fitting that he came to their aid once again in the finale. (And on a side note, it looks like Edith is in for one heck of an interesting love life, but its one that she’s apparently open to). And thus the movie ends with the boys and their creation that they are trying to hold onto for safety/make sure they don’t lose him once again as silhouettes against a full moon in a parody of the silhouette of the bat-mobile against a full moon in the 1989 Batman. The final image being a perfect summary of a series of stories that challenges so much while entertaining generations of readers who can bond over them while they all have something within them that makes them unique or is waiting to come out.

[wilma-flintstones-mother]

Viveca Lindfors as the hospitalized catatonic Nurse X, possessed by the spirit of the Gemini killer James Venemin (Brad Dourif) and hell-bent on removing the head of Lt. Kinderman (George C. Scott)’s daughter Julie (Sherrie Wills) right in front of him, in a typically bizarre and intense moment from writer/director William Peter Blatty’s incredible, surprising EXORCIST III (1990), never as well-received nor fondly remembered as it clearly deserved to be.  The film, which simply and correctly should have been released as LEGION (just as the source novel had been called) suffered right out the gate from unduly interference by the film’s producers (Morgan Creek), who insisted upon the title being EXORCIST III, which, though the story follows the characters of Kinderman (played by Lee J. Cobb in film one) and his buddy Father Dyer (Ed Flanders), initially acquainted during the events of the first film, this story’s timeline occurs many years later, though problematically right from the get-go there is a distinctly noticeable absence of and only much later on do we get even one very brief mentioning of the name Regan MacNeil, as if simply to harken us back to the fact that... yeah... this IS supposed to be a sequel, right??  Oddly enough EXORCIST III suffers from a very similar set of problems and thematic weaknesses as it’s immediate predecessor, John Boorman’s EXORCIST II THE HERETIC (1977) had wrought (although for completely different reasons) as neither film managed to successfully function as a direct proper sequel to the original, both Boorman and Blatty seemingly tripping over their feet to avoid any direct and obvious correlation to the tone, pacing and intensity of the original story’s possession and subsequent exorcism of it’s sympathetic 12 year old heroin/victim ; Boorman’s HERETIC laughably concocts a story involving psychoanalysis, Catholic guilt, transference, schizophrenia, hypnosis, demonology, premonition and somehow or other, evil spirits sharing the wings of flying locusts in equatorial Africa, whereas Blatty’s more character-specific reference is no more than a casual continuation just so happening to include the characters of Kinderman and Dyer as well as a barrage of melancholic remembrances of one late, lamented Father Damien Karras (Jason Miller) who figures rather prominently a bit late into the film (even though the repeated thrust of the piece is undoubtedly related to someone’s (?!?) memory of falling down a very long flight of steps.....)   Blatty’s more direct (but still almost totally removed) sequel to his own original work, simply lacks a much-needed prefacing narrative letting us off the hook from our projecting too imaginatively our own conclusive aspirations concerning what a proper, successful sequel to THE EXORCIST would look, act and play out like in our own imaginings... the third film never secures a proper degree of separation from it’s own source, which I’m sure would have made the film more accessible had such a device been put into play, providing the piece with a decorum of individualistic anonymity which would have further distanced it from the obviously foreseeable pitfalls one might expect of many filmgoers expectations over the prospect of a continuation of the first film’s situations, characters and... well, frankly,  just a lot more of those crazy, shocking and unnerving possessed-by-the-devil scenes so incredibly well delivered by it’s blockbuster, game-changing cinematic older sibling.   Still, especially if viewed with an open-mind and no over-riding thoughts, memories or imagery from THE EXORCIST clouding your mind at the time, viewing EXORCIST III should not fail to entertain nor disappoint and it remains a quietly effective and creepy faith-questioning police procedural of a little horror film even some thirty years later.