#billy and phoebe: commentary

[shipcestuous]

have you heard about the thundermans spinoff? max and phoebe go undercover in a new town with chloe, who they are going to “raise” together ??? after the sequel movie didn’t give much max/phoebe shipping content, I can’t believe we’re getting a spinoff like this…they really said how do we give them a child without giving them a child

WHAT

I had no idea.

Here's a news article about it I just found. It says the movie did really well, viewing-numbers wise.

I've got such a soft spot for Billy and Nora that I can't help but be a little disappointed they're not going to be in it as regulars, but Max/Phoebe essentially raising Chloe is delightful.

I didn't do a review of the movie because I didn't have much to say. It was family-focused with no love interests, which I really appreciated, and Max and Phoebe were still living at home, so that was all great in a general way, but there weren't any specific moments I wanted to comment on.

I was disappointed to see Billy and Nora excited to go to high school and make new friends, since they had always been inseparable, but it all blew up in their faces, so that was OK, and it was great to see them get to interact at an older age. But the movie didn't really carry forward their dynamic from the show. Oh well.

Not having to keep their powers a secret really changes some of what was so fundamentally shippy about the sibling relationships.

Let's just hope love interests in the new show will pass as quickly, if not more so, than they did in the first run.

I do have a photoset in my drafts from the movie, which I will post now in honor of the news.

Thanks, Anon!

[bisluthq]

Lol if you think Taylor did what she did with Olivia because she's just a cutthroat business bitch who wanted her coin because Olivia said she got the idea to shout in a bridge from Cruel Summer. She came for Olivia because Olivia's success when Sour finally came out bothered her and Taylor wanted to dress her down. People forget that Deja Vu had been out as a single for almost 2 months before Taylor asked for credit. They asked for credit at the end of May the same insider who knew the credit situation was happening before it was officially done in July literally said this at the time. It was after Olivia's album was released and was a massive success, critically acclaimed in a way that was just huge and had a lot of people realizing that she wasn't just a flash in the pan girl having a little moment with Drivers License that Taylor changed her tune. And that's also what Olivia's cowriter literally said himself, that people 'get funny' about things when something becomes a big success. Taylor is insecure, she's not warm to young female artists who get too close to her own combined mainstream commercial success + critical acclaim + prestige personal female songwriter + Grammy wins. Listen to Clara Bow. Sabrina, Gracie, Phoebe et al will never bother her in the same way because Sabrina isn't a serious songwriter, Gracie is mediocre and Phoebe is indie. Girls like Olivia and now also Billie who have major, major success in a way that is very close to Taylor's young success (Billie even has the Oscars that Taylor has thirsted after for years) are basically the girl at the end of Clara Bow, who can be the next 'her' but with 'edge'.

but to me the very fact that she only did it when Olivia was big *is* what makes her a cutthroat bitch rather than a nasty bully? That’s the part I think we fundamentally disagree on. It would be extremely rude to go get your money from a random girl who’s releasing little SoundCloud songs or little TikTok songs lmao because 1) genuinely not much money to get there at all so like a cash grab is uncalled for 2) absolutely not a business threat.

As you rightly point out, Olivia was fast becoming one. And she had done so while punting her connection to Taylor. That obviously bothered Taylor lol.

Again, on male artists - I am certain Postie bothers Ed. Evidence: Postie is very much going for Ed’s vibe as a nice guy who writes across a few genres, is a very fucking serious chart performer, and has major critical success. Interestingly, while Ed loves to collab with people (more so than Taylor does) and although Postie has done multiple shoutouts to Ed and has said that he’s a big fan, there’s radio silence from Ed regarding Postie lol. Is that because Ed is a bitter old hag? Maybe. But no one would ever characterize (side note that took me way too long to spell correctly just now) Ed that way lol or look for evidence of him being bothered even (although I genuinely believe him to be bothered). Harry’s like the same age as Ed give or take and they’re friends but they’ve been demonstrably less close since Harry went solo and even more so since Harry started charting super well while also receiving songwriting acclaim. I think that’s coming from Ed, who has become somewhat more bothered by the situation, and not from Harry. Again, he’s allowed to be though.

I also think we understand Clara Bow in profoundly different ways tbh. It’s a commentary on how famous women are treated in society and she parallels her experiences with those of other women. It’s not her saying “fuck everyone” lol. In fact, Clara Bow is calling out that very thing - that there can only be one. And that’s only done to women. No one has said “Ed’s over, Postie’s the new Ed” and no one ever will. People only do that to women.

That said, again, yes obviously she’s going to compete with Billie and Olivia and other huge artists? Why shouldn’t she?? Why must she just go “yayyy” to that lol?

[ladysisyphus]

And now, for a mix literally a year and a half (to the day!) in the making, ready for you to put in your ears:

I'll face down the world with you: a Word of Honor mix

(Cover art by @bisouette; used with permission)

Full track list and a tiny bit of commentary under the cut:

Alexa Melo - The Beautiful People It's not your fault that you're always wrong / The weak ones are there to justify the strong

The Mountain Goats - Younger Big smile on my face / Capsule just in case / Underneath my tongue

Billie Eilish - You Should See Me in a Crown Watch me make 'em bow / One by one by one

Saint Mesa - Blackest Hand I've been coming, short breathing / I've been killing my demons

Slothrust - Cranium I don't want to be like all those other boys / Who tell you that they get you / But we both know that they do not get you

Andrew Belle - The Enemy Don't try to follow me / I would hold you down if I could

Whitehorse - Nighthawks Let me in / Let me in / Let me underneath your skin

Mikky Ekko - Who Are You, Really? I have nothing left to prove / 'Cause I have nothing left to lose / See me bare my teeth for you

Girlyboi - Whole You're beautiful it's true / I don't know what to do / I'm dependent over you

Halsey - Gasoline Are you insane like me? Been in pain like me?

Des Rocs - Used to the Darkness And everyone that I knew / Was lost and so long forgotten after you

St. Vincent - Smoking Section And sometimes I go to the edge of my roof / And I think I'll jump just to punish you

To Kill a King - Bloody Shirt (Bastille Remix) It's too late to say you're sorry / Say you're sorry still

Meg Myers - Numb I hate the feeling of this weight upon my shoulders / Pushing the pressure down on me

Pianos Become the Teeth - Say Nothing Whatever keeps your heart light / Whatever keeps you is all right by me

Fear of Men - Sane I possess nothing I'm free from fear / I'm a monument to myself

One Two - Bitter and Sick Come on and break me down / I’ll let you ruin my day

Wolfie's Just Fine - Break My Back You say you'll take me to the sun / But I just need a flame

No/Me - Pass the Knife I've always been the type / To kiss a crooked smile

My Chemical Romance - The Sharpest Lives There's a place in the dark where the animals go / You can take off your skin in the cannibal glow

Eliza Rickman - Pretty Little Head Take a breath, my heart, and hold your tongue / It's just a cog in the year of all my love

Lanks - Man They talk of ‘man’ but you can see / What bravery is without a violent streak

Madalen Duke - How Villains are Made Two armies are coming at me / Their flags and weapons look the same / One tells the truth, the other's lying / And they're both calling my name

Geographer, CLARA-NOVA - Blue Obsession If I saw a way out / Would you follow me down?

Frightened Rabbit - Acts of Man I have never wanted more to be your man / And build a house around you

Shallows - Empire of the Animal You are what you eat and you are starving / You're nothing to me when you are hiding / I'm just waiting to see if you survive me

Murder By Death - Big Dark Love Pain like a searing light / Cuts like a dull knife / Are you awake / Can I come over tonight

Emily Wells - Antidote (Live Arrangement) To tell you the truth / To tell you the truth I was born a liar

Brick + Mortar - Dead Moon He's a dead one, I'm the grim reaper / Can you feel me, I can feel your fever

PHILDEL - Holes in Your Coffin If the word of the law doesn't get you / And the guilt you ignore's gonna set you / Free, free, free

Koda - white dove You're a silver-tongued jackboot thug with / White skin but you're no white dove

MXMS - Gravedigger I think it's a good idea if you stay the fuck away from me

Everything Everything - White Whale Never tell me that we can't go further

Phoebe Bridgers, Abby Gundersen, Noah Gundersen - Killer + The Sound I am sick of the chase, but I'm hungry for blood / And there's nothing I can do

Daughter - Burn It Down Never knew I could be speechless / Don't know how I'll ever break this curse

Hozier - Shrike Remember me, love / When I'm reborn

Emma Blackery - Brutus Set me up to fall / Think you're in control / But I'm taking back what you stole

Kellermensch - Lost At Sea If you wait around long enough / Then everything begins to rust

flora cash - Down on Your Knees Almost winning and now I don't know / But it seems like it's almost away from me

Julien Baker, Helios - Bloodshot (Helios Remix) Isn't like I did it on purpose / I just forget the second I learn it / Everything I get I deserve

The Moth & The Flame - Empire & the Sun I could never love someone who could love someone like me

aeseaes - Carrion Comfort I'm craving an excuse / Dumb danger to let loose / The dogs to fight

IAMX - The Power And The Glory It's a mess in here/ I've been drinking myself blind again

CLANN - I Hold You Just breathe through me / We'll keep the fires alight / I'll face down the world with you

Out Came the Wolves - Lowland Hum I will love you when there's nothing left

-

Absolutely, positively listen to this in order. It's a conversation.

[academicdisasterfic]

5 movies, 4 songs, 3 essentials, 2 books, 1 quote

Movies

The Grand Budapest Hotel - camp, ridiculous, hilarious. My favourite comfort watch.

Muriel's Wedding - I don't think saying this film shaped who I am is an exaggeration.

The Sound of Music - Captain Von Trapp was 100% my sexual awakening.

Dead Poets Society - I used to watch this every single weekend for a whole year in high school.

Billy Elliot - this is my mum and I's favourite movie and I so strongly associate it with my childhood.

Songs

How Long Will I Love You by The Waterboys - it's my favourite song in the entire world and one of my two tattoos.

Another Girl Another Planet by The Only Ones - I was brought up on 80s punk and this as close to a perfect song as I think you can get.

It's Not Living If It's Not With You by The 1975 - my emotional support song for the last few years, and what I always listen to when I need to feel better.

Shrike by Hozier - a new favourite currently occupying all of my mental real estate.

Essentials

Strong tea

Kindle

Cosy jumpers

Books

Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Saenz - this book came into my life at a very specific time and I felt seen by it in a way I never really had before.

In Other Lands by Sarah Rees Brennan - I wrote my thesis on this masterpiece last year; a commentary on the fantasy genre, hilarious and touching and queer and perfect.

Quote

"To be careful with people and with words was a rare and beautiful thing." - Benjamin Alire Saenz

Thanks for the tag @mintamintathings <333 no-pressure tagging @wolfpants @rockingrobin69 @phoebe-delia @lqtraintracks @aqua-myosotis @cavendishbutterfly

[phoebehalliwell]

Ok ok so I had a thought, like everyone’s always wondering what would have happened if Phoebe’s child with Cole lived but…I’m curious as to your thoughts on what if Phoebe had been pregnant with Dex’s child in Kill Billie: Vol. 1? Do you think they’d of made the two of them endgame and not introduced Coop?

ooooh i feel like very unintentionally a commentary on like. the neat lil bow that must be tied for all female characters, a marriage kids & a white picket fence. like just being like no you don’t know this guy but here’s your endgame!! a little bit too much of in universe acknowledgement imo. i feel like. i feel like they’d both feel like they’d owe it to the other to give it a shot you know like love and all i think phoebe would be game to stay married bc i think she has a lot of anxiety about that and like. she’s into that whole everything happens for a reason thing so she’s like maybe this was it was supposed to happen. dex on the other hand i think would not be game bc like. what?? but, for what it’s worth, i do think the two are relatively compatible you know he’s an artist soulful type and she’s a psychic that’s not Not a match it’s just. we got so little from dex. like. it’s really difficult to say where that’s gonna go because like. he’s an artist. and that’s all i’ve got. we didn’t even get an exposition heavy speech on his stance on love like what am i supposed to do with that. but like. to answer you question if she was knocked up i say yes they would have made him endgame. and it wouldn’t have been necessarily bad like he wasn’t bad per se he was just vacant like if they gave him something it wouldn’t be so bad. but i feel like the show definitely should not have done that because it’s just too meta like the fact that they’ve promised phoebe this child but they have no love interest to go with it so just to be like, whoops here’s that kid i guess and here’s the de facto husband it’s just. it’s so bleak imo

[jmsa1287]

A Year in Review: The 31 Best Episodes of TV of 2019

There's never been more TV than this year. Thanks to the launch of new streaming services like Apple TV+ and Disney+ (with more to come in 2020!), there is an infinite number of hours of content out there. And while not all those TV shows are worth a watch, mot seasons of shows genuinely contain at least one great-to-amazing episode. The 31 episodes listed below are the ones that stood out the most; that either became part of the cultural conversation or were not well-watched but still resonated in a way that deserved more attention. Whether it was the writing, the acting, a visual moment or a hilarious scene, these selected episodes rose above the cut to show what TV can do in this unprecedented era.

31. “Striking Vipers,” Black Mirror Season 5, Netflix 

30. “Smell Ya Later,” Killing Eve Season 2, BBC America

29. “Chase Gets the Gays,” The Other Two Season 1, Comedy Central

28. “Refugees,” Ramy Season 1, Hulu

27. “Finish It,” The Deuce Season 3, HBO

26. “Chapter 7: The Reckoning,” The Mandalorian Season 1, Disney+ 

25. “Life’s a Beach,” Pose Season 2, FX

24. “Easter,” Better Things Season 3, FX

23. “Chapter 8: Overview,” The OA Season 2, Netflix

22. “Reborn,” Servant Season 1, Apple TV+

21. “Stories,” Broad City Season 5, Comedy Central

20. “Blondie,” High Maintenance Season 3, HBO

19. “The Trials and Tribulations of Trying to Pee While Depressed,” Euphoria Season 1, HBO

18. “The Bad Mother,” Big Little Lies Season 2, HBO

17. “405 Method Not Allowed,” Mr. Robot Season 4, USA

16. “1:23:45,” Chernobyl Season 1 HBO

15. “Dundee,” Succession Season 2, HBO

14. “Episode 9,” Mindhunter Season 2, Netflix

13. “401 Unauthorized,” Mr. Robot Season 4, USA 

12. “Take Me as I Am, Whoever I Am,” Modern Love Season 1, Amazon

11. “Part Four,” When They See Us Season 1, Netflix

Ava DuVernay's achingly painful "When They See Us" miniseries about the persecution of the Central Park 5 is capped off with its brilliant final episode; a showcase for Jharrel Jerome ("Moonlight") who undergoes a transformation here unlike any other actor on TV this year. Playing Korey Wise, we see Jerome go from happy-go-lucky New Yorker to a victim of the vicious prison system who is beholden to his truth despite its consequences. It is a harrowing 88 minutes of TV that is both devastating and beautiful, carried on the shoulders of Jerome's unparalleled performance.

10. “A God Walks Into a Bar,” Watchmen Season 1, HBO

The penultimate episode of "Watchmen," the buzziest show of the fall, is the most Damon Lindelof has been during this stellar season of TV. "A God Walks into a Bar" is a revealing episode in the same way as the last season of "The Leftovers," Lindelof's previous project. The episode reveals that for all of its surrealness and commentary about race and gender in our world, the "remix" of the popular comic book series is, at its core, a love story. Lindelof sets the episode as a classic cosmic joke but as it goes on, it exposes itself to be full of heart and emotion; about two people from different parts of the universe (and different parts of the space-time continuum?) connecting. At a bar. Over beer, conversation, and eggs.

09. “Strawberries,” Ramy Season 1, Hulu

Unlike anything depicted on TV, "Strawberries," the peak of Hulu's comedy "Ramy," created by standup Ramy Youssef, is told in flashback, tracking a young Ramy in the days leading up to and after 9/11. Seeing the event play out from the perspective of a young Muslim child in middle school is heartbreaking and raw; a highlight that is thoughtful, meditative, funny and surprising.

08. "Shook One Pt. II,” Euphoria Season 1, HBO

It's not until "Shook One Pt. II" that "Euphoria" finally clicks and finds its groove. Playing out at a carnival, the episode raises the dramatic stakes for the show's young cast, where creator Sam Levinson's bold aesthetic choices complement the intense tension on display. Part thriller, part romance and all edge, this episode of "Euphoria" features stellar performances from Zendaya, Hunter Schafer, Jacob Elordi and more.

07. “Volume 7: The Magician" + "Volume 8: The Hanged Man,” Too Old to Die Young Season 1 Amazon

It was hard to pick just one episode of Nicolas Winding Refn's twisted noir cop saga "Too Old to Die Young." The controversial auteur made a perfect thing for streaming age; somewhere between a film and a series. NWR said himself that you can watch the episodes out of order, or start from anywhere, which is sort of true. But it's the back-to-back episodes towards the back half of the series, "Volume 7: The Magician" and "Volume 8: The Hanged Man," that stand out the most; a chaotic and insane set of events that turn "TOTDY" on its head.

06. “Posh,” PEN15 Season 1, Hulu

"PEN15" is hands down the funniest show of 2019 but it's the Hulu series episode "Posh" — a thoughtful and insightful examination of racism in the 00s — that is the show's highlight. In the episode, BFFs Maya (Maya Erskine) and Anna (Anna Konkle) make their own version of the Spice Girls with a group of mean girls at their middle school for a class project. They force Maya, who is Japanese-American, to play Scary Spice — the only woman of color in the insanely popular British girl group, because Maya is the only girl of color among them. It sparks a deep divide between Maya and Anna that is explored in the short episode with maximum effect.

05. “DC,” Succession Season 2, HBO

Over the last few years, Americans have made Congressional hearings they're own sort of perverse reality show. So, it's no surprise that "Succession" would go there and put members of the Roy family on display and under scrutiny. The main targets here are Tom (Matthew Macfadyen) and Cousin Greg (Nicholas Braun), who have to answer a number of questions about Waystar Royco's handling of alleged sexual assaults and crimes involving the company's cruise line. "Succession" had been building up to this moment since early Season 1 and the payoff is both cringe-worthy and hilarious.

04. “The Great War and Modern Memory,” True Detective Season 3 HBO

Filmmaker Jeremy Saulnier's ("Green Room," "Hold the Dark") crack at a TV show is nothing short of spectacular. With "The Great War and Modern Memory," he establishes an unsettling mood and tone to the third installment of "True Detective," a somber story about two cops investigating the disappearance of two young children over the span of several decades. The episode is poetic and solemn, featuring two mind-blowing performances from its stars Mahershala Ali and a career-best Stephen Dorff. They're both in tune with what kind of show they're in, selling creator Nic Pizzolatto's writing, which coming out of the mouths of other performers would likely sound dreadful.

03. “Episode 1,” Fleabag Season 2, Amazon

Filming a dinner scene is not as easy as it looks. For the first episode of the second season of the outstanding "Fleabag" both writer/creator/star Phoebe Waller-Bridge and director Harry Bradbeer hit out of the park. It's a whirlwind of an episode where PWB's Fleabag character literally tells the audience Season 2 is a love story, which, of course, involves the so-called Hot Priest (Andrew Scott). "Episode 1" is fast, zippy, and manages to get most of the show's cast in one room, featuring wonderful performances from not only PWB and Scott but also Olivia Coleman, Sian Clifford and Brett Gelman. It's a chaotic half-hour of TV that has a kinetic energy unlike anything else this year, taking an awkward family dinner to its limits.

02. "Series Finale Part 2: Hello, Elliot,” Mr. Robot Season 4, USA

The series finale of “Mr. Robot” is as emotional as it is shocking. Sam Esmail sticks the landing with his hacking drama, turning a story about a vigilante and his crew trying to right the wrong world into a personal journey of a young man struggling with deep trauma. It’s a beautiful sendoff, that is fully satisfying and a magnificent accomplishment of modern television.

01. “Never Knew a Love Like this Before,” Pose Season 2, FX

"Pose" proved itself to be an uplifting and hopeful show, uprooting cliched and tragic stories about trans people we've come to see on screen and instead, opts to show us something beautiful. But its "Never Knew a Love Like This Before" that is 2019's best episode of the year — a heart-wrenching and unexpected boom and a reminder that trans people, especially trans women of color, are often in danger. Here, Candy (an out-of-this-world performance from Angelica Ross), who orbited around the main cast in the series, is murdered. She returns to her funeral in spirit, having in-depth conversations with her friends, enemies and frenemies. Pray Tell (Billy Porter) honors her by moving forward with her wish — a lip-synch category for the balls that he previously rejected. It's a beautiful story about the history of queer culture that's personalized in an unexpected way.

[brokehorrorfan]

Gremlins will be released on 4K Ultra HD (with Blu-ray and Digital) on October 1 via Warner Bros. From producer Steven Spielberg, the film has been restored in 4K with High Dynamic Range.

Best Buy will carry an exclusive Steelbook edition of the 1984 horror-comedy classic with alternate artwork (pictured below). It’s available for pre-order for $32.99.

Joe Dante (The Howling) directs from a script by Chris Columbus (The Goonies). Zach Galligan, Phoebe Cates, Hoyt Axton, Polly Holliday, and Frances Lee McCain star, with Howie Mandel as the voice of Gizmo.

Existing special features will be ported over; a list is below.

Special features:

Audio commentary with director Joe Dante, producer Michael Finnell, and special effects artist Chris Walas

Audio commentary with director Joe Dante and actors Zack Galligan, Phoebe Cates, Dick Miller, and Howie Mandel

Gremlins: Behind the Scenes featurette

Cute. Clever. Mischievous. Intelligent: Making Gremlins

From Gizmo to Gremlins: Creating the Creatures

Hangin’ with Hoyt on the set of Gremlins

Additional scenes

Additional scenes with commentary

Gremlins: The Gift of the Mogwai motion comic

The Last Gremlin motion comic

Photo gallery

Theatrical trailers

When Billy Peltzer (Zach Gilligan) is given the cute and friendly little Mogwai, Gizmo (voiced by Howie Mandel), for Christmas, he is told never to expose it to bright light, get it wet or ever feed it after midnight. But one night when a glass of water is accidentally spilled over little Gizmo, Billy soon finds out why he was told to follow this advice as Gizmo begins to convulse, producing five new Mogwai. As Billy and his science teacher, Mr. Hanson (Glynn Turman), then seek to find out more about the creatures, a series of events lead to the escape of a number of them; and due to their heightened intelligence they know exactly how to replicate themselves. Soon after, the town is overrun by a new breed of Mogwai - the Gremlins - who are menacing little reptilian creatures, and far from friendly.

[creepykingdom]

GREMLINS in 4K

Warner Bros. Home Entertainment announced today that 1984’s Gremlins will be released on Ultra HD Blu-ray Combo Pack and Digital on October 1. Directed by Joe Dante (Innerspace, The ‘Burbs)) and written by Chris Columbus (The Goonies, Young Sherlock Holmes), the film stars Zach Galligan as Billy Peltzer, Phoebe Cates as Kate Beringer, and Hoyt Axton and Randall Peltzer, along with the voices of Frank Welker as Stripe and Howie Mandel as Gizmo. Gremlins was produced by Michael Finnell and executive produced by Kathleen Kennedy, Frank Marshall, and Steven Spielberg. Ultra HD* showcases 4K resolution with High Dynamic Range (HDR) and a wider color spectrum, offering consumers brighter, deeper, more lifelike colors for a home entertainment viewing experience like never before. Gremlins will be available on Ultra HD Blu-ray Combo Pack for $41.99 SRP and includes an Ultra HD Blu-ray disc with the feature film in 4K with HDR and a Blu-ray disc with the feature film and special features. Fans can also own Gremlins in 4K Ultra HD via purchase from select digital retailers beginning on October 1st. SYNOPSIS Gremlins is a wildly original roller-coaster ride of hilarious mischief.  One minute your hair will stand on end, the next you’ll hold your sides with laughter at the havoc these supposedly gentle furballs create when the rules surrounding their care and feeding are inadvertently broken one fateful Christmas.  Written by Chris Columbus and directed by Joe Dante, Gremlins unleashes special effects that dazzle and enchant and merriment that lingers in the memory. Ultra HD Blu-ray and Blu-ray Elements Gremlins Ultra HD Blu-ray contains the following previously released special features: ·  Filmmakers’ Commentary with Director Joe Dante, Producer Michael Finnell and Special Effects Artist Chris Walas ·  Cast Commentary with Director Joe Dante, Zack Galligan, Phoebe Cates, Dick Miller, and Howie Mandel ·  Gremlins: Behind the Scenes Featurette ·  Additional Scenes with Commentary ·  Photo Gallery ·  Theatrical Trailers ·  Additional Scenes ·  Cute.  Clever.  Mischievous.  Intelligent: Making Gremlins ·  Gremlins: The Gift of the Mogwai (motion comic) ·  The Last Gremlin (motion comic) ·  From Gizmo to Gremlins: Creating the Creatures ·  Hangin’ with Hoyt on the set of Gremlins

[likos064]

More Free-Thought Ramblings

Posting again, though no one’s listening

RAMBLING 8

The one person on The X-Files that Miles Robbins looks the most alike is Billy Miles. More than Krychek or any version of the Cigarette Smoking Man (Chris Owens or the new guy). 

It is amusing that the casting department of Twin Peaks didn’t care about parents and children looking alike, thus hiring the actor who played Scully’s father, Don S. Davis to play the father of Bobby Brigss, portrayed by Dana Ashbrook, who has dark hair and that kid looking more like Miles Robbins, however, that doesn’t mean that anyone resembles anyone. It is just a fun observation. Especially since they were more careful about making the Scully siblings look alike, and have a small resemblance to their father, but not mother. Why no one has dark haired when their mother has is a genetical mystery, recessive redhead line in her blood?

RAMBLING 9

I would argue that the child most fucked up by the Scully-Family dynamic is Bill. I don’t know Charlie as a person besides being absent at every family crisis and using his older sister as a baby sitter, per Home she babysat her nephews who watched Babe the entire time. However, from what we learn in One Breath and Christmas Carol, Melissa did whatever the fuck she wanted. In Anazazi, deleted scene, she stays with Maggie, and she doesn’t seem to have returned before Scully is in a coma. It seems like Mulder is the only support Maggie had during Scully’s abduction. Bill is introduced during the cancer arc, and then when he is to have his long awaited child, he and Tara had fertility issues. I think Bill tried to be the man but was crushed under the enormity of his father. So he became a stricter version. Bill Scully Sr seems way less overbearing.

Maggie is abusive and emotionally manipulative when the only time her daughter calls her is when she needs something. 

Would someone run to a person that they only have an obligation bond with when they are scared, and sad. Scully runs to Maggie when she believes Mulder is dead, meets up with Melissa first - who sucks at comfort, and asks for her mother and when she believes that he is part of the conspiracy. She feels safe with her mother. Why? Calling her mother when she needs someone to talk to in Within.

Vilifying good characters and defending evil ones.

The insistence on making women who are portrayed as cruel towards Mulder victims; flawed and imperfect as we all are while not giving the same consideration to men: Bill Mulder vs Teena Mulder, Phoebe and Diana vs Jeffrey Spender.

When should Maggie have defended Mulder to Bill? Scully never does it either.

Scully and Mulder being dismissive of Melissa’s spirituality

Maggie only following her daughter’s wishes in One Breath, it is in accordance with Scully’s living will.

RAMBLING X

Chris Carter’s writing focus being the message, not necessarily the plot but the greater societal commentary.

Vince Gilligan focusing on character, always character and not necessarily Mulder and Scully

Glen and James clearly showing their disdain for Mulder and David in their writing and that being rationalised as writing for both characters and writing the true Mulder and Scully.

MSI being about Mulder

MSII being about Scully

MSIII being about the Cigarette Smoking Man

MSIV being about William/Jackson

The breakup not being Chris Carters construct, but he being forced to take the public blame. The other writers giving much more of a mileage than Chris. Chris writing Plus One, but having to explain in an interview that they aren’t back together, referencing the later episodes particularly Rm9sbG93XJz (Followers) and Nothing Lasts Forever.

Glen and James never wanted Scully with Mulder. They wrote Scully the victim of the man who will simply never be worthy of her in their eyes. She can do whatever she wants and he is just supposed to be there without any thoughts and feelings of his own. A silent, nay silenced stoic rock that she can lean on when she needs him. That doesn’t exist outside of her.

Chris always seeing Mulder and Scully together but focusing on the spiritual romantic platonic connection, same as Gillian did with Scully and Daniel in all things, and not the sexual one.

Chris being blamed for other writers decisions. James seemingly killing off Jackson in Ghouli, the parallel to All Souls, somehow becoming Chris’ fault.

Kristen Cloke Morgan and Shannon Hambling arguing that a woman cannot exist as a person if she is with a man.

The obsession with equality in number of lines in Followers, but no real critique at the sidelining of David and Mulder in Home Again and Ghouli.

The Scully Effect panel complaining that Mulder gets one line about his son in Familiar. Whiie the entire episode of Ghouli focuses on Scully’s feelings about her son.

The MSR fandoms female contingents hatred of men. 

Glen Morgan and James Wong coming back to finish what they started in season four. Separate Scully and Mulder, destroying any chance of a romance, destroying any connection by having Scully sign Mulder into a mental institution.

Leaving him over a clinical depression.

Equality meaning equality not preferential treatment.

Scully’s sister and Mulder’s father both being killed in the season 2/season 3 three parter. Season 3 being about Scully getting justice for her sister. Mulder’s father’s death being swept under the carpet and unexplored.

RAMBLING 11

Questions: Who named Jackson, Chris or James, or rather renamed him? - commentary: Chris refers to him as William in his cue cards for the episodes, while James uses Jackson - so probably James

Does the renaming mean something?

Is it a hint that we should question Mulder’s paternity, William being named after his father, Fox Mulder’s father, William Mulder to ascertain paternity in Existence.

Name something and make it yours.

RAMBLING 12

If Mulder and Scully had a sixteen-year-old living with them in This said child would’ve ended up in the middle of a gun fight - their home not being safe. If the kid is at school or at a friend’s house to explain the absence, mom or dad would have to call/send a message so the kid stay safe. However, that could alert the bad guys to the kids present and they might use the kid to draw out the parents in a hostage situation.

RAMBLING 13

FOX the network waiting such a long time to announce a hiatus for The X-Files despite having filmed Conversation on the Fox Lot in January at the TCA.

RAMBLING 14

Gillian announcing that she is not doing anymore season of The X-Files after filming the first five episodes: My Struggle III, This, Plus One, The Lost Art of Forehead Sweat and Ghouli. Her and David’s Conversation on the Fox Lot centring around their age taking a toll on them in action scenes. Making her run, the handcuffs drawing blood. Is it the physicality of The X-Files that makers her reluctant to continue? The most physically taxing episode for her was This, sliding under a table, running, fighting and running in handcuffs. They also spend more time on camera when doing The X-Files than their other projects. I guess that is what happens when you’re not doing a traditional ensemble show.

RAMBLING 15

Emily - The doctor trying to confer fatherhood on Mulder but Scully denying it while claiming motherhood.

RAMBLING 16

The debunking of regression hypnosis. Malleability of memories. Convincing people they killed someone through memory manipulation experiment

RAMBLING 17

The ridiculing of men, the pedestalizing of women 

Personal preference of actor guiding the writing, humiliating David. Also present in fanfic, writers taking their frustations of David leaving the show out on Mulder. Interestingly such a practice has never been done against Gillian. No matter how angry people get with her they never punish Scully.

Penalising of male actors, sunflower seeds, hanging off buildings 

Men deserve to be punished, evil = men, male

RAMBLING 18

Infantilising Mulder, making him a flat farther, even as a joke

Difference between not doing something because of time prioritising and inability to complete a task due to executive function disabilities, never learning how to do it = not equating with incompetence, stupidity

Ignoring Scully’s issues, disturbing tendencies in discussions other than to defend Iolocus.

RAMBLING 19

Writing about the separation, which isn’t necessary and only TV show related, as a failure of one person = read male 

RAMBLING 20

Blaming Mulder for MSR not happening sooner, ignoring Scully not being ready or willing to date him before all things, dedicated relationship.

Complaining and ridiculing Mulder’s need for Scully’s consent while complaining about men’s inability to ask for consent, their ignoring consent when it’s not given, and assuming that they always have consent.

Ignoring that Mulder has to make every move, and complaining when that doesn’t happen quickly enough.

Inability to understand that men can be scared of being in a relationship for the same reasons as women, and not dismiss it as commitment issues.

RAMBLING 21

The double standards in the fandom, anything is okay as long as the writer is a woman, see people complaining about scenes in episodes written by women and blaming it on Chris Carter, not remembering who wrote it or being allowed to do anything in fanfics without being criticised.

Defending Mulder torture fanfics while calling Chris a misogynist for anything horrible that happens to Scully. Ignoring any pain dealt to men. Making Scully the only victim. Minimising Mulder being hospitalised more than Scully, kidnapped and endangered more, while insisting that Scully is always portrayed by Chris as a damsel in distress. Equality can’t happen when we can’t hurt both main characters.

Perpetuating the stereotype that women’s violence against men is funny and or acceptable.

Assault is assault even when it happens to a man and even when the assaulter is a woman. Anything you would call assault if it happens to Scully is assault when it happens to Mulder.

RAMBLING 22

That feeling when you realise James Wong cast Jackson (William) for season 11 after writing Mulder/Scully’s dreams about him in season 10 and the kids looking nothing alike.

RAMBLING 23

After thinking about it I don’t believe that David Duchovny’s Mulder has PTSD after his abduction episode would’ve been so happily received. Even now when people write about Mulder and Scully post his abduction it is always with the implication that he is in the wrong. That he should “man up” for Scully and the baby’s sake. An episode written by David would most likely have been much more sympathetic to Mulder, and quite possibly have been quite Mulder-centric. Justifying his need to find balance before taking on the role as a father, which is something he has to assume rather than know.

RAMBLING

Where does the idea that Mulder is not kind or attentive so that Scully would be surprised if he shows kindness coming from?

RAMBLING 24

Related Rambling, but I’m still waiting for that answer.

Paternity of William being an issue due to the implication of lack of consent. Would you be okay if Mulder wasn’t William’s biological father because Scully slept with another man while dating Mulder, tried IVF with someone different - someone else that she knew or an anonymous donor? Which method is preferred? What is more important Mulder being Jackson’s biological father or his creation being consensual?

Let’s stop pretending. Make William’s Scully’s alone and Glen Morgan and James Wong can finally write what they want to, the Scully panel won’t be pissed that Mulder got one line about their son in Familiar, and all the pain and all the feelings can be hers alone, like they already are.

[shipcestuous]

did you hear that the thundermans is coming back with a movie? seeing everyone grown up reminds me of your halloween fic ! feliz cumpleaños lol

[x]

Haha, I love that you remember that.

I remember hearing about the movie but I think I didn't attach many feelings to it because I didn't know if it was a sure thing or not. It seems like these days (or maybe it was always true) that a lot of projects get announced or promoted that never come to fruition, sometimes just because of actor schedules or whatever else.

The nice thing about made-for-TV is that there's not usually a huge amount of time between filming and release, so we may be watching this movie very soon.

Twins Phoebe and Max are enjoying their superhero lifestyle, but when one ‘save’ goes awry, the Thundermans are sent back to Hiddenville. While Hank and Barb enjoy their return, and Billy and Nora look forward to a normal high school life, Max and Phoebe are determined to regain their superhero status.

Sounds fairly solid. Reunite everyone and put them back where they were - that's how you sequel.

How many years has it been? That can't be little Chloe!

This is exciting. I feel optimistic. Now, let's just hope the writers don't stick any love interests into it.

[nightmareonfilmstreet]

GREMLINS 2: THE NEW BATCH – A Retrospective Interview with Brain Gremlin

First, keep them out of bright light—especially sunlight! It’ll kill ‘em. Second, don’t give them water. Not even to drink! And third, the most important rule of them all, one you must never forget. No matter how much they cry. No matter how much they beg. NEVER feed them after midnight!

These three vague yet specific rules governed a new breed of movie monster whose impact would send shock-waves through Hollywood. This seemingly cuddly creature would rise from the ranks of B-movie monsters to find its way into multiplexes, toy stores, and our hearts. That creature was called a Mogwai and the movie was 1984’s Gremlins. It was a genre blending Christmas-horror-dark-family-comedy whose mismatched pieces came together so seamlessly that Dr. Frankenstein himself would have been jealous. Joe Dante (The Howling), Chris Columbus (The Goonies), and Steven Spielberg (Duh) teamed up to tell the story of a small town overrun by gremlins after a blundering inventor gifts a Mogwai named Gizmo to his son Billy for Christmas. Audiences were delighted and disgusted. They eagerly lined up to gut their wallets and disembowel their purses for any trite bit of plastic with Gizmo’s face on it. The studio wanted a sequel.

After an agonizing six-year wait, Warner Bros. finally got their wish. Gremlins 2: The New Batch hit theaters on June 15th, 1990 and fans relished in a sequel like none they had ever seen before (and will probably ever see again). Raising the stakes, Billy (Zach Galligan) and Kate (Phoebe Cates) leave their small town and move to New York City to work in Clamp Tower, the automated office building of the future. After Gizmo winds up in Clamp Tower’s genetics lab, chaos reigns throughout the malfunctioning superstructure. Like a cyclone on a fishing line, the film is a masterfully crafted frenzy of satirical in-jokes, social commentary, and outlandish characters. The studio, however, was not so enthused.

To celebrate this triumphant marvel of zany anarchic chaos, we sat down with one of the film’s stars, Brain Gremlin, to gain some insight into the box office blunder and cult phenomenon that is Gremlins 2: The New Batch

  Mockbuster Beginnings

  NIGHTMARE ON FILM STREET: Thank you so much for joining us today, Brain.

BRAIN GREMLIN: Think nothing of it, the pleasure is all mine.

NOFS: Before diving head first into Gremlins 2: The New Batch, I’d like to set the stage and touch briefly on the first film. I understand Spielberg and Dante’s relationship didn’t start on a high note.

BRAIN: It is a bit of an irregularity that friendship develops from artistic larceny. I suspect Steven was first acquainted with Joseph’s attempts at cinema after Roger Corman hired him to direct that bottom-feeding horror film Piranha. It was a flagrant attempt to capitalize on Steven’s film Jaws and everyone knew it. Universal Studios undoubtedly knew it. If memory serves there may have even been a cease and desist. Steven, being the magnanimous man he is, watched Piranha and was moved to benefaction, and the film moved forward undeterred.

NOFS: From such a rocky start, how did the two come to work together?

BRAIN: Well, imitation is the greatest form of flattery. Also I believe Steven saw something in the fledgling director. After having sent him Chris Columbus’s Gremlins script, Steven also invited Joseph to direct a segment of 1983’s Twilight Zone: The Movie. The man’s generosity is unparalleled. As you know Gremlins was an unprecedented success and gave Joseph’s career a real shot in the arm. It grossed close to 150 million domestically against an 11 million dollar budget. And that isn’t even taking into consideration the film’s inexplicable licensing potential. Naturally, talk of a sequel commenced immediately.

NOFS: Why then do you think it took Warner Bros. so long to produce a sequel?

BRAIN: Despite my antipathetic opinions toward him, Joseph Dante is an artist. He had little interest in rehashing his own work. He and Steven had both received scripts but declined due to their sheer redundancy. It wasn’t until a chance encounter years later, truly an act of providence, when Joseph ran into Terry Semel, then president of Warner Bros. Studios, on the studio lot. The man must have radiated desperation. With the promise of a new Gremlins film by the following summer, Joseph was given a sizable budget and full creative freedom. But ne’er the company man, Joseph would prove Terry’s confidence to be misplaced.

NOFS: You don’t think Dante was right for the job?

BRAIN: As I said, Joseph is an artist, but he is also an anarchist with little respect for convention. A saboteur. The sequel was a Trojan Horse from its inception. Gremlins 2 was to eliminate any possibility of a Gremlins 3. He and his screenwriting cohort, Charlie Haas, masterminded the demise of a budding franchise. The two had met on the 1979 film Over the Edge and Joseph obviously had an immediate affinity for Charles. In Twilight Zone: The Movie he named the character Charlie after his beloved chum.

    Gremlins on Broadway

  NOFS: I understand it was Charlie Haas’s idea to set the film in New York. How was filming in the Big Apple?

BRAIN: The studio was apprehensive about setting the film in New York City. They expected it would be quite costly. As a result, only three days of shooting actually took place in the city. Filming began in Times Square on the Friday before Memorial Day weekend. A dreadful bit of scheduling. Some of the exteriors of Clamp Tower were filmed at Park Avenue and 40th Street while the opening aerial footage of the city was pilfered directly from Superman IV: The Quest for Peace.

NOFS: If not New York, where did they shoot the rest of the film?

BRAIN: For a contributing writer at a film news source, there are some alarming gaps in your knowledge of the filmmaking process. Gremlins 2: The New Batch was filmed on a studio set. Set 15 at Warner Bros. Studios to be exact. Jim Spencer designed the interiors of Clamp Tower and really went above and beyond. The set featured functioning elevators and fully stocked retail stores. He even built a portion of the exterior of the building on set. It was truly a marvel to behold.

NOFS: Joe Dante has disclosed in interviews that 1984’s Gremlins was incredibly challenging to make and those difficulties were a large part of why he was reluctant to make a sequel. Would you say his concerns were validated?

BRAIN: Joseph approached making Gremlins 2 with the wisdom of experience. When working simultaneously with human and gremlin actors, problems can arise. I’m all for peace and harmony but some cultural gaps are just more difficult to bridge. We’re not exactly cut from the same cloth. We’re hardly the same material. With this in mind, Joseph filmed all the scenes with human actors first and then spent the remaining six weeks of production filming us gremlin actors. The most arduous scene to film was undoubtedly Gizmo’s dance number. To say he has two left feet would be an understatement. To make matters worse, once the ineffectual furball finally executed the number we learned that Billy Idol wasn’t going to grant us permission to use his tune. Thankfully, a Fats Domino number with an identical rhythm was found and Gizmo’s efforts, although pathetic, were not in vain.

    NOFS: While things went a little more smoothly during the filming process, I understand the writers did not share that good fortune.

BRAIN: Joseph and Charles endured weeks of misery locked in an office as they tried to liberate themselves from the corner they had dim-wittedly written themselves into. They had planned a finale where the heroic humans would fill Clamp Tower with wet cement, trapping all the gremlins. This proved to be too expensive and the two were swiftly returned to the drawing board. The climactic scene as it appears in the final film is much more satisfying than previous iterations. The ending also further utilizes Electricity Gremlin, a first-rate character whose role up until that point had been on the chopping block.

NOFS: Famous special effects artist Rick Baker was brought on board to lend his talents and I understand he also had input on the script.

BRAIN: Chris Walas helmed the special effects department in the first film but had a scheduling conflict as he was directing another sequel, The Fly II. Rick Baker was offered the job but turned it down. To further entice the creative genius, the Slice-o-Life Genetics Lab subplot was added to the film. This gave Rick much more creative freedom and essentially the ability to alter the story through the introduction of new characters. His inclusion in the film was the impetus that essentially launched my acting career. We were tremendously appreciative of his work. Joseph was too, although he had a strange way of showing it. Octoman, Rick’s first film, appears as an in-joke during a broadcast of Grandpa Fred’s horror TV show.

NOFS: The Slice-o-Life Genetics Lab is without a doubt an essential component of the film and it’s in the lab that we meet Dr. Catheter, played by Christopher Lee. What was it like working with the horror legend?

BRAIN: Working with Christopher was a delight and a true honor. The poor boy was indeed unprepared for the degree of adoration he received from the cast and crew. Upon the completion of his final scene, to celebrate his 200th film, a small party was thrown in his honor. There wasn’t a dry eye in the house as all involved lined up to shake the hand of a true professional. I had the pleasure of filming one scene with Christopher, the Dr. Jekyll and Mr. Hyde transformation that births my character’s superior intellect. Sadly Christopher’s genetic transformation into Elvis Presley was cut before it even touched celluloid.

    A Star is Genetically Engineered

  NOFS: Your role is by far one of the most memorable in the film, can you tell us a little bit about the character you play?

BRAIN: Well, I essentially play myself. Go ahead, lump me in with your Fred Astaires and Bill Murrays. My character though, unlike other one-note trumpeteers, has an agenda. I recognize the potential of my race and believe we deserve more. I plan to lead my deranged brethren out from the seductive trappings of savagery to attain all the plentiful riches civilization has to offer.

NOFS: In the film we’re introduced to our first female gremlin who falls in love with Forster, a human character played by Robert Picardo. How do you feel about interspecies relationships?

BRAIN: Yes, Girl Gremlin is a truly bewitching vision of elegance. Her musical send up of Dames was inspired. On the topic of interspecies relationships, we intellectuals are a forward thinking lot. As far as I’m concerned the film has a happy ending, demonstrating the resolute tenacity of true love.

NOFS: You have a musical number as well, right?

BRAIN: Yes, an apropos tune by Frank Sinatra. It appears towards the end of the film just before little Zachery Galligan’s character unleashes his genocidal rage.

NOFS: There are a number of spectacular gremlin deaths throughout the film but the climax really manages to pack them in, including a hilarious Wizard of OZ reference. Who comes up with all these great deaths?

BRAIN: I also enjoyed the Wicked Witch death. The appearance of Lon Chaney’s Phantom complete with drop focus as he approaches the camera had me chuckling as well. The answer to your question, however, is everyone. Similarly to the first film, a morbid bit of paper scarred the set where cast and crew would scrawl their sick suggestions for gremlin death. We loathed that sheet of paper.

NOFS: Gizmo also has his fair share of torturous scenes in the film.

BRAIN: And you can bet they all made it onto my highlight reel. Gizmo embarks upon a heroes journey where he must rise to the challenge and become a warrior. He predictably fails and must rely on his human companions to shield him from harm.

NOFS: I understand many gremlin scenes were cut from the film?

BRAIN: Steven had final cut and found the film to be unbalanced. He said there were too many gremlin scenes. I’m all for equality but how many films have you seen with an entirely gremlin cast? No, don’t even bother. The answer is NONE!

    Satirical Genius

  [At this point in the interview Brain was becoming increasingly agitated and I had begun to fear for my safety. The question regarding gremlin scenes being cut from the film seemed to set him off. Suddenly his sharp teeth became more apparent to me as he spoke and he had a maniacal glint in his eye.]

NOFS: Let’s talk about the film’s tone. It has a cartoonish quality and even starts with a Looney Tunes cartoon.

BRAIN: Joseph grew up watching anarchic cartoons by the likes of Frank Tashlin. He applauded their irreverent lack of convention and aspired to sustain that restrained chaos throughout the film. Transcendent rebellion and subversion of popular culture were his objectives but along the way he took a wrong turn. He became the thing he sought to destroy. Joseph had become a part of popular culture. Like the man who learns he can never truly return home, he must burn it down.

NOFS: Perhaps we should shift gears a little and discuss a lighter topic. Let’s talk about cable TV and frozen yogurt.

BRAIN: Oh no, [Brain chuckles] you can’t pull the wool over these reptilian eyes. This is the dreaded prophecy question. For the sake of good sportsmanship, I’ll take the bait. Gremlins 2 has been praised for its prophetic satire of popular culture. Concepts that were conceived as jokes are now accepted norms of modern society. Some of your younger readers may not bat an eyelash at the idea of an entire channel devoted to cooking, but to audiences in 1990 it would have been comical, if not grotesque. The intent was to provide a gross exaggeration in order to highlight the excesses of the medium.

NOFS: Dante didn’t just poke fun at popular culture in general, he takes a few jabs at his own work.

BRAIN: Joseph’s self awareness is an admirable trait to be sure. He and Charles shine a light on the sheer absurdity of the supposed “cardinal rules” of rearing Mogwai as Zach’s character does his best to explain them to a skeptical audience in the building’s control room. Phoebe’s traumatic memory of Abraham Lincoln’s birthday is a call back to her laughably tragic Yuletide tale from the first film. References to Joseph’s other work crop up from time to time as well. Vectorscope Labs from the film Innerspace makes an appearance as well as a theater marquee that reads Howling 11. Not to sing the man’s praises too much but upon meeting, Christopher [Lee] apologized to Joseph for appearing in Howling 2. Real stand-up chap.

NOFS: Is Donald Trump the inspiration for the character of Daniel Clamp?

BRAIN: He may have been at one time but also remember that public perception of Donald in 1990 was very different. Clamp was originally intended to be the villain but John Glover played the role with such boyish charm that it really altered the tone of the film. However, Grandpa Fred is without a doubt modelled after Al Lewis’s Grandpa Munster.

NOFS: Did anyone have issue with the film’s satire and social commentary?

BRAIN: I can’t say Steven and Chris Columbus entirely appreciated it. There was also some controversy surrounding jokes made about the marketability of Gizmo. This was somewhat unheard of at the time. Joseph was essentially mocking the marketing and cross promotion for the film within the film itself.

    The Gremsters Vs. The Hulkster

  NOFS: After Leonard Maltin had given the first film a bad review, was it satisfying to see him get his just deserts in the sequel?

BRAIN: Oh yes, the gremlin community had a bit of an axe to grind with Mr. Maltin. His appearance was a way to, forgive me for mixing metaphors, bury the hatchet. We would extend the olive branch of peace but upon bending him to our will, reveal it to be the olive branch of victory.

NOFS: Did he bend to your will?

BRAIN: Well, my dear fellow I’d have to say the proof is in the numbers. Going from 2 out of 4 stars on the first film to 3 out of 4 on the second is nothing to turn your nose up at.

NOFS: Leonard Maltin was just one of many celebrity cameos in the film, but none were quite as outlandish as Hulk Hogan’s fantastic 4th wall breaking appearance.

BRAIN: It is an oddity, isn’t it. Joseph wanted to do a William Castle gag and chose 1959’s The Tingler for his inspiration. Similarly to The Tingler, our titular creatures wreak havoc inside the projection booth. However, in our film the hooligans are set straight by World Wrestling champion Hulk Hogan. The studio was dead set against this narrative detour. Joseph set up a test screening in order to prove to them that audiences would, in fact, get a kick out of it. On home video an alternate scene appears to suggest the viewer’s VCR is on the fritz. The poor gremlins would then wind up in a western. The 1970 John Wayne film Chisum was intercut with shots of gremlins and using Chad Everett’s impeccable John Wayne impression, the audience would watch as The Duke himself sends the mischief-makers fleeing back to their own film.

    Box Office Blunder

NOFS: Gremlins 2: The New Batch is often referred to as a “flop” or a “bomb”. Not only did it fail to live up to its predecessor but the film didn’t even turn a profit.

BRAIN: This is true, the film had a 50 million dollar budget but only brought in 41 million.

NOFS: The film had an extensive marketing campaign of which you were prominently featured, including cross promotional ads for Comfort Inn and Clarion Hotel chains. It seems the studio had very high expectations for what Dante considers to be possibly the most unconventional studio picture ever made.

BRAIN: Call it overconfidence. The film was originally scheduled for a May 3rd release date opposite the Mel Gibson/Goldie Hawn picture Bird on a Wire. Based on high test scores, the studio got a bit big-headed and pushed the date back. We would now open opposite the highly anticipated film, Dick Tracy, starring Warren Beatty and Madonna. The material girl was quite frankly the biggest star in the world at the time and she and Beatty were a bit of a hot item. They were 1990’s Brangelina. Wadonna. Determined to protect their box office records from the previous years Batman, Warner Bros. went after Dick Tracy with a herculean might. As it turned out, the Beatty/Madonna picture posed little threat to Batman’s record. This battle of studios only had one casualty, Gremlins 2: The New Batch.

NOFS: Despite its theatrical failings, the film found a cult following on home video. What do you believe the film’s appeal is to these die-hard fans?

BRAIN: While striving to destroy his legacy, Joseph managed to touch on a societal note that, at the time, was only just a whisper. But over the years it has grown into a symphony. The veil of ignorance has fallen. Joseph and Charles created a world closer to reality than they could have possibly envisioned. Given a parodical hyper-realist version of their everyday life, the viewer steps outside of their own existence to properly examine what is truly of value in this world. What holds meaning, what creates meaning, and what destroys it. Shown what happens when our automated lives break down, the audience revels in an existential awakening. They can now leave the theater a free people once again.

NOFS: Beautifully put, Brain, and thank you again for joining us. I thought we’d end the interview by addressing a little rumor that’s been popping up on message boards in recent years. Is there going to be a Gremlins 3?

BRAIN: [Brain chuckles] Considering the current state of that vacuous void known as Hollywood? I suppose only time will tell.

  The post GREMLINS 2: THE NEW BATCH – A Retrospective Interview with Brain Gremlin appeared first on Nightmare on Film Street - Horror Movie Podcast, News and Reviews.

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[mcbastardsmausoleum]

Own GREMLINS (1984) on 4K UltraHD Combo Pack and Digital on October 1st

GREMLINS(1984)

TO BE RELEASED ON ULTRA HD BLU-RAY COMBO PACK

AND DIGITAL CELEBRATING THE 35TH ANNIVERSARY OF THE FILM, GREMLINS WILL BE AVAILABLE FOR THE FIRST TIME IN 4K RESOLUTION WITH HIGH DYNAMIC RANGE (HDR)

Warner Bros. Home Entertainment announced today that 1984’s Gremlins will be released on Ultra HD Blu-ray Combo Pack and Digital on October 1. Directed by Joe Dante (Innerspace, The ‘Burbs)) and written by Chris Columbus (The Goonies, Young Sherlock Holmes), the film stars Zach Galligan as Billy Peltzer, Phoebe Cates as Kate Beringer, and Hoyt Axton and Randall Peltzer, along with the voices of Frank Welker as Stripe and Howie Mandel as Gizmo.

Gremlins was produced by Michael Finnell and executive produced by Kathleen Kennedy, Frank Marshall, and Steven Spielberg.

Ultra HD* showcases 4K resolution with High Dynamic Range (HDR) and a wider color spectrum, offering consumers brighter, deeper, more lifelike colors for a home entertainment viewing experience like never before.  

Gremlins will be available on Ultra HD Blu-ray Combo Pack for $41.99 SRP and includes an Ultra HD Blu-ray disc with the feature film in 4K with HDR and a Blu-ray disc with the feature film and special features. Fans can also own Gremlins in 4K Ultra HD via purchase from select digital retailers beginning on October 1st.  

Synopsis: Gremlins is a wildly original roller-coaster ride of hilarious mischief.  One minute your hair will stand on end, the next you’ll hold your sides with laughter at the havoc these supposedly gentle furballs create when the rules surrounding their care and feeding are inadvertently broken one fateful Christmas.  Written by Chris Columbus and directed by Joe Dante, Gremlins unleashes special effects that dazzle and enchant and merriment that lingers in the memory.

Gremlins Ultra HD Blu-ray contains the following previously released special features: - Filmmakers’ Commentary with Director Joe Dante, Producer Michael Finnell and Special Effects Artist Chris Walas - Cast Commentary with Director Joe Dante, Zack Galligan, Phoebe Cates, Dick Miller, and Howie Mandel ·  Gremlins: Behind the Scenes Featurette - Additional Scenes with Commentary - Photo Gallery - Theatrical Trailers - Additional Scenes - Cute.  Clever.  Mischievous.  Intelligent: Making Gremlins - Gremlins: The Gift of the Mogwai (motion comic) - The Last Gremlin (motion comic) - From Gizmo to Gremlins: Creating the Creatures - Hangin’ with Hoyt on the set of Gremlins

DIGITAL DISTRIBUTION ELEMENTS On October 1, Gremlins 4K UHD will be available to own for streaming and download to watch anywhere in high definition and standard definition on favorite devices from select digital retailers including GooglePlay, Vudu, Xbox and others.

[biofunmy]

The Best and Worst Moments of the 2019 Emmys

The 71st Primetime Emmy Awards began with awards for “The Marvelous Mrs. Maisel” and ended with a final big win for “Game of Thrones.” But between those expected results were plenty of genuine surprises and exciting outcomes.

“Fleabag,” Phoebe Waller-Bridge’s biting and moving Amazon series, dominated the comedy category, including beating out the longtime Emmy favorite “Veep” for top comedy. Unexpected but welcome acting awards went to Jodie Comer and Waller-Bridge. Billy Porter made history as the first openly gay winner for best actor in a drama. Michelle Williams and Patricia Arquette gave memorably heartfelt acceptance speeches.

Inevitably, some bits flopped hard: A misguided announcing gimmick tried people’s patience and Masked Singers infested the Microsoft Theater like gigantic, colorful vermin. Here are some of the highs and lows of Sunday’s Emmy extravaganza. — JEREMY EGNER

Homer and Friends Fill the Host Void

Much of the pre-ceremony coverage focused on the fact that the Emmys were going hostless this year, and sure enough the night opened with none other than Homer Simpson, who appeared to stroll across the stage (augmented-reality-style) before getting leveled by an animated piano.

The bit went on with Anthony Anderson, star of “Black-ish,” leaping from his seat. “We’re going to go without a host tonight!” he said, making it his mission to save the show. He found his savior in the multi-Emmy winner Bryan Cranston, who introduced a montage of clips by saying: “Television has never been this damn good.”

The opening was A-list enough that some viewers may not have even realized there wasn’t a ringleader. Or at least, didn’t care.

But some people did, or at least pretended to, which prompted plenty of laughs from the audience. In a bit later in the telecast, the late-night hosts Stephen Colbert and Jimmy Kimmel dragged the show’s format. “Well, well, well, how’s the old no-host thing going?” Colbert said.

“What a dumb idea,” Kimmel responded. “You know what has a host? Applebee’s has a host.”

We’re “the real victims,” Colbert said. “If we let this slide, the next thing you know, they’ll start using Alexa to present the nominees.” Which, of course, cued the voice of Amazon’s smart speaker assistant, Alexa: “O.K., here are the nominees for lead actress in a comedy series.” — MAYA SALAM

Thomas Lennon Sort of Agreed With His Critics

At least he was self-aware.CreditMatt Winkelmeyer/Getty Images

In lieu of a host, the actor and comedian Thomas Lennon was on hand to offer commentary and jabs between segments. But the jokey announcing just did not work, which he himself seemed to admit at one point, saying “This is why people don’t do this, because it sucks.” Part of it was the material — I’m not sure Chernobyl jokes are the way to go — but a bigger issue was how tacked on it felt, too separate from the actual broadcast. Some comments felt like a mic was accidentally picking up snark, and the timing never seemed quite right, so it never developed a real rhythm. — MARGARET LYONS

Phoebe Waller-Bridge: The Pervy, Angry Belle of the Ball

“This is a love story.” The line introduced the staggering second season of “Fleabag,” and it fairly described the Emmys’ reception of Phoebe Waller-Bridge, who won awards for writing and starring in the Amazon series, which beat out “Veep” for best comedy and also collected an award for comedy directing. And Waller-Bridge, with the casual, quick-witted charm she displayed in the series, was the insouciant queen of the awards. “It’s really wonderful to know, and reassuring,” she said, “that a dirty, pervy, angry, messed-up woman can make it to the Emmys.” And this year, she made the Emmys her own. — JAMES PONIEWOZIK

Billy Porter Makes History

Billy Porter, who stars in “Pose,” the FX drama set in the New York City ball scene during the 1980s and ’90s, broke ground on Sunday. The actor became the first openly gay winner for best actor in a drama, and true-to-form, his speech was soul-stirring and heartfelt. As Porter quoted James Baldwin and asserted that “We all have the right” to exist, the ceremony took on a new layer of significance. — AISHA HARRIS

Did you know there’s a show called “The Masked Singer”? If you watched this year’s Emmy ceremony, you certainly know now.

It’s to be expected, of course, that the network showcasing the awards will find opportunities to plug their own content. But the shilling for Fox’s bizarre-o competition show — in which celebrities of varying stature and relevance sing pop songs while hidden behind ridiculously elaborate costumes and masks — was next-level.

Before the ceremony began, the disguised contestants for the upcoming second season were trotted out on the purple carpet. During the show, they popped up onstage, as a logo in the corner of the screen and in multiple commercials. Perhaps worst of all was a too-long and very unfunny bit between the “Masked Singer” host Nick Cannon and one of the judges, Ken Jeong. It’s doubtful this overkill converted the once-blissfully oblivious into believers. — AISHA HARRIS

About That Bit …

Social media segments are common at awards shows these days, but they’re always a complete drag. No one quite seemed to get Jeong and Cannon’s tedious TikTok routine, which included making a video of the audience. It was also awkwardly sandwiched between Alex Borstein’s speech about her grandmother surviving the Holocaust and the award for best comedy writing, which went to Phoebe Waller-Bridge. It was a lousy bit unto itself, but the placement made it seem even worse. — MARGARET LYONS

Michelle Williams Brings the House Down

Michelle Williams, named outstanding lead actress in a limited series for “Fosse/Verdon,” had one of the most enthusiastically received speeches of the night. It was a rallying cry for giving women in Hollywood the same money and resources as those granted to male actors. “When you put value into a person, it empowers that person to get in touch with their own inherent value, and then where do they put that value?” she asked. “They put it into their work.”

Williams has drawn the salary short straw before: She was slated to earn less than 1 percent of what her co-star Mark Wahlberg was getting for the film “All the Money in the World.” — NANCY COLEMAN

Phoebe Waller-Bridge and Bill Hader presenting the award for best actor in a limited series was bright, silly and short. “What’s a limited series, Bill?” “A limited series is a show that’s been canceled.” The show didn’t suffer from a lack of hosts per se, but if the Academy wanted to go a different way next year, consider these two for the gig. — MARGARET LYONS

A Poignant Moment for the Exonerated Five

Jharrel Jerome’s win as best actor in a limited series, for playing a wrongfully convicted youth in Ava DuVernay’s “When They See Us,” was a welcome surprise enough. But the most striking moment of his acceptance speech came when he called attention to the Exonerated Five — the men whose story of injustice and racist stereotyping the series brought to life — who stood, free and vindicated, in the audience. The Emmys is always a celebration of entertainment and imagination, but for a moment it became something else: history. — JAMES PONIEWOZIK

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[bharatiyamedia-blog]

Christoph Waltz to reprise his super-villain position of Blofeld in Daniel Craig's upcoming spy film- Leisure Information, Firstpost

http://tinyurl.com/y326vl2o Celebrated actor Christoph Waltz is ready to return as antagonist Ernst Stavro Blofeld within the upcoming Bond 25. Whereas the long-lasting character has been beforehand essayed by actors Donald Pleasence and Max von Sydow, Waltz first performed the position in 2015’s Spectre. Christoph Waltz | Twitter In line with Variety, the film is at present being filmed in London and Waltz is amongst various actors returning to reprise their roles. One other iconic London location immediately… #Bond25 pic.twitter.com/7X60EDiZ23 — James Bond (@007) July 12, 2019 The returning actors are Ralph Fiennes as M, the pinnacle of MI6; Rory Kinnear as Tanner, a loyal affiliate of Bond’s; Ben Whishaw as Q, who presides over MI6’s analysis and growth division; Naomie Harris as Moneypenny; Léa Seydoux because the psychologist Dr Madeleine Swann; and Jeffrey Wright as CIA agent Felix Leiter. Bohemian Rhapsody star Rami Malek will play the villain reverse to Daniel Craig’s James Bond within the upcoming installment of the franchise. In a promotional video, Malek promised that he would give Bond a tough time in his 25th outing. Cary Joji Fukunaga is directing the James Bond movie, which additionally options Rami Malek as the primary villain alongside facet new entrants Ana De Armas, Lashana Lynch, David Dencik, Billy Magnussen and Dali Benssalah. Fukunaga, who got here on board as a director after Danny Boyle exited the venture over “inventive variations”. Variety stories that Neal Purvis, Robert Wade, Scott Z. Burns and Phoebe Waller-Bridge are the writers at present on board. The at present untitled film, which is Craig’s fifth and remaining outing because the suave British spy, was beforehand filming in Jamaica. The movie is scheduled for launch within the U.Okay. by way of Common on three April, 2020, and within the U.S. by way of United Artists Releasing on eight April, 2020. (With inputs from Press Belief of India) Up to date Date: Jul 13, 2019 16:01:21 IST !function(f,b,e,v,n,t,s) {if(f.fbq)return;n=f.fbq=function() {n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments)} ; if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)}(window,document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '259288058299626'); fbq('track', 'PageView'); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "http://connect.facebook.net/en_GB/all.js#xfbml=1&version=v2.9&appId=1117108234997285"; fjs.parentNode.insertBefore(js, fjs); }(document, 'script', 'facebook-jssdk')); Source link

[shipcestuous]

(1/2)The ThunderTwins are a reverse-gender parallel of ThunderMan and Electriss. ThunderGirl/ThunderMan is more obsessed with image and glory and believes her/him self to be more light-oriented than s/he actually is; ThunderBoy/Electriss has a darker edge. ThunderBoy doesn't like being seen as a goody-goody and Electriss prefers not to talk about her career. I think this applies more to their superhero personas than their civilian roles hence the names I chose.

(2/2)Billy and Nora are like Hank and Barb. Billy/Hank has the cooler power, is more laid-back, a big eater, is more attentive to his partner than his kids/babysitting charge, and is quite aware that he’s not the smart one so happily hands control over to his partner. Nora/Barb has the darker/more dangerous power, is bossy and intimidating, and nurturing in a fiercer less-traditional way. I don’t know if they’ll parallel in their work relationship.

This is so great. And so right!

And Max and Phoebe do take after Hank and Barb in the sense of being a super hero team together. (And maybe Billy and Nora will be that too.) But there’s some crossing of their personalities. But also Phoebe can sort of be the Barb-like “mom” and Max is the easygoing one. 

You’ve made me very happy by talking about Billy and Nora. There’s a total parallel in their powers - Barb and Nora have zappy powers and Hank and Billy have travel powers. 

There’s so much here, really. It could be discussed a lot.

[shipcestuous]

The A&B plots of Significant Brother feel switched around for me. The compelling story was the difference in Nora's relationships with Billy and Max. I was afraid that it could have been an episode where Nora tried to distance herself from Billy but they went the opposite direction. The two of them were so synchronized that a few years from now when they're both in their mid-teens, I can easily see civilians mistaking them for the twins instead of Max and Phoebe.

I know the show passed it off as Cherry being a cloud cuckoolander, but it made perfect sense to me that Cherry kept mistaking Max and Phoebe for Hansel and Gretel. Really, I think it’s one of the most brilliant observations she’s ever made!

Nora and Billy seem to always be in the B plot, but I agree completely. (Though it was nice to see another one of Phoebe’s love interests come to nothing.)

I was so relieved to see a good Billy and Nora relationship episode. We were long overdue, especially since the show started out with a big focus on the two of them as codependent and of a singular mind. Like you said, they have always seemed more like the twins, and when they’re both adults, probably even more so without the age difference mattering as much. 

We need a Max and Phoebe Hansel/Gretel AU.