#byron lee and the dragoneers

[kylesvariouslistsandstuff]

Well, THAT's definitely big...

Jennifer Lee has stepped down as Chief Creative Officer of Walt Disney Animation Studios, following two genuine box office losses in STRANGE WORLD and WISH, in addition to several directors and staff leaving, some of which criticizing what the studio's output and workflow has become...

A decision she was apparently largely behind, herself, as she wants to continue her career as a director/writer/filmmaker and not lead a studio's creative process...

Taking her place is Jared Bush, who was a co-director and writer on ZOOTOPIA with Byron Howard and Rich Moore (both of them were considered to lead Disney Animation in 2018 when John Lasseter was being ousted), then graduated to director (no "co") on ENCANTO, and is confirmed to be the director of ZOOTOPIA 2. In addition to that, he did some script stuff for MOANA, and served as part of the studio's creative leadership for about a decade, his earliest WDAS credit being BIG HERO 6. Elsewhere in the Mouse domain, he co-created Disney TV Animation's PENN ZERO: PART-TIME HERO with former WDAS staffer Sam Levine, who was at one point set to direct the video game adventure movie that later evolved into WRECK-IT RALPH.

A lot of his prior work, curiously, was in network TV. Very little in animation, though. He got to WDAS when BIG HERO 6 was in the works, and immediately became part of the leadership there. Contrast that with Lee, whose only film/TV media credit prior to arriving at WDAS in 2011-ish to work on WRECK-IT RALPH's script was... A 2004 short film called A THOUSAND WORDS, which another RALPH writer - Phil Johnston - wrote and directed. Must've been a real referral! Soon after, Lee found herself writer and director on FROZEN, directing alongside veteran Chris Buck of TARZAN and SURF'S UP fame. That movie was a troubled-as-hell production, stuff was changed and re-arranged at the very last minute, it goes on to become the highest grossing animated movie (holding the title for nearly 6 years) and a worldwide phenomenon... And Disney Animation's first Oscar for Best Animated Feature winner.

So after that, after her story work on ZOOTOPIA, and after her exec roles on other movies, they made her CCO while she was deep in production on FROZEN II. Which despite being an equally troubled production where many last-minute changes were made, was still a huge box office smash... COVID-19 definitely hit her run as CCO like a freight train, as I do think RAYA AND THE LAST DRAGON and ENCANTO would've fared well at the box office w/o a pandemic going on. The latter won the BAF Oscar and was a monster success on Disney+ in addition to having a 2x Platinum-selling soundtrack in the U.S. alone. I myself also feel that those two films are the strongest movies released during her tenure.

But even the good seemed to be marred by a lot of the things that were evident in Lasseter's tenure: Last-minute changes to things and upending whole movies the closer they get to the finish line, director removals and swaperoos (RAYA, particularly)... and much more caving to the focus groups. I also feel that Lee's storytelling instincts seemed to translate to "Well let's do every movie like FROZEN. The same kinda tone, art style, dialogue, etc." When it doesn't fit every movie, especially when they're going for genres that aren't what FROZEN is. I'd imagine it's the rest of the leadership too, and who she has to answer to and work with. Lasseter seemed to know how to skirt around focus groups for the most part, which could explain why some of the Lee-era movies just lack any kind of bite or even any kind of distinct directorial vision. When I hear stories like "The WISH co-director's 7-year-old kid got scared by the original ending, so they changed it", I do not approve. I don't think that's a good way of doing things. I kinda got the sense that she was unsure of herself being the leader and maybe trusted others over her own instincts... Thus her choosing to step down and focus on FROZEN III & IV and other projects checks out honestly.

The structure there has to change, really, no matter if Lee or Bush are leading the filmmaking charge. WDAS needs to worry less about living up to their legacy, and think more about creating new and dynamic kinds of movies that build a legacy in the first place. Like the way Walt himself and his crew did. That being said, Bush I think is a decent choice, with his experience and whatnot, he may do the leader thing just fine. MOANA 2 is likely the end of the Lee era then, as it's only two months away from release. ZOOTOPIA 2 is already in full production, as evidenced by the scene shown at D23 last month, so is that bridge to the Bush era? Or does little change under his role as CCO? Sometimes a filmmaker being CCO means the movies made by multiple people end up suiting that person's vision. And can lead to things being homogeneous.

We'll have to see, but it's a huge development nonetheless.

Lee has only lasted 6 years in charge, Lasseter lasted 11-12 years. His ouster was awkwardly prolonged when word got out about his inappropriate behavior, first going on "sabbatical leave" for half a year, and then being in some "consultant" role at the company before leaving altogether over one full year after the accusations got out.

Another cool detail about this change... Lee's directing partner on FROZEN III & IV is Marc Smith, not Chris Buck like the first two movies. Buck also directed WISH, and I wonder if - since he's free of FROZEN duties - he's staying at WDAS or he packs his bags and directs somewhere's else? WISH didn't seem like a particularly rewarding production for anybody, in addition to becoming a critical dud (a rare one for WDAS, with a low Rotten aggregate) and box office disaster, sooooo... That remains to be seen. As is what the 2026 original movie is... Maybe that's why Lee was weirdly quiet about it at D23...

[burningexeter]

Here's a fairly solid amount of all the different kinds of media that I think both can fit well in and could share the same universe as one of the top five greatest superhero movies ever made, Brad Bird's The Incredibles, which you can both read and see below for yourself:

• Gore Verbinski's Mouse Hunt, The Ring (2002), the Pirates Of The Caribbean Trilogy & Rango

• Jon Turteltaub's National Treasure Duology

• Andrew Davis' Holes (2003)

• David Lowery's Pete's Dragon (2016)

• Jack Clayton's Something Wicked This Way Comes (1983)

• Steven Lisberger's Tron (1982)

• Joseph Kosinski's Tron: Legacy

• Lee Unkrich & Alfred Molina's Coco (2017)

• Jared Bush & Byron Howard's Encanto (2021)

• Michael Dougherty's Trick r Treat & Krampus

• Mark Waters' The Spiderwick Chronicles (2008)

• Scott Cooper's Antlers (2021)

• Jeff Kline's Transformers: Prime & Transformers Prime Beast Hunters: Predacons Rising

• Dan Angel & Billy Brown's R.L. Stine's The Haunting Hour: The Series (every episode of the entire series except for five shitty episodes - Red Eye, Poof De Fromage, Bad Egg, Mrs. Worthington & Lotsa Luck)

• Dan Cross & David Hoge's Pair Of Kings

• Dean Parisot's Galaxy Quest (1999)

• Stephen Sommers' The Jungle Book (1994) & The Mummy (1999)

• Gareth Carrivick's Frequently Asked Questions About Time Travel

• Colin Trevorrow's Safety Not Guaranteed

• HBO's Tales From The Crypt (The Man Who Was Death, And All Through The House, Dig That Cat... He's Real Gone, Only Sin Deep, Lover Come Hack To Me, Cutting Cards, The Thing From The Grave, The Sacrifice, For Cryin' Out Loud, Four-Sided Triangle, Judy, You're Not Yourself Today, Fitting Punishment, Lower Berth, Mute Witness To Murder, Television Terror, Abra Cadaver, Top Billing, Easel Kill Ya, Undertaking Palor, Deadline, Yellow, None But The Lonely Heart, On A Deadman's Chest, Beauty Rest, What's Cookin', The New Arrival, Showdown, King Of The Road, Maniac At Large, Split Personality, Strung Along, Forever Ambergris, People Who Live In Brass Hearses, Two For The Show, Well Cooked Hams, Came The Dawn, Half-Way Horrible, Only Skin Deep, The Bribe, The Assassin, Staired In Horror, Surprise Party, You, Murderer, Fatal Caper, Escape, Horror In The Night, Cold War, The Kidnapper, Report From The Grave & Confession)

• Quentin Tarantino's Tarantinoverse

• Robert Rodriguez's Rodriguezverse

• Kevin Smith's View Askewniverse

• Steven Spielberg's The Adventures Of Tintin (2011)

&

• John Carpenter's Big Trouble In Little China

In the world of The Incredibles, as long as everything remains somewhat grounded or grounded to a certain degree, pretty much anything can happen ranging from action, drama, comedy, romance, horror and adventure.

[synergysilhouette]

Renaissance and Revival-era Disney movies that I wish had different directors, writers, and/or songwriters

Original lyricist/composer(s): Matthew Wilder & David Zippel

Desired lyricist/composer(s): Stephen Schwartz

I'm a big fan of Stephen's work for Disney, and I was really shocked to learn he was the original person intended for Mulan's soundtrack. However, due to Disney having an issue with him working for Dreamworks at the same time, they decided to remove him from the project. Given how Schwartz has a talent for making really epic, dramatic songs, it feels like "Mulan" should've been up there in scale with "Pocahontas" and "The Hunchback of Notre Dame" due to the trinity's dark vibes and storylines.

Tangled

Original Songwriter(s): Glenn Slater

Desired Songwriter(s):Stephen Schwartz

I personally found the songs in the film to be very lackluster. "Mother Knows Best" is AMAZING (and it's reprise is the best Disney villain song, I swear), but that's about it. Nothing else drew me in or stood out to me musically. Given Stephen's track record with me, I think I'd be replaying this soundtrack more often if he put his magic into it. We can keep Alan Menken as the composer, though.

Original Director(s): Nathan Greno & Byron Howard

Desired Director(s): Jon Musker & Ron Clements

I personally wasn't impressed by Tangled; Rapunzel, Gothel, and Pascal were the best parts of it. Given Musker and Clements' track record with Disney films, I think I would've enjoyed the project more if they were the heads of it (though I do like Byron's other Disney projects).

Raya and the Last Dragon

Original Director(s): Don Hall & Carlos López Estrada

Desired Director(s): Michael Dante DiMartino & Bryan Konietzko

Let's say that due to the lack of Asian-centric media in the west and Raya's story of uniting divided lands, Disney already foresaw the potential comparisons and rather than skating around to dodge them, they decided to do one better by having the original creators of "Avatar: The Last Airebender" direct the film, with the end goal to make it almost like a spiritual successor to ATLA but still something distinct, and the directors' emphasis on finding a clear direction for the SEA story and wroking with the SEA screenwriters would've made for a stronger narrative--and it's likely Raya would've had a different personality/design to avoid comparisons to Katara and Korra.

Original Songwriter(s): None

Desired Songwriter(s): Lin-Manuel Miranda

Lin-Manuel Miranda probably feels like a repetitive choice, and I'm unsure if he would've felt comfortable working on RATLD and "Encanto" at the same time (they were released the same year, btw), but I do feel like given his involvement with two animated Disney films (and two live-action films later down the road), he's essentially one of the people kept on Disney's list of people to use, similar to how the renaissance era used Alan Menken, Howard Ashman, and Stephen Schwartz a lot. Plus his music with James Newton Howard's score would make the world stop--plus this AND "Encanto" coming out the same year would definitely break records in box office for COVID films (Raya testing the waters first, with it's success encouraging more people to see "Encanto" in theaters).

Wish

Original Director(s): Chris Buck & Fawn Veerasuthorn

Desired Director(s): Hayao Miyazaki

Don't laugh, and don't judge me. I've wanted a Hayao Miyazaki-directed Disney for a LONG time--I was hoping that it'd be one inspired by Japanese culture, but it doesn't matter as long as he brings his creativity--that said, that probably means he should be the screenwriter for the film as well, at the very least in collaboration with Jennifer Lee and Fawn Veerasuthorn. If you know his filmogrpahy, you know he comes up with beautiful and thought-provoking cinema, and "Wish" is exactly what that should've been. Plus he said his favorite Disney films are "The Little Mermaid" and "Peter Pan," so I take that as a green light for Disney's anniversary film! Plus it could open up the door for him to direct/write future Disney films based on the film's box office and Hayao's experience working with the company (which I PRAY would be positive).

Original songwriter(s): Julia Michaels, Benjamin Rice, & JP Saxe

Desired Songwriter(s): Kristen Anderson-Lopez and Bobby Lopez

As I've said on other posts, it's ridiculous that Disney hasn't utilized the husband/wife team more outside of the "Frozen" franchise (though they have worked on Disney-owned projects, such as Pixar's "Coco" and Marvel's "Wandavision"), and after "Gigantic" was cancelled for whatever reason, I think they should've been the first people on Disney's list for potential songwriters for the film.

[ptbf2002]

My Top 30 Favorite Disney Movie Characters Part 2

30. Woody (Toy Story 1/2/3/4)

29. Buzz Lightyear (Toy Story 1/2/3/4)

28. Max Goof (A Goofy Movie)

27. Roxanne (A Goofy Movie)

26. Mirabel Madrigal (Encanto)

25. Bolt (Bolt)

24. Baymax (Big Hero 6)

23. Jack Skellington (The Nightmare Before Christmas)

22. Jack Sparrow (Pirates Of The Caribbean)

21. Darwin (G-Force)

20. Rapunzel (Tangled)

19. Pinocchio (Pinocchio)

18. Lightning McQueen (Cars 1/2/3)

17. Mater (Cars 1/2/3)

16. WALL-E (WALL-E)

15. Nick Wilde (Zootopia)

14. Judy Hopps (Zootopia)

13. Dusty Crophopper (Planes)

12. Moana (Moana)

11. Alice (Alice in Wonderland)

10. Luca Paguro (Luca)

9. Alberto Scorfano (Luca)

8. Giulia Marcovaldo (Luca)

7. Wreck-It-Ralph (Wreck-It-Ralph/Ralph Breaks The Internet)

6. Vanellope Von Schweetz (Wreck-It-Ralph/Ralph Breaks The Internet)

5. Fix-It-Felix Jr. (Wreck-It-Ralph/Ralph Breaks The Internet)

4. Piglet (Winnie The Pooh)

3. Winnie The Pooh (Winnie The Pooh)

2. Raya (Raya And The Last Dragon)

And 1. Mickey Mouse

Original Template: https://www.deviantart.com/patricksiegler1999/art/Top-30-Favorite-Disney-Characters-Meme-Base-898343691

Toy Story Belongs To Joss Whedon, Andrew Stanton, Joel Cohen, Alec Sokolow, John Lasseter, Pete Docter, Joe Ranft, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 2 Belongs To Andrew Stanton, Rita Hsiao, Doug Chamberlin, Chris Webb, John Lasseter, Pete Docter, Ash Brannon, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 3 Belongs To John Lasseter, Andrew Stanton, Lee Unkrich, Michael Arndt, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 4 Belongs To John Lasseter, Andrew Stanton, Josh Cooley, Valerie LaPointe, Rashida Jones, Will McCormack, Martin Hynes, Stephany Folsom, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

A Goofy Movie Belongs To Art Babbitt, Frank Webb, Robert Taylor, Michael Peraza Jr. Jymn Magon, Chris Matheson, Brian Pimental, Phoenix Animation, Pixibox Digital Ink & Paint, Disney Animation France S.A. Disney Animation Australia Pty. Ltd. Disney Television Animation, DisneyToon Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Encanto Belongs To Jared Bush, Byron Howard, Charise Castro Smith, Jason Hand, Nancy Kruse, Lin-Manuel Miranda, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Bolt Belongs To Dan Fogelman, Chris Williams, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Big Hero 6 Belongs To Steven T. Seagle, Duncan Rouleau, Jordan Roberts, Robert L. Baird, Daniel Gerson, MARVEL Comics, Man of Action Entertainment, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Nightmare Before Christmas Belongs To Tim Burton, Michael McDowell, Caroline Thompson, Skellington Productions, Tim Burton Productions, Touchstone Pictures, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pirates of the Caribbean: The Curse of the Black Pearl Belongs To Ted Elliott, Terry Rossio, Stuart Beattie, Jay Wolpert, Jerry Bruckheimer Films Inc. Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pirates of the Caribbean: Dead Man's Chest Belongs To Ted Elliott, Terry Rossio, Jerry Bruckheimer Films Inc. Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pirates of the Caribbean: At World's End Belongs To Ted Elliott, Terry Rossio, Jerry Bruckheimer Films Inc. Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pirates of the Caribbean: On Stranger Tides Belongs To Ted Elliott, Terry Rossio, Jerry Bruckheimer Films Inc. Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pirates of the Caribbean: Dead Men Tell No Tales Belongs To Jeff Nathanson, Terry Rossio, Jerry Bruckheimer Films Inc. Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

G-Force Belongs To Cormac Wibberley, Marianne Wibberley, Hoyt H. Yeatman Jr. David P.I. James, Jerry Bruckheimer Films Inc. Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Tangled Belongs To Jacob Grimm, Wilhelm Grimm, Dan Fogelman, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pinocchio Belongs To Carlo Collodi, Ted Sears, Otto Englander, Webb Smith, William Cottrell, Joseph Sabo, Erdman Penner, Aurelius Battaglia, Walt Disney Studio, Walt Disney Productions, Walt Disney Feature Animation, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company, RKO Radio Pictures Inc. Radio-Keith-Orpheum Corporation, RKO Pictures Corporation, RKO Teleradio Pictures Inc. And RKO General Inc.

Cars Belongs To Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, Jorgen Klubien, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars 2 Belongs To Ben Queen, John Lasseter, Brad Lewis, Dan Fogelman, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars 3 Belongs To Kiel Murray, Bob Peterson, Mike Rich, Brian Fee, Ben Queen, Eyal Podell, Jonathan E. Stewart, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

WALL-E Belongs To Andrew Stanton, Jim Reardon, Pete Docter, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Zootopia Belongs To Byron Howard, Rich Moore, Jared Bush, Jim Reardon, Josie Trinidad, Phil Johnston, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Planes (film) Belongs To John Lasseter, Klay Hall, Jeffrey M. Howard, DisneyToon Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Moana Belongs To Ron Clements, John Musker, Chris Williams, Don Hall, Pamela Ribon, Aaron Kandell, Jordan Kandell, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Alice in Wonderland Belongs To Winston Hibler Ted Sears Bill Peet Erdman Penner Joe Rinaldi Milt Banta Bill Cottrell Dick Kelsey Joe Grant Dick Huemer Del Connell Tom Oreb John Walbridge Walt Disney Studio, Walt Disney Productions, Walt Disney Feature Animation, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company, RKO Radio Pictures Inc. Radio-Keith-Orpheum Corporation, RKO Pictures Corporation, RKO Teleradio Pictures Inc. And RKO General Inc.

Luca (2021) Belongs To Enrico Casarosa, Jesse Andrews, Mike Jones, Simon Stephenson, Michael Jones, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Wreck-It Ralph Belongs To Rich Moore, Phil Johnston, Jim Reardon, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Ralph Breaks the Internet Belongs To Rich Moore, Phil Johnston, Jim Reardon, Pamela Ribon, Josie Trinidad, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Tigger Movie Belongs To A. A. Milne Jun Falkenstein, Eddie Guzelian, Disney Animation Japan Inc. Disney Television Animation, DisneyToon Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Pooh's Heffalump Movie Belongs To A. A. Milne, Brian Hohlfeld, Evan Spiliotopoulos, T2 Studio, Jade Animation Company Ltd. Nakamura Production, Munich Animation, Disney Animation Japan Inc. Disney Television Animation, DisneyToon Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Winnie the Pooh: Springtime with Roo Belongs To A.A. Milne E.H. Shepard Charles Dickens, Tom Rogers, Toon City Animation, Inc. DisneyToon Studios, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

Piglet's Big Movie Belongs To A.A. Milne, Brian Hohlfeld, Gullwing Co., Ltd, Studio Fuga, T2 Studio, Disney Animation Japan Inc. DisneyToon Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Winnie the Pooh (2011) Belongs To A.A. Milne, E.H. Shepard, Stephen Anderson, Clio Chiang, Don Dougherty, Don Hall, Kendelle Hoyer, Brian Kesinger, Nicole Mitchell, Jeremy Spears, Methuen Publishing Ltd. E.P. Dutton, Penguin Random House LLC, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Raya and the Last Dragon Belongs To Bradley Raymond, Helen Kalafatic, Paul Briggs, Don Hall, Adele Lim, Carlos López Estrada, Kiel Murray, Qui Nguyen, John Ripa, Dean Wellins, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Mickey Mouse (film series) Belongs To Walt Disney, Ub Iwerks, Floyd Gottfredson, Celebrity Productions, RKO Radio Pictures Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, United Artists Corporation, United Artists Releasing, LLC, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon, Inc. Walt Disney Studio, Walt Disney Productions, Walt Disney Feature Animation, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Hollywood Party (1934 film) Belongs To Howard Dietz, Arthur Kober, Walt Disney Studio, Walt Disney Productions, Walt Disney Feature Animation, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, And Amazon, Inc.

Fantasia Belongs To Joe Grant, Dick Huemer, Samuel Armstrong, James Algar, Bill Roberts, Paul Satterfield, Ben Sharpsteen, David D. Hand, Hamilton Luske, Jim Handley, Ford Beebe, T. Hee, Norman Ferguson, Wilfred Jackson, Walt Disney Studio, Walt Disney Productions, Walt Disney Feature Animation, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company, RKO Radio Pictures Inc. Radio-Keith-Orpheum Corporation, RKO Pictures Corporation, RKO Teleradio Pictures Inc. And RKO General Inc.

Fun and Fancy Free Belongs To Sinclair Lewis, Homer Brightman, Eldon Dedini, Lance Nolley, Tom Oreb, Harry Reeves, Ted Sears, Walt Disney Studio, Walt Disney Productions, Walt Disney Feature Animation, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. The Walt Disney Company, RKO Radio Pictures Inc. Radio-Keith-Orpheum Corporation, RKO Pictures Corporation, RKO Teleradio Pictures Inc. And RKO General Inc.

Who Framed Roger Rabbit Belongs To Gary K. Wolf, Jeffrey Price, Peter S. Seaman, Silver Screen Partners L.P. Amblin Entertainment, Inc. Amblin Partners, LLC. Touchstone Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Mickey's Once Upon a Christmas Belongs To Walt Disney, Ub Iwerks, Dick Lundy, Art Babbitt, Frank Webb, Charlie Cohen, Thomas Hart, Scott Gorden, Tom Nance, Carter Crocker, Richard Cray, Temple Mathews, Eddie Guzelian, Toon City Animation, Inc. Animation Studio Basara Co., Ltd. Disney Animation Japan Inc. Disney Animation Canada, Inc. Disney Television Animation, DisneyToon Studios, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

Fantasia 2000 Belongs To Don Hahn, Pixote Hunt, Hendel Butoy, Eric Goldberg, James Algar, Francis Glebas, Paul Gaëtan Brizzi, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Mickey's Magical Christmas: Snowed in at the House of Mouse Belongs To Walt Disney, Ub Iwerks, Roberts Gannaway, Tony Craig, Thomas Hart, Toon City Animation, Inc. Disney Television Animation, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

Mickey's House of Villains Belongs To Walt Disney, Ub Iwerks, Roberts Gannaway, Tony Craig, Thomas Hart, Kevin Campbell, Elizabeth Stonecipher, Henry Gilroy, Jymn Magon, Walt Disney Feature Animation Florida, Disney Animation Australia Pty. Ltd. Toon City Animation, Inc. Disney Television Animation, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

Mickey, Donald, Goofy: The Three Musketeers Belongs To Walt Disney, Ub Iwerks, Dick Lundy, Alexandre Dumas, Art Babbit, Frank Webb, Pinto Colvig, Tom Palmer, Art Babbitt, Evan Spiliotopoulos, David M. Evans, Toon City Animation, Inc. Disney Animation Australia Pty. Ltd. DisneyToon Studios, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

Mickey's Twice Upon a Christmas Belongs To Walt Disney, Ub Iwerks, Bill Motz, Bob Roth, Peggy Holmes, Chad Fiveash, James Patrick Stoteraux, Matthew O'Callaghan, Shirley Pierce, Jim Peronto, Carole Holliday, Michael Shipley, Jim Bernstein, Theresa Pettengill, Colin Goldman, Blur Studio, Sparx* Vietnam, Sparx*, DisneyToon Studios, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises Inc. And The Walt Disney Company

[cafeleningrad]

🔥 + vampires

Hello Anon, 'tis the season for such asks, isn't it? (And I recently talked too much about these creatures even though I'm not even a big fan of them?)

I think every onw has their littell indulgences in fictions far easier than certain themes, more tempting settings or creatures. For me it's dragons, for others it is vampires. This I personally don't get. Why is that sofor me? Pardon the pun but I think vampires in popcultre are remakrably defanged. At least they're very uninteresting in Western culture these days.

Dr. Jeff Holdeman said: "every age creates the Vampire it needs". Probably that can be said about any monster that cultures create creatures incarnating fears and cosmoplogy into a shaped myth. Vampires in particular are monsters created from fears of wasting, of fears of being robbed basic needs like rain for crops, draining people of energy and ressources they might barely have themselves, and a lot other anxieties- (Note that albeism and ageism are featured in these fears.) As concept the folkloric vampire can still transport anxieties into it's mythic form, there can be a lot done with it. In the Romantic and later ion Stoker's era, vampires became metaphors very often for artistorcrats sucking life forces of people socially weaker than them, breaking of boundaries. Additionally to fears of age, disability, and silent wasting diseases, came a social commentary component in anglophone literature which expands on the idea of a life sucking force can be. (Also interesting note, that Stoker might been more heavily inspired by Irish folklore than actual Central European one.) And of course what people see as silently corrupting others might differ form person to person. Meaning for homphobes, homosexuality can be a silently corrupting force. Queue Carmilla. It is no accident that in the 70s Hollywood was so fixated on the female vampire. In hindsight it is a perfect encapsulation of male fear of female sexuality. In the light of women's liberation movements soverignity women have and should have about their own sexuality stepped into the public light. Alongside the queer movement, the discovery of lesbian sex, men kinda realized male genitals were not necessarily needed for female orgasms. That breeds an entire subgenre of lesbian vampires. Apart from a homophobic literary predecessor, curious how the sexually assured woman who seduces other women, and (dentally) penetrates them becomes the monster. Speaking of sexuality. Eroticism and vampires are commonly linked these days, the metaphor is certainly there. Already with Lord Byron being parodied as a sexually exploitative vampire, Carmilla, later in cinema with Legosi, and Lee. I mean surely, horror plays with fears and tabaoos, if not fully diving into it. In times of sexualy repression the sexual component makes a lot of sense to incarnate in the modern US vampire. Not be another hater on Twilight, so much hate and ridicule was based on misogyny of a property for a femlae audience having sucess, however the vampires could've actually been any cerature as long as it was eternally youthful and sexually intriguing. (As demonstrated as the YA supernatural soft porn copy cats featuring angels and faes....) But why is Edward a vampire then? It's the animalistic appeal in him madly desiring a total normal girl into which the readers can easily project themselves into as an avatar, it's about the fantasy how badly Edward wants go down with Bella but is still safe as he will chastily surpress the urge for her virtue. There is a lot of itneresting stuff to unpack about the modern US vampire about his peak as sexual metaphor. Won't dwell to long on it because tumblr has already so many essays discussing Twilight, and vampires and (homo-)sexuality. What does annoy me, is that sexual repression is only one aspect of what a vampire can be. It follows only one branch of anglophone, and increasingly US-cultured pop-cultured, literary history centered around puritan anxieties. Don't get me wrong, the sexual aspects are there but if I have to read another Dracula take of puritanical Victorians... (For a "eat the rich" website the nobility cricism and Irish aspects are wasted... Also, wasting disease, and a certain tinge of xenophobia...) At some point that too can make a monster onesided, and repetitive if it only operates on one metpahor.

However, it is interesting that the vampire is pitiable, deserving of sympathy, maybe is romancable as endgame -monsters not being onedimensional evils anymore- falls togehter in an age where other stories very much invite the idea of understanding of the otherness as well. It can be very interesting. What is even more intersting to me how un-monstrous the monsterous is. Post Twilight, not all, but many vampiric centered shows used the mosnter as metpahor for understanding the other. But what does it say about the mosnter when it's nature is domesticated into easy alternative products, tamed, and is easily understood if it adheres to a very high beauty standart? (Del Torro's Shape of Water is the only bigscreen exception in Hollywood. I might be wrong but I can't recall much of another mainstream monster-monster romance title.) I think, there is a lot of interesting potential to continue using the monster as metpahor for understanding. Heck the compromise of it not being able to not harm the other person yet bargaining how to keep the harm at bay could make for an interesting story. The versions where the bloodsucking/lifeforcesucking is watered down to first sexual excitement just make the mosnter to a very bland idea of a sexual fantasy to me.

I mean, I know why these alterations exist like this, they're their right to exist. But in this form they simply are very boring. They're just the recycled idea of a "bad boy lover" but with a lot of money, and maybe Versailles cosplay, or dark leather, preferences may vary.

On the male side vampires are so ficking boring. Just overpowered beasts, can't die easily, there's a lot of blood, the goth imagery is there. I am looking at you Castlevania, Hellsing, and Lincoln Vampire Hunter. Perhaps every and genre era has macho hype fight fantasies. This one is so unbearbaly edgy wanna be cool to me.

All in all: Like every monster, the vampire was born out of very existencial anxieties. The concept ca be expanded onto fears of every era, and a lot of intersting things can be done out of them. A cerature that feeds of others, especially in invisible, barely inescapable ways - that metaphor can stretch so far, and play into some gerat horror ideas. Like with sexuality, abuse of social status, dealing with invisble illnesses. In previous discussions with anons they purposed ideas about vampires surviving over centuries and wirnessing history. Maybe less monstrous but also interesting to lean into what the massive passage of time can do. ("Interview with a vampire" really leans into the aspect of being stuck in time, being damned to actually remain in the age the turned person died while things still go on. Rice really wrote beautifully about the sensation of grief. So much in teh story comes back to trying to find a source for the characters' misery (the vampirism, being condemned to eternity, especially Claudia. I know, Lestat is a tumblr fave but the entire Vampire sage of hers is less interesting because it does exactly what I dislike about contemporary vampires: Defanging Lestat in his villanous aspects, swapping the more poetic stories but a more cool character image. Hearing good stuff from the show re-interpretation though.) In an age where everyone discusses class struggles, power dynamics between different demographics, word like "emotional labour" as well as clinical diagnosis are thrown around, scarcity of ressources is a big topc of anxiety, I think the concept of vampire can be easily used int stories - at least it can expand way beyond brachial discussions of sexuality. Or if leaning into sexuality, let's go back into the monstrousness. Aren't we in times talking so much about abuse? Why not make more of it? If understandig the monster why not go into also ageist and albeist origins of the the folkloric vampire? Why not talk about vampire metaphors historically harmful to minorities? They're such a rich source of ideas, and I am pretty suer that they're very good off-mainstream, outside-Hollywood titles using this creature in intersting ways. At it's current state of being afigure of "a rich, fancy seducer but within the boundaries of sexual comfort zone with a bit of excitement", or male power fantsy OP beast, they're just very unteresting to me. Both, as character and monster. (shout out to "Let the right one in", and "the girl who walks alone at night")

[balioc]

BALIOC’S READING LIST, 2022 EDITION

With one exception, this list counts only published books, consumed in published-book format, that I read for the first time and finished. (There was one serious-seeming book that, as far as I know, exists only in free-floating PDF form.) No rereads, nothing abandoned halfway through, no Internet detritus of any kind apart from the aforementioned, etc.  Also no children’s picture books.

1. The Blue Castle, Lucy Maude Montgomery

2. The Art of Gathering: How We Meet and Why It Matters, Priya Parker

3. The Girl and the Mountain, Mark Lawrence

4. There Is No Antimemetics Division, qntm

5. Dreamsnake, Vonda N. McIntyre

6. War and State Building in Medieval Japan, Various (ed. John A. Ferejohn and Frances McCall Rosenbluth)

7. Legal Systems Very Different From Ours, David Friedman, Peter T. Leeson, and David Skarbek

8. The Revolutions, Felix Gilman

9. Age of Ash, Daniel Abraham

10. When the Sea Turned to Silver, Grace Lin

11. Summer in Orcus, T. Kingfisher

12. The Thousand Eyes, A. K. Larkwood

13. Kingfall, David Estes

14. Surrogation, Suspended Reason

15. The Hands of the Emperor, Victoria Goddard

16. The Remains of the Day, Kazuo Ishiguro

17. Hakkenden -- Part 1: "An Ill-Considered Jest," Kyokutei Bakin

18. Claws of the Cat, Susan Spann

19. Blade of the Samurai, Susan Spann

20. Flask of the Drunken Master, Susan Spann

21. The Ninja's Daughter, Susan Spann

22. Betrayal at Iga, Susan Spann

23. Trial at Mount Koya, Susan Spann

24. Ghost of the Bamboo Road, Susan Spann

25. Fires of Edo, Susan Spann

26. The Discord of Gods, Jenn Lyons

27. All the Seas of the World, Guy Gavriel Kay

28. Don Rodriguez: Chronicles of Shadow Valley, Edward Plunkett, Lord Dunsany

29. Streets of Gold: America's Untold Story of Immigrant Success, Ran Abramitzky and Leah Bousyan

30. Harrow the Ninth, Tamsyn Muir

31. Perhaps the Stars, Ada Palmer

32. Dreadgod, Will Wight

33. Lamb: The Gospel According to Biff, Christ's Childhood Pal, Christopher Moore

34. Manfred, George Gordon, Lord Byron

35. Friend to Mankind: Marsilio Ficino (1433-1499), Various (ed. Michael Shepherd)

36. Locklands, Robert Jackson Bennett

37. The Jade Setter of Janloon, Fonda Lee

38. Spring Snow, Yukio Mishima

39. Against All Gods, Miles Cameron

40. Nona the Ninth, Tamsyn Muir

41. Slouching Towards Utopia: An Economic History of the Twentieth Century, J. Bradford DeLong

42. The Golden Enclaves, Naomi Novik

43. The Rise of the Dragon: An Illustrated History of the Targaryen Dynasty, Vol. I, George R. R. Martin, Elio M. Garcia Jr., and Linda Antonsson

44. A Garter as a Lesser Gift, Aster Glenn Gray

45. The Night-Bird's Feather, Jenna Moran

46. Absolution by Murder, Peter Tremayne

47. The Lost Metal, Brandon Sanderson

48. Shroud for the Archbishop, Peter Tremayne

49. Yamada Monogatari: Demon Hunter, Richard Parks

50. Yamada Monogatari: To Break the Demon Gate, Richard Parks

51. Yamada Monogatari: The War God's Son, Richard Parks

52. Yamada Monogatari: The Emperor in Shadow, Richard Parks

53. Pulling the Wings off Angels, K. J. Parker

54. Laurus, Eugene Vodolazkin

55. The Ogre's Wife: Fairy Tales for Grownups, Richard Parks

56. The Dream of a Ridiculous Man, Fyodor Dostoevsky

Plausible works of improving nonfiction consumed in 2021: 7

[“plausible” and “improving” are being defined very liberally here]

Works written by women consumed in 2021: 23

Works written by men consumed in 2021: 29

Works written by both men and women consumed in 2021: 4

Balioc’s Choice Award, Fiction Division: The Remains of the Day

>>>> Honorable Mention: Laurus

Balioc’s Choice Award, Nonfiction Division: Slouching Towards Utopia: An Economic History of the Twentieth Century

>>>> Honorable Mention: War and State Building in Medieval Japan

Series Award for: A Deeply Flawed Work of Luminescent Genius, No Really, This Thing is Artistically and Intellectually Important and Its Flaws Only Make It More So, Dear God What Were They Thinking Not Giving It the Hugo -- the Terra Ignora books, by Ada Palmer

Series Award for: I Cannot Begin to Articulate How Mad I Am That These Books of All Books Have Become Cultural Touchstones of My Local Social and Artistic Circle -- the Locked Tomb books, by Tamsyn Muir

Series Award for: I Must Give Credit to a Brave Author Who Makes Unexpected Moves and Tries New Things with Every Book, Even if Everything She Tries is Terrible -- the Locked Tomb books, by Tamsyn Muir

**********

Fiction-wise, this was actually a better year than you'd think from just eyeballing the list. The overall numbers are still below par, and there's too much shlocky formulaic mystery-series-type stuff; but there was a lot of real quality in there. I had real trouble deciding on my top two, and I ended up not giving either prize to a book by Jenna Moran writing at her normal level of quality, so that says something. There were a number of books that disappointed by not being amazing but that I'm still glad to have read (e.g. Summer in Orcus, The Hands of the Emperor). Even the shlocky formulaic stuff had more merit than you might expect, in many cases.

Serious contemplatively-emotional litfic is real good, at its best. Turns out.

Non-fiction-wise, this was a shitshow of unparalleled proportions. I read almost nothing, and what I read was uninspiring. (I started s number of things that I failed to finish, which didn't help.) I seriously considered making this a "no award" year. I am once again asking for your recommendations for really good, deeply-informative, blow-your-mind-open non-fiction.

[frumfrumfroo]

What are your favorite movies and TV shows outside of SW? I’m looking for new things to watch since SW was so disappointing

My tastes are pretty eclectic, so I will stick to just things that are either similar to sw or are in the reylo-esque romance wheelhouse and have happy endings:

Chuck. It is a goofy, light-hearted action-adventure show with extremely endearing characters and a very prominent central romance (seriously, heavy romance and there is a lot of payoff for it, you will be FED- it's kind of slow burn but also shockingly NOT slow burn, they are deep into it pretty much immediately). The main couple is the classic Stoic Badass gradually softened by an innocent they have to protect who is a liability in battle but full of the Power of Heart. Chuck is The Heart btw. He is of that vanishingly rare male Beauty (of B&tB) type. He's incredibly generous and open, Sarah is prickly and closed-off. It is Quality. Very much a gender-swap of your typical cliche anime couple lol. I would recommend stopping at the mid-season finale in season 4, because it's downhill from there. The beginning of season 3 is very rough, but it's definitely worth it to stay for the back half, imo. There are several great endings to choose from before things go to shit, so we don't need to talk about the finale. Probably the most tonally similar to SW thing possible without being high/space fantasy. More humour, more silly, but definitely has a spiritual kinship. Has the best THE BEST 'secret revealed' scenes I have ever seen in anything. If you're into that and were hoping for that in ep IX, you need to watch Chuck.

The Shop Around the Corner. 1940 romance/drama film. You've Got Mail is a remake of it. Jimmy Stewart being profoundly adorable, Frank Morgan (aka the Wizard of Oz), various amusing side characters, and an absolutely deathless double blind 'secretly in love with the workplace nemesis' plot that can and probably has been a great reylo AU.

Mirromask. Fantasy/coming-of-age film. Touted as a 'spiritual successor' to Labyrinth by the filmmakers (one of whom is Neil Gaiman) and let me tell you, that is extremely apt. Beautiful, magical, laden with symbolism and Mask Discourse, and has a great ship. I quote it regularly.

Speaking of which, I'm sure you've seen Labyrinth? If you haven't seen Labyrinth, drop everything and watch Labyrinth.

Legend (the Ridley Scott director's cut, not the theatrical cut). Sumptuous fairy tale, runs on proper fairy tale logic, stunning to look at and overall captivating. Tim Curry. Tim Curry as a lonely tragic lord of darkness who tries to seduce the heroine and has drippingly overwrought monologues.

Howl's Moving Castle. Fairy tale adventure/romance film. Beautifully animated, has the ending you want.

The Silence of the Lambs. Thriller/drama film. Actual masterpiece. Use it as a gateway drug to read the books and rejoice that Clannibal is canon and it is spectacular. Just SotL and Hannibal, you don't need to read the other two. Stan Clarice Starling and revel in that ending. Most triumphant 'villain'/heroine ship of all time (he is not technically a villain but for shorthand's sake).

The Adventures of Baron Munchausen. Terry Gilliam 1988 fantasy/adventure film. THE TRIUMPH OF IDEALISM OVER CYNICS I CANNOT STRESS ENOUGH HOW HEALING IT WAS TO WATCH AFTER THE TROS BULLSHIT HIT. Jonathan Pryce's spiritual villain is basically Chris Terrio and it is cathartic to see imagination and sentiment conquer him.

Sabrina. 1995 romance film. Modern fairy tale with Harrison Ford. Rejecting what you thought you wanted all your life for the thing you actually need, growing up but still believing in magic, beautiful character development across all the leads. Could be (and is irrc) a fantastic reylo AU.

The Scarlet Pimpernel. 1934 adventure film. High romance, secret identities, play-acting, people who aren't at all what they appear to be, falling in love with your own spouse, Big Heroism, guile and wit and audacity. It makes me do little kicks like a happy baby. This is one of the 3-5 films constantly tied for my favourite film of all time. There is a good quality rip free on youtube. Watch it and fall in love with Leslie Howard (this is possibly my favourite acting performance of all time).

Oh, related note. Pygmalion 1938 or My Fair Lady. (The musical is based on this film and borrows from it heavily, including its much more romantic ending compared to the original play.)

The Mummy. 1999 action/adventure/romance film. Very tonally similar to sw. A fucking great time, A+ characters.

EVER AFTER. 1998 romance film. The flawless and perfect and best ever Cinderella adaptation. This is the most satisfying film in history, maybe, the ending is so good it is amazing it exists. Also, it has Richard O'Brien being slimy. Huge selling point. Grapples with identity and stewardship, is brilliant.

Fruits Basket. drama/romance anime. I haven't watched the new version yet, but it's following the manga so I know the story. The original anime didn't do the whole plot (because they caught up with the source material) but it's wonderful and I still recommend it. The central ship is (spoiler.........) a B&tB type where we eventually discover the main love interest both feels like a figurative monster and turns into a literal monster. He has an incredible speech about his relationship with people's fear, it makes me weep. I called the endgame from the first episode and always thought it was obvious, but there is a red herring love triangle dynamic. It's really not annoying, though, because it is a red herring. (I hate love triangles)

I am Dragon. Russian monster romance film. Beautiful, simple fable with a really great heroine.

Jane Eyre. 1943 Gothic Romance film. It's Jane Eyre, byronic hero x sensible heroine love story with much atmosphere and Gothic drama. I stan this version because I am an Orson Welles fangirl and I'm also not convinced it can be improved upon. Elizabeth Taylor's film debut btw.

Hellboy. 2004 action/adventure/romance film. Defying destiny, reconciling identity, monster romance. The complete package and a great time. Tonally similar to SW and probably thematically closest to it out of this whole list. Don't watch the sequel.

Beauty and the Beast 1987 tv series. Exactly what it says on the tin. Deals with the classic B&tB themes, but in a different way. He's not cursed and will never transform into an ordinary man. The first season is very episodic and 'case of the week', but the second season gets more into character drama. It's dated, but if you give it a chance you can get past some of the cheese factor and it's really a unique experience. Its concerns are SO atypical that it feels like something fandom would make rather than a mainstream network show. It was so massively, insanely popular with women at the time that a record of Vincent (the beast) reading poetry topped the album charts. Also Ron Perlman and Linda Hamilton. Stop at season two. Point of interest: George RR Martin wrote for this show.

Stargate (the movie not the series) sci-fi fantasy about a nerdy guy who accidentally a hero.

Possession. 2009... mystery/supernatural/romance. Okay. This is a whole thing. Lee Pace and Sarah Michelle Gellar. It's based on a Korean film I've never been able to find for some reason, but being Hollywood they ruined the romanticism and nuance of the original in the theatrical cut to make a shitty punative ending. However. If you buy it on dvd and go to the alternate ending (which follows the original story) with around 20 minutes left (scene after Lee Pace's character wakes from a bad dream-go to deleted scenes and select the alternate ending), you will get a very, very interesting character study/thriller/redemption about sincerity within deception, compassion, and a major question about second chances with a positive answer. It's kind of dark and kind of astonishingly idealistic at the same time. The heroine makes a very powerful choice, twice over. It's fascinating. If you're into the conflicted and uncertain period in reylo, the part where he is most ambiguous, and you wanted more of that and much darker shades to it, you might be really into this. Also, it should be noted, there is a MASSIVE height difference and they show it off. The film is flawed (and the seams show on the Hollywood rewrite) but idk, it's fascinating. Shocking to me that they even got to shoot the original ending. It is pretty balls to the wall with its themes on forgiveness.

I would recommend getting into kdramas because there is a wealth of female-gaze tropey amazing content, but always check the ending before getting invested. My all-time fave is the 1st Shop of Coffee Prince, but it's not sw related at all lmao. It has a happy ending with all the elements you'd want, but it's not satisfying in execution, so that's it's major flaw and I find that pretty common with kdramas. One that is maybe more relevant is My Love from Another Star, which has a hero who is a little bit like Ben in personality. The heroine isn't my favourite, though. It does have a decent ending.

Oh yeah- brain fart. Kurosawa films and classic westerns were both very influential on SW. Or you can combine both and watch The Magnificent Seven.

[sciencespies]

The Dangers of Space, Military Rivals and Other New Books to Read

https://sciencespies.com/nature/the-dangers-of-space-military-rivals-and-other-new-books-to-read/

The Dangers of Space, Military Rivals and Other New Books to Read

Reading astrophysicist Paul M. Sutter’s latest book, How to Die in Space, will surely help any adult erase regrets they may have about their failed childhood dream of becoming an astronaut. As the SUNY Stony Brook professor observes, outer space—populated by such threats as black holes, acid rain, asteroids, planetary nebulae and magnetic fields—is, to put it frankly, “nasty.”

The latest installment in our “Books of the Week” series, which launched in late March to support authors whose works have been overshadowed amid the COVID-19 pandemic, details the many ways one might meet their demise in space, six notorious military rivalries, the Italian Renaissance’s dark undertones, the history of swimming and the culinary implications of so-called “wild foods.” Past coverage has highlighted books including Karen Gray Houston’s exploration of her family’s civil right’s legacy, St. Louis’ racist history, James Madison’s black family, and modern conservatism’s roots in the antebellum South and post-Civil War westward expansion.

Representing the fields of history, science, arts and culture, innovation, and travel, selections represent texts that piqued our curiosity with their new approaches to oft-discussed topics, elevation of overlooked stories and artful prose. We’ve linked to Amazon for your convenience, but be sure to check with your local bookstore to see if it supports social distancing-appropriate delivery or pickup measures, too.

How to Die in Space: A Journey Through Dangerous Astrophysical Phenomena by Paul M. Sutter

Despite its macabre title, How to Die in Space is a surprisingly lighthearted read. Adopting what Kirkus describes as an “informal, humorous persona,” Sutter—host of popular podcast “Ask a Spaceman!”—guides his audience through the cosmos’ deadliest phenomena, from Jupiter’s dense atmosphere to radiation, solar flares and exploding stars, which he deems “slumbering dragon[s], just waiting for the chance to awaken and begin breathing flame.”

The book also dedicates ample space to speculative threats, including dark matter, extraterrestrial life, wormholes and “other relics of the ancient universe.”

How to Die in Space’s description emphasizes that while “the universe may be beautiful, … it’s [also] treacherous.” Still, Sutter’s musings cover more than simply doom and gloom: As the scientist writes in the text’s closing chapters, “It’s really an excuse to talk about all the wonderful physics happening in the cosmos. … There is so much to learn, and we need to study it as closely and intimately as possible.”

Gods of War: History’s Greatest Military Rivals by James Lacey and Williamson Murray

Following the release of their 2013 bestseller, Moment of Battle: The Twenty Clashes That Changed the World, journalist James Lacey and historian Williamson Murray started brainstorming topics to explore in future books. Eventually, the pair landed on the premise of rivals, defined in Gods of War’s introduction as “military geniuses who … fought a general of equal caliber”—or, in the cases of World War II commanders Erwin Rommel, Bernard Law Montgomery and George Patton, multiple generals.

Bookended by essays on war’s “changing character” and the role of military genius in modern warfare, the six case studies read like a Who’s Who of global history. Representing the ancient world are Hannibal and Scipio (the latter of whom the authors describe as “the better strategic thinker”) and Caesar and Pompey. Crusader kings Richard I and Saladin; Napoleon Bonaparte and Battle of Waterloo victor Arthur Wellesley, 1st Duke of Wellington; Union Army commander Ulysses S. Grant and Confederate officer Robert E. Lee round out the list of 13 featured men.

Lacey and Murray liken their approach to chess strategy. “There is only so much you can learn by playing someone inferior to you or by revisiting the games of neophytes,” the duo writes. “There is, however, much to absorb, think about, and learn from studying games that [pit] one grandmaster against another.”

The Beauty and the Terror: The Italian Renaissance and the Rise of the West by Catherine Fletcher

As alluded to by its title, Catherine Fletcher’s latest book juxtaposes seemingly discordant aspects of the Italian Renaissance: its aesthetic brilliance and, in the words of fellow historian Simon Sebag Montefiore, the “filth and thuggery, slavery, sex, slaughter and skullduggery behind [this] exquisite art.” Framed as an alternative history of the much-explored period of creative rebirth, The Beauty and the Terror contextualizes the Italian Renaissance within the framework of European colonialism, widespread warfare and religious reform. Rather than focusing solely on such artistic geniuses as Leonardo da Vinci, Michelangelo and Botticelli, Fletcher lends a voice to the women writers, Jewish merchants, mercenaries, prostitutes, farmers and array of average citizens who also called the Italian peninsula’s competing city-states home.

The “lived reality” of 15th- and 16th-century Italy involved far more violence, uncertainty and devastation than widely believed, argues Fletcher. Forces beyond its residents’ control—a series of wars, the rise of the Ottoman Empire, the advent of the Protestant Reformation—shaped their lives yet have been largely overshadowed by what their greatest minds left behind.

“We revere Leonardo da Vinci for his art but few now appreciate his ingenious designs for weaponry,” notes the book’s description. “We know the Mona Lisa for her smile but not that she was married to a slave-trader. We visit Florence to see Michelangelo’s David but hear nothing of the massacre that forced the republic’s surrender.”

Splash!: 10,000 Years of Swimming by Howard Means

In lieu of visiting a swimming pool this summer, consider diving into Howard Means’ absorbing exploration of aquatic recreation and exercise. As the journalist writes in Splash!’s prologue, paddling, floating or wading through water can be a transformative experience: “The near weightlessness of swimming is the closest most of us will ever get to zero-gravity space travel. The terror of being submerged is the nearest some of us ever come to sheer hell.”

The earliest evidence of swimming dates to some 10,000 years ago, when Neolithic people living in what is now southwest Egypt painted individuals performing the breaststroke or doggy paddle on the walls of the Cave of Swimmers. Swimming endured throughout the classical period, with ancient texts including the Bible, Homer’s Odyssey, the Epic of Gilgamesh and the Chinese Book of Odes all containing references to the practice.

The advent of the medieval era—with its rising “prudery” and insularity, as well as its lack of sanitation and efficient infrastructure—quickly brought this “golden age” of swimming to an end; in Europe, at least, “swimming slipped into the dark for a full millennium,” writes Means.

During the 15th, 16th and 17th centuries, swimming was more closely associated with witchcraft than leisure. The practice only regained popularity during the Enlightenment period, when such prominent figures as Benjamin Franklin and Lord Byron reminded the public of its merits. By 1896, swimming had regained enough popularity to warrant its inclusion in the first modern Olympic Games.

Feasting Wild: In Search of the Last Untamed Food by Gina Rae La Cerva

Part memoir, part travelogue and part culinary adventure, Feasting Wild examines “humans’ relationship to wild food and the disappearing places and animals that provide it,” according to Publishers Weekly. Broadly defined as fare foraged, hunted or caught in the wild, the “untamed” foods detailed in geographer and anthropologist Gina Rae La Cerva’s debut book hail from such diverse locales as Scandinavia, Poland, Borneo, the Democratic Republic of Congo, New Mexico and Maine. Once “associated with poverty and subsistence,” writes La Cerva, wild foods including broad-leaved garlic, bushmeat, sea buckthorn flowers and moose meat are now viewed as luxuries, reserved for five-star restaurants that cater to an elite clientele.

La Cerva argues that this shift in perception stems from the onslaught of “settler-colonialism,” which used the dichotomy of wild versus tame to “justify violent appetites and the domination of unfamiliar cultures and places.” Within a few centuries, she adds, “the world [had] traded wild edibles at home for exotic domesticates from abroad.”

The flipside of this “fetishization of need” is the standardization of humans’ diets. As wild places across the world vanish, so, too, do undomesticated or uncultivated plant and animal species. Preserving wild foods—and the knowledge imparted by the women who have historically collected and cooked them—is therefore “fundamentally about recovering our common heritage,” writes La Cerva. “The urgency of the environmental crisis is precisely why we must slow down, take time, [and] become complicated in our actions.”

#Nature

[spy-in-the-house]

SPY IN THE HOUSE_radio SpyInTheHouse 674.fm Podcast 040 23112020

One more SpyInTheHouse journey into sound … that was Spyinthehouse‘s “WINTER EDITION  #2.0/ NOVEMBER 2020”, celebrating “29 YEARS OF PSYCHO THRILL COLOGNE prt.1″, compiled and mixed by the label’s boss-man Claus Bachor hinmself via 674.fm web-broadcast and live-streaming…  THAT TRACK LISTING so far … 01 SCAN 7 [LOU ROBINSON] feat. AARON CARL: 4 Types Of People _ Message Vox [ B2-track from "4 Types Of People" Wallshaker Music WMAC33 US 12" | 2010 ] 02 MIKE GRANT pres. COOL PEEPLE [BRIAN GARRETT, MALIK ALSTON, SKY COVINGTON]: Sharevari (Remix) [ A-side from Moods & Grooves MG-026 US Promo-WL-10"  | 2004 ] 03 BYRON THE AQUARIUS [BYRON BLAYLOCK]: Space & Time [ A2-track from "Ambrosia" Axis AX-091 US 2x12"  | 2020 ] 04 ANDRÉ LODEMANN: Flying [ A-side from "E-Movement" Moods & Grooves MG028 US Promo-WL-12"  | 2004 ] 05 BRAD PETERSON: Deepness Is A Way Of Life [ A1-track from "Excerpt From A Deep Soul's Diary" Moods & Grooves MG030 US Promo-WL-12"  | 2004 ] 06 RICK WADE: Summer Nights [ A-side from "Night Phases" Moods & Grooves MG-032 US 12"  | 2005 ] 07 BRAD PETERSON: All I See Is Luv [ B1-track from "Excerpt From A Deep Soul's Diary" Moods & Grooves MG030 US Promo-WL-12"  | 2004 ] 09 E.B.E. [LUCAS RODENBUSH]: Going Home [ A-side from "The Incidental Tourist" Grayhound Recordings 011 US 12"  | 1999 ] 10 SCAN 7 [LOU ROBINSON] feat. AARON CARL: 4 Types Of People _ Original Mix [ A1-track from "4 Types Of People" Wallshaker Music WMAC33 US 12" | 2010 ] 11 DJ RASOUL [GUY NADO]: Love's Theme (Climax) [ A-side from "Love's Theme" Grayhound Recordings 007 12"  | 1999 ] 12 GARY MARTIN: Jennifer [ A-side from "Jennifer EP" Moods & Grooves MG040 US Promo-WL-12"  | 2008 ] 13 SONS OF THE DRAGON [STEPHEN HITCHELL]: Journey Of Qui Nui _ Cv313'S [The D Mix] [ A-side from echospace [detroit] ECHOSPACE 313-LE-2 US 12"  | 2009 ] 14 GARY MARTIN: Good With The Bad [ B2-track from "Jennifer EP" Moods & Grooves MG040 US Promo-WL-12"  | 2008 ] 15 DAVID HOLMES: Minus 61 In Detroit [ A-side from "Minus 61 In Detroit" Go! Discs GODX 129 UK 12"  | 1995 ] 16 SEAN DEASON: Within Within _ Vaporbass/ Mark Gage Mix [ B-side from "Within" Matrix mr1016 US 12"  | 1996 ] 17 ANTFACTOR [ANTHONY GALANTE]: Lineup [ B1-track from "Antfactor / Pocketpool" EP Spelunk Recordings SPR-003 US Promo-WL-12"  | 1997 ] 18 CONVEXTION [GERARD HANSON]: Ebulience [ A-side from "Convextion 2" Matrix MATRIX4 US 12"  | 1997 ]   19 SUBURBAN KNIGHT [JAMES PENNINGTON]: Species [ B1-track from "Species / Intel Bombs" Detroit Techno Records DTRV 004 US Promo-WL-12" / Detroit Threads | 2020 ] 20 LOS HERMANOS [GERALD MITCHELL & friends]: A Deeper Presence [ B1-track from "On Another Level" Submerge Recordings SUBLP-3009-1 US 2x12"  | 2005 ] 21 SANTIAGO SALAZAR: Smile Now, Cry Later [ B1-track from "Smile Now, Cry Later" Seventh Sign Recordings 7SR022 UK 12"  | 2011 ] 22 LOS HERMANOS: The Very Existence [ A2-track from "On Another Level" Submerge Recordings SUBLP-3009-1 US 2x12"  | 2005 ] 23 SANTIAGO SALAZAR: The Battle Within [ B2-track from "Smile Now, Cry Later" Seventh Sign Recordings 7SR022 UK 12"  | 2011 ] 24 DVS1 [ZAK KHUTORETSKY]: Evolve [ A-side from "Evolve / Submerge" HUSH 001 US 12" / Detroit Threads | 2011 ] 25 BODY MECHANIC [MOLLISON FOLSON]: Fat Boys [ A2-track from "V.A." Cryovac Recordings 024 US Promo-12" / Detroit Threads  | 2020 ] 26 SMACS & PATRICK KONG: Innocence _ Original Mix [ A-side from "Innocence" Superdisko Recordings SUPERDISKO 06 A Promo-12"  / MSR-Distro | 2011 ] 27 SAMI KOIVIKKO: Tonalite [ B2-track from "Sapphire" Spectral Sound SPC-061 US Promo-12" / KOMPAKT Distr. | 2008 ] 28 FREQ [SEAN DEASON]: With A Vengeance _ K-Hand Remix [ B-side from "With A Vengeance" Matrix MATRIX3 US 12"  | 1997 ] 29 JASON GARCIA: Down Like  [ A1-track from "V.A." Cryovac Recordings 024 US Promo-12" / Detroit Threads  | 2020 ] 30 SEAN TATE: A Matter Of Liberation [ B2-track from "RWYS pres. Tribute To Anfray Brown aka Erotek" RWYS 003 / Detroit Techno Records / MSR-Distro US Promo-12"  | 2020 ] 31 STEVE STOLL: Left Of Center [ D-side from "The Dark Man" Delirium Red 005 GER 2x10"  | 1994 ] 32 6K [PHILIP INGRAM-SMITH & STEVEN McCONNELL]: Untitled [ A2-track from "Sweet & Sour" Matrix MR1013 US 12"  | 1996 ] 33 STEVE STOLL: Strange Devices [ C-side from "The Dark Man" Delirium Red 005 GER 2x10"  | 1994 ] 34 6K: Untitled [ B2-track from "Sweet & Sour" Matrix MR1013 US 12"  | 1996 ] 35 STEVE STOLL: My Shadow [ A-side from "The Dark Man" Delirium Red 005 GER 2x10"  | 1994 ] 36 LUKE SLATER: Ressembled 7 [ D-side from "Berghain Fünfzehn" Ostgut Ton 127 GER 2x12" / KOMPAKT  | 2020 ] 37 ADULT [ADAM LEE MILLER, NICOLA KUPERUS, SAMUEL CONSIGLIO]: Nausea _ Mega-Blend [ A-side from "Nausea" Ersatz Audio EZ-014 US Promo-WL-12"  | 2000 ] 38 LUKE SLATER: Ressembled 6 [ C2-track from "Berghain Fünfzehn" Ostgut Ton 127 GER 2x12" / KOMPAKT  | 2020 ] 39 SEAN TATE & ACID CYBORG: Sonic Relations [ A1-track from "RWYS pres. Tribute To Andray Brown aka Erotek" RWYS 003 / Detroit Techno Records / MSR-Distro US Promo-12"  | 2020 ] 40 POSATRONIX [WILLIAM 'BJ' SMITH]: Skake Dat Thang [ A-side from "Hood Related" Cratesavers Muzik CS-005 US 12"  | 2007 ] 41 DJ MARQUIS [MARQUIS WILLIAMS]: This Is Now _ Mark Flash Remix [ A2-track from "This Is Now / Detroit Party" Upstart USR 002 US Promo-12"  | 2000 ] 42 BRANDON CALLOWAY: Yo Dray!!! [ A2-track from "RWYS pres. Tribute To Anfray Brown aka Erotek" RWYS 003 / Detroit Techno Records / MSR-Distro US Promo-12"  | 2020 ] 43 POSATRONIX: Critics [ B-side from "Hood Related" Cratesavers Muzik CS-005 US 12"  | 2007 ] 44 ACID CYBORG & SEAN TATE: Spider Webs [ A3-track from RWYS pres. Tribute To Anfray Brown aka Erotek" RWYS 003 / Detroit Techno Records / MSR-Distro US Promo-12"  | 2020 ] 45 ELECTRONIC CORPORATION [MAS 2008/ IVE MÜLLER & RENÉ KIRCHNER]: Elektromechanik [ B1-track from "N'Coded Tracks" Electronic Corporation ‎– ELCO 01.0 / Neuton GER Promo-12"  | 2000 ] 46 DELTA [NATHANAEL HERES]: De-Escalation Of Time _ Part II Edit [ A-side from "Sex Implosion" Electron Industries TRON 4 UK Promo-12"  | 1996 ] 47 ELECTRONIC CORPORATION: Save Your Life [ A1-track from "Construction Deconstruction" Electronic Corporation ELCO03.1 GER Promo-2x12" / Neuton | 2001 ] 48 THE FREEEK [THOMAS P.HECKMANN]: Martian Leaders O.E. [ A-side from "Martian Leaders" Electrocute ECS 1202 GER Promo-WL-12" / Formic | 1998 ] 49 ELECTRONIC CORPORATION: The Forbidden Zone [ C2-track from "Construction Deconstruction" Electronic Corporation ELCO03.1 GER Promo-2x12" / Neuton | 2001 ] 50 THE RARE BREED [REGIS/ CARL O'CONNOR & CHRISTIAN WÜNSCH]: Reason Doesn't Sleep [ C1-track from "The Future is Fixed" Tsunami Records TSU 050 ESP 2x12"  | 2020 ] 51 [MOLLISON] FOLSON & [SEAN] TATE: Gorilla Pussy [ B1-track from RWYS pres. Tribute To Anfray Brown aka Erotek" RWYS 003 / Detroit Techno Records / MSR-Distro US Promo-12"  | 2020 ] 52 SEM [DAMON BAXTER]: Area 5 [ A-side from "The Demon EP" Electron Industries TRON 7 UK Promo-2x12"  | 1996 ] 53 CARBON BOYS [STEVE STOLL & JÖRG W.HENZE]: Decoder _ Full Metal Version [ A-side from "Decoder EP" Proper N.Y.C. PROPS 024 US 12"  | 1998 ] 54 SYCUM: Decoded [ A-side from "Speicher 116" KOMPAKT Extra 116 GER Promo-WL-12" | 2020 ] 55 RANDOM AUDIO [RONNY METZGER]: Fourier Transmatic [ A1-track from "Hologram EP" Blueform mtd.blueform 001 GER Promo-12"  | 2012 ] 56 RANDOM AUDIO: Calculation [ B1-side from "Signal To Mysterious" Blueform mtd.blueform 002 GER Promo-12" | 2012 ] 57 RANDOM AUDIO: The Model [ B1-track from "Hologram EP" Blueform mtd.blueform 001 GER Promo-12" | 2012 ] 58 BYRON THE AQUARIUS: Timeless [ D1-track from "Ambrosia" Axis AX-091 US 2x12"  | 2020 ]  SpyInTheHouse_Vimeo_stream ll  YouTube  ll  SITH_Archives ll  674.fm

[kylesvariouslistsandstuff]

D23 feature animation reveal stuff, sans MUFASA, that I'm most excited for and the least excited for:

HOPPERS (Pixar, Spring 2026, likely 3/6/2026): Pixar's next original, from WE BEAR BEARS creator Daniel Chong. Sounds absolutely wacky and fun, more in line with the looser likes of LUCA and TURNING RED. More "what if someone did this wacky cartoonish thing", less "what if that universal thing you've known as a child was some kind of factory?". Kinda like how early Pixar used to sometimes do, for every TOY STORY and MONSTERS, INC. there was an A BUG'S LIFE or FINDING NEMO. Just straight up animal stories and people existing and such.

ELIO (Pixar, 6/13/2025) - I've been on board this one from the word-go, as I can't pass up a colorful space adventure made at Pixar. Even with the pushback, and subsequent director change, I'm still there. Domee Shi returning to the director's chair is exciting enough, as TURNING RED is probably my favorite film to have come out of Pixar in a while. Madeline Sharafian directing with her is also exciting, because I really dug her BURROW SparkShort. I think they'll both bring a unique perspective to this galactic tale, while keeping true to what former director Adrian Molina started. Will need to see more, especially of what the new directors have in mind, because all we have for now is the old pre-switch teaser.

INCREDIBLES 3 (Pixar, TBD) - That's right. I love the world of THE INCREDIBLES, and I'm more than game to go back. I just hope Brad Bird actually directs, because "developing" could mean anything. I remember that sort-of unclearness when INCREDIBLES 2 was first announced roughly four years before release, it seemed like Bird was only writing until it turned out that he was back in the director's chair as well. If not, I'll be curious to see who fills the suit. Not like someone *can't* pull it off anyways, for INSIDE OUT 2 was directed by Kelsey Mann and not Pete Docter, and I quite liked that one. Ditto some of the other Pixar sequels not spearheaded by the original films' directors.

ZOOTOPIA 2 (Disney Animation, 11/26/2025) - ZOOTOPIA is one of my favorite recent WDAS movies, and the world created in that picture is one I'm really excited to go back to, especially with the additions of reptiles and aquatic animals. I'm a little bit skeptical because it seems the original's director and creator, Byron Howard, isn't really involved? Jared Bush, co-director of the original, is seemingly director here. Not confirmed, but he's been doing all the talking. I'm sure he'll nail this one, and what we've seen of it promises the same witty detective story stuff and attention to detail that made this animal world unique.

UNTITLED ORIGINAL (Disney Animation, 11/25/2026) - Well, since we know nothing about it, and who for sure is directing... I mean, this could be that rumored Middle Eastern fairy fantasy directed by Suzi Yoonessi, or it could be something hitherto unannounced. Very odd still that they didn't say what this was, but I suppose it's as expendable as any other non-sequel, and could be cancelled at last minute. WDAS, I feel, is being run very weirdly under Jennifer Lee. What I heard of WISH and FROZEN II's production, the big shakeup on RAYA AND THE LAST DRAGON, and me feeling the films have mostly been just kinda... Fine, and a little toothless, this one's admittedly not too high on my list at the moment. I'd have to know what it's about first before I can properly evaluate it. If it is the fairy movie, then it'd probably be a few clicks up, because the premise of that is intriguing. Again, I gotta know more than just Untitled, haha.

TOY STORY 5 (Pixar, 6/19/2026) - So tricky for me... On the one hand, you have TOY STORY veteran Andrew Stanton at the helm, the first time he has directed a TOY STORY picture. The army of deluded Buzzes sounds like fun, even though that basic idea has been used across pretty much all of the movies. (Even in TOY STORY 4, where Buzz consults his button-press sayings for advice.) On the other hand... Well, I'm still wondering how they'll get Woody back into the fold since TOY STORY 4 was the big epic goodbye. I'm still kinda banking on him paying visits to Bonnie's house every once in a while, whenever the carnival comes back into town. I also don't think Stanton is gonna simply give us a "phone bad" movie. Like how TOY STORY 4 did with Forky, maybe this series will find a unique new way to present electronics. Maybe they too can be sentient? Or apps on them? Like, I can picture the toy gang talking to a character in a kids' app on Bonnie's iPad. Kind of in a WRECK-IT RALPH manner. That is, if they go that direction. There's potential, but I'm not as excited for this one as some of others, as it will have been the fifth movie in the series. Pixar's first family is pretty much just here to stay, really.

MOANA 2 (Disney Animation, 11/27/2024) - The new trailer got me more excited. Looks to promise an epic scope and the same fun tone, and the idea of a speaking nature-based villain I think is really neat. A fun contrast to Te Fiti/Te-Ka, who didn't speak, and was rightfully angry because of Maui's actions. (Thus affirming my thesis that he's the actual villain of MOANA.) This baddie just seems straight up bad, but we'll see, they could have a solid reasoning for being a violent storm! (And I'm sure that will anger everybody who pines for a Renaissance era-esque meanie.) Anyways, being that it's a WDAS movie, it could still get focus grouped to the moon and back and end up being far from what it could be, but I'm looking forward to seeing the characters again.

FROZEN III (Disney Animation, 11/24/2027) - The Eyvind Earle-esque concept art is quite beautiful, and I like the idea of these films being based on the individual seasons, but... In execution, I think they're pretty much alright, they certainly have their moments. I was never really all that huge on FROZEN, despite really digging certain elements of it. I went into FROZEN II not expecting much, and weirdly got more out of it than most people did. So, FROZEN III... I can take it or leave it, if it's going to be the usual mix of stuff I like and the stuff I don't care for, and that same resistance to go hard with such a concept. I apply the same to the inevitable FROZEN IV... Hey, why does FROZEN get a trilogy, let alone a quadrilogy, before FANTASIA? FANTASIA 2006 and 2023 should've been things, damn it.

[konnfusion]

in somewhat chronological order

no direct spoilers/graphic imagery

I’m behind on releases, especially for the last four years, don’t @ me

this is a list of my favorites, not necessarily what I consider the greatest films made in the decade. click here to see my shorter “best of the decade” list on letterboxd.

How to Train Your Dragon (2010) dir. Chris Sanders & Dean DeBlois | adventure

“Three hundred years, and I’m the first Viking who wouldn’t kill a dragon.”

Inception (2010) dir. Christopher Nolan | thriller, science-fiction, psychological

“What is the most resilient parasite? Bacteria? A virus? An intestinal worm? An idea. Resilient... Highly contagious.”

Scott Pilgrim vs. the World (2010) dir. Edgar Wright | comedy, action, romance

“We are Sex Bob-Omb! And we're here to watch Scott Pilgrim kick your teeth in!”

Black Swan (2010) dir. Darren Aronofsky | thriller, psychological, horror

“I just want to be perfect.”

The Social Network (2010) dir. David Fincher | drama

“You better lawyer up, asshole, because I'm not coming back for 30%, I'm coming back for everything.”

Let Me In (2010) dir. Matt Reeves | drama, horror

“How old are you?” “Twelve. ...More or less.”

Megamind (2010) dir. Tom McGrath | comedy, action

“There’s a benefit to losing: you get to learn from your mistakes.”

Tangled (2010) dir. Byron Howard & Nathan Greno | adventure, romance

“I've been looking out of a window for eighteen years, dreaming about what I might feel like when those lights rise in the sky. What if it's not everything I dreamed it would be?”

Toy Story 3 (2010) dir. Lee Unkrich | comedy

“Now Woody, he's been my pal for as long as I can remember. He's brave, like a cowboy should be. And kind, and smart. But the thing that makes Woody special, is he'll never give up on you...ever. He'll be there for you, no matter what.”

From Up On Poppy Hill (2011) dir. Gorô Miyazaki | drama

“There's no future for people who worship the future, and forget the past.”

Rise of the Planet of the Apes (2011) dir. Rupert Wyatt | science-fiction, action

“Some things aren’t meant to be changed. You need to accept that.”

Captain America: The First Avenger (2011) dir. Joe Johnston | science-fiction, action

“I don’t wanna kill anyone. I don’t like bullies; I don’t care where they’re from.”

It’s Such a Beautiful Day (2012) dir. Don Hertzfeldt | drama

“And as the sun continues to set, he finally comes to realize the dumb irony in how he had been waiting for this moment his entire life, this stupid awkward moment of death that had invaded and distracted so many days with stress and wasted time.”

Rise of the Guardians (2012) dir. Peter Ramsey | adventure

“This wonder is what I put into the world, and what I protect in children. It is what makes me a guardian. It is my center. What is yours?”

The Hobbit: An Unexpected Journey (2012) dir. Peter Jackson | fantasy, adventure

“I’ve found it is the small things, everyday deeds of ordinary folk, that keeps the darkness at bay.”

The Great Gatsby (2013) dir. Baz Luhrmann | drama

“All the bright, precious things fade so fast...and they don’t come back.”

The Heat (2013) dir. Paul Feig | comedy, action

“If you’re not in trouble, you’re not doing your job.”

The World’s End (2013) dir. Edgar Wright | comedy, science-fiction

“Face it, we are the human race and we don't like being told what to do!“

Pacific Rim (2013) dir. Guillermo Del Toro | science-fiction, action

“Haven't you heard, Mr. Beckett? The world is coming to an end. So where would you rather die? Here? Or in a Jaeger?“

The Wind Rises (2013) dir. Hayao Miyazaki | drama

“Airplanes are beautiful, cursed dreams, waiting for the sky to swallow them up.“

Snowpiercer (2013) dir. Bong Joon-ho | science-fiction, drama, action

“My friend, you suffer from the misplaced optimism of the doomed.”

Frozen (2013) dir. Chris Buck & Jennifer Lee | adventure, musical

“An act of true love will thaw a frozen heart.”

The Babadook (2014) dir. Jennifer Kent | horror, drama

“If it's in a word, or it's in a look, you can't get rid of the Babadook.”

What We Do in the Shadows (2014) dir. Jemaine Clement & Taika Waititi | supernatural, comedy, horror

“I go for a look which I call, ‘dead but delicious’.”

The Grand Budapest Hotel (2014) dir. Wes Anderson | comedy, drama

“You're the first of the official death squads to whom we've been formally introduced. How do you do?“

The Lego Movie (2014) dir. Phil Lord & Christopher Miller | comedy

“That's real music, Emmet. It's dark and brooding.” “Hey, I can be dark and brooding too— Guys, look, a rainbow!”

Captain America: The Winter Soldier (2014) dir. the Russo Brothers | thriller, action

“The price of freedom is high. It always has been. And it’s a price I’m wiling to pay.”

It Follows (2014) dir. David Robert Mitchell | horror, supernatural

“It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you.“

Edge of Tomorrow (2014) dir. Doug Liman | science-fiction, action

“Come find me when you wake up!”

Maleficent (2014) dir. Robert Stromberg | fantasy

“True love does not exist.”

Dawn of the Planet of the Apes (2014) dir. Matt Reeves | science-fiction, action

“I thought we had a chance.” “I did, too.”

Guardians of the Galaxy (2014) dir. James Gunn | science-fiction, action

“I have lived most of my life surrounded my enemies. I will be grateful to die among my friends.”

The Drop (2014) dir. Michaël R. Roskam | drama

“There are some sins that you commit that you can't come back from, you know, no matter how hard you try. You just can't.”

Gone Girl (2014) dir. David Fincher | thriller, mystery, drama

“What are you thinking? How are you feeling? What have we done to each other? What will we do?”

The Book of Life (2014) dir. Jorge R. Gutierrez | comedy, action

“What is it with Mexicans and death?”

John Wick (2014) dir. Chad Stahelski | action

“People keep asking if I'm back and I haven't really had an answer. But now, yeah, I'm thinkin' I'm back.”

Ex Machina (2014) dir. Alex Garland

“Haven't you met lots of new people before?” “None like you.”

Big Hero 6 (2014) dir. Chris Williams & Don Hall | comedy, action

“Are you satisfied with your care?”

World of Tomorrow (2015) dir. Don Hertzfeldt | science-fiction, drama

“We mustn’t linger; it is easy to get lost in memories.”

The VVitch (2015) dir. Robert Eggers | drama, horror

“We will conquer this wilderness. It will not consume us.”

Jupiter Ascending (2015) dir. the Wachowskis | science-fiction, action

“My mother never cleaned a toilet in her life.” “Maybe that was her problem.”

Mad Max: Fury Road (2015) dir. George Miller | science-fiction, action

“We are not things.”

Inside Out (2015) dir. Pete Docter & Ronnie Del Carmen | comedy, drama

“Crying helps me slow down and obsess over the weight of life's problems.”

The Man from U.N.C.L.E. (2015) dir. Guy Ritchie | comedy, action

“America teaming up with Russia. That doesn't sound very friendly.“

Crimson Peak (2015) dir. Guillermo Del Toro | gothic horror, romance, drama

“It is a monstrous love, and it makes monsters of us all.“

Star Wars: The Force Awakens (2015) dir. J.J. Abrams | science-fiction, adventure

“The belonging you seek is not behind you; it is ahead.“

The Love Witch (2016) dir. Anna Biller | horror, fantasy, romance, comedy

“The day he left me was the day that I died. But then I was reborn—as a witch!“

10 Cloverfield Lane (2016) dir. Dan Trachtenberg | thriller, science-fiction

“People are strange creatures. You can't always convince them that safety is in their best interest.“

The Shallows (2016) dir. Jaume Collet-Serra | thriller, action, horror

“I'm gonna fight—just like she taught us.”

Star Trek Beyond (2016) dir. Justin Lin | science-fiction, action

“There is no relative direction in the vastness of space. There is only yourself, your ship, your crew. It's easier than you think to get lost.”

Ghostbusters (2016) dir. Paul Feig | action, comedy, supernatural

“Safety lights are for dudes.”

Pete’s Dragon (2016) dir. David Lowery | fantasy, adventure

“There's magic in the woods, if you know where to look for it.”

The Jungle Book (2016) dir. Jon Favreau | comedy, adventure

“A man-cub becomes a man, and man is forbidden!”

Hush (2016) dir. Mike Flanagan | horror

“When you wish you're dead—that's when I'll come inside.”

Kubo & the Two Strings (2016) dir. Travis Knight | adventure, comedy

“When we grow stronger, the world grows more dangerous.”

Arrival (2016) dir. Denis Villeneuve | science-fiction, drama

“If you could see your whole life from start to finish, would you change things?”

Moonlight (2016) dir. Barry Jenkins | drama

“At some point, you gotta decide for yourself who you gonna be. Can't let nobody make that decision for you.”

Black Mirror: San Junipero (2016) dir. Owen Harris | romance, science-fiction, drama

“I wasn’t prepared for you.”

Get Out (2017) dir. Jordan Peele | horror, psychological

“Now...you’re in the sunken place.”

John Wick 2 (2017) dir. Chad Stahelski | action

“So I guess you have a choice. You want a war? Or do you wanna just give me a gun?”

The Lego Batman Movie (2017) dir. Chris McKay | comedy, action

“All important movies start with a black screen.”

Logan (2017) dir. James Mangold | drama, action

“Don’t be what they made you.”

Baby Driver (2017) dir. Edgar Wright | comedy, drama, action

“Here it is, Baby—your killer track!”

Atomic Blonde (2017) dir. David Leitch | action

“You know those movies where the picture just starts to slow down...and melt? Then catch fire? Well, that's Berlin.”

The Disaster Artist (2017) dir. James Franco | drama, comedy

“Just because you want it doesn't mean it can happen.”

Power Rangers (2017) dir. Dean Israelite | action, comedy

“Pretty sure I’m a superhero.”

Guardians of the Galaxy Vol. 2 (2017) dir. James Gunn | science-fiction, comedy

“There are two types of beings in the universe, those who dance, and those who do not.“

Alien: Covenant (2017) dir. Ridley Scott | horror, science-fiction

“When one note is off, it eventually destroys the whole symphony.”

Wonder Woman (2017) dir. Patty Jenkins | action, drama

“Be careful in the world of men, Diana. They do not deserve you.”

The Florida Project (2017) dir. Sean Baker | drama, comedy

“You know why this is my favorite tree? ...Because it's tipped over, and it's still growing.”

You Were Never Really Here (2017) dir. Lynne Ramsay | drama

“Do you know what paradise is? It's a lie, a fantasy we create about people and places as we'd like them to be.”

War for the Planet of the Apes (2017) dir. Matt Reeves | science-fiction, action

“They took too much from me.”

The Shape of Water (2017) dir. Guillermo Del Toro | drama, romance, horror

“Oh, god, it’s not even human.” “If we do nothing, neither are we.”

Lady Bird (2017) dir. Greta Gerwig | drama, comedy

“Different things can be sad; it's not all war!”

IT (2017) dir. Andy Muschietti | horror

“Welcome to the Losers Club, asshole!”

I, Tonya (2017) dir. Craig Gillespie | drama, comedy

“There's no such thing as truth. It's bullshit. Everyone has their own truth, and life just does whatever the fuck it wants.“

World of Tomorrow Episode 2: The Burden of Other People’s Thoughts (2017) dir. Don Hertzfeldt | science-fiction, drama, comedy

“If there is a soul, it is equal in all living things.”

Blade Runner 2049 (2017) dir. Denis Villeneuve | science-fiction, drama, action

“Dying for the right cause—it's the most human thing we can do.”

Happy Death Day (2017) dir. Christopher Landon | horror, comedy

“You know, it's funny, you relive the same day over and over again, you kind of start to see who you really are.”

Thor Ragnarok (2017) dir. Taika Waititi | action, fantasy, comedy

“Darling, you have no idea what’s possible.”

Coco (2017) dir. Lee Unkrich & Adrian Molina | comedy, fantasy

“Music's the only thing that makes me happy. And you wanna take that away!“

Star Wars: The Last Jedi (2017) dir. Rian Johnson | science-fiction, action

“Hope is like the sun. If you only believe it when you see it you'll never make it through the night.”

Eighth Grade (2018) dir. Bo Burnham | drama, comedy

“Just because things are happening to you right now doesn't mean that they are always gonna happen to you.”

Won’t You Be My Neighbor? (2018) dir. Morgan Neville | documentary

“The greatest thing that we can do is to help somebody know that they're loved and capable of loving.”

Hereditary (2018) dir. Ari Aster | horror

“You didn’t kill her, Annie. ...She isn’t gone.”

Black Panther (2018) dir. Ryan Coogler | action, adventure, science-fiction

“You're a good man with a good heart. And it's hard for a good man to be king.”

Annihilation (2018) dir. Alex Garland | science-fiction, horror

“Isn't the self-destruction coded into us? Programmed into each cell?”

Love, Simon (2018) dir. Greg Berlanti | comedy, romance

“You get to exhale now, Simon. You get to be more you than you have been in... in a very long time. You deserve everything you want.”

A Quiet Place (2018) dir. John Krasinski | horror, drama

“Who are we if we can’t protect them?”

Mamma Mia! Here We Go Again (2018) dir. Ol Parker | comedy, musical

“May the rest of our lives be the best of our lives.”

To All the Boys I’ve Loved Before (2018) dir. Susan Johnson | comedy, romance

“You can be mad at someone and still miss them.”

The Favourite (2018) dir. Yorgos Lanthimos | drama, history

“As it turns out, I'm capable of much unpleasantness.”

Venom (2018) dir. Ruben Fleischer | action, science-fiction, comedy

“You bit somebody's head off.” “Fuel in the tank.”

Spider-Man: Into the Spider-Verse (2018) dir. Bob Persichetti, Peter Ramsey, & Rodney Rothman | science-fiction, comedy, adventure, action

“When will I know I'm ready?” “You won't. It's a leap of faith. That's all it is, Miles. A leap of faith.”

Happy Death Day 2U (2019) dir. Christopher Landon | horror, comedy

“That is the last time I’m dying for you.”

Us (2019) dir. Jordan Peele | horror

“Who are you?” “We’re Americans.”

Detective Pikachu (2019) dir. Rob Letterman | comedy, fantasy

“I know you can't understand me, but put down the stapler or I will electrocute you.”

John Wick 3: Parabellum (2019) dir. Chad Stahelski | action

“Si vis pacem, para bellum.”

Midsommar (2019) dir. Ari Aster | horror, drama

“Do you feel held by him? Does he feel like home to you?”

A Beautiful Day in the Neighborhood (2019) dir. Marielle Heller | drama

“You love broken people...like me.”

Terminator: Dark Fate (2019) dir. Tim Miller | science-fiction, action 

“Why do you care what happens to her?” “Because I was her.”

Klaus (2019) dir. Sergio Pablos & Carlos Martínez López | Christmas, comedy, adventure

“A truly selfless act always sparks another.”

Black Christmas (2019) dir. Sophia Takal | horror

“If I were missing, I’d want you to unleash the bloodhounds and track me down.”

Little Women (2019) dir. Greta Gerwig | drama, romance

“You'll be bored of him in two years, but we'll be interesting forever!”

and that’s it for my favorites list! any letterboxd lists to this effect will be uploaded as I catch up on movies. I hope you enjoyed!

[nellygwyn]

hello liv! do you have any recommendations for books + visual media of any kind of the regency era? loved your suggestions for the Stuarts + the Restoration. best wishes.

Hey!!! So, other than ANYTHING and EVERYTHING Jane Austen related (that includes adaptations of her work, biopics, spin-offs, her actual books, books inspired by her work) etc. because that's OBVIOUS, here are some of my favourite movies, shows and books set in the Regency era: Books  • Anything and everything by Georgette Heyer. My favourite book by her, The Black Moth, is actually set in the early 18th century but most of her other works are set in the 1790s and the Regency. • Any books by the author, Erato. Most of them are set during the Regency. She is so talented. • The Dido Kent series by Anna Dean (murder mysteries set in Regency England!) • The Couriers series by Nita Abrams (about an Anglo Jewish family during the Regency era, with quite a lot of focus on the Napoleonic wars) • Jonathan Strange and Mr. Norrell by Susannah Clarke. Regency era but also alternate history mixed in with magic and magicians and fae people. • I have Naomi Novik's Temeraire series on by 'to read' list because it's historical fiction, set in the Regency era (with focus on the Napoleonic wars again) but is an alternate view of history in that...there are dragons involved in the warfare. • Longbourn by Jo Baker, and I KNOW I said I wouldn't include any Austen spin-offs because it is like, a given that it will all be great but I had to mention this. It's Pride and Prejudice but told from the perspective of the Bennet family's servants (with Bingley's servants and Darcy's servants getting a look in too) • I think I'd be dumb not to mention writers like Courtney Milan and Sarah McLean here too. Films/TV shows • Vanity Fair, but the 2004 movie specifically. I did like the new adaptation but the film takes the cake for me in terms of literally everything. Also, the director, Mira Nair, is Indian and tried to focus some of the movie on Regency England's "relations" with India, particularly through the portrayal of Amelia's nabob brother, Jos. • Bright Star. Film about the Romantic poet, John Keats, and his heartbreaking romance with Fanny Brawne. This film actually kills me, it is so sad...but so good. • Byron, the 2003 miniseries starring Jonny Lee Miller as the man himself. It's a strange one!• A Hazard of Hearts. Very early performance by Helena Bonham Carter. A member of the gentry, addicted to gambling, loses everything, including his daughter. Ends up taking his own life, leaving his daughter in a bit of a limbo period. Drama ensues. • The Secret Diaries of Anne Lister, the miniseries from 2010. Anne Lister was a wealthy and eccentric landowner in Northern England in the late 18th and early 19th centuries and after her very frank diaries were decoded, she has been labelled by historians as the first 'butch lesbian.' This is a great series and also, they are making another TV movie about Anne's life this year, called 'Gentleman Jack' ('Gentleman Jack' is what the locals used to call her, on account of her masculine airs and clothing) • Silas Marner, from 1985 and starring the inimitable Ben Kingsley. Based on George Elliot's novel, which was obviously written in the Victorian era but intended to be set during the Regency era (same with a lot of Dickens' books...in fact, a lot of Dickens could be on this list. Great Expectations, David Copperfield and Little Dorrit being the obvious examples). Really, one of Elliot's supremely underrated stories about a poor man who loses everything, including the will to live, until he finds an orphaned child on his doorstep. I got an old BBC miniseries about George IV (called 'The Prince Regent') for Christmas but haven't watched it yet. And I also got a film about Grace Dalrymple Elliot, one of George IV's mistresses, and a British spy during the French Revolution. I also haven't watched that yet, but it's called The Lady and the Duke. 

[thetygre]

30 Day Monster Challenge 2 - Day #2: Favorite Frankenstein

1.) Mary Shelley/Bernie Wrightson

Put simply, there’s no beating the classic. Mary Shelley’s original monster is a landmark in literature, the coalescence of an idea about monstrosity and humanity that has been developing since the dawn of civilization. Alright, so that might be a little grandiose, but the point stands; the original Frankenstein’s monster is still the best. Like Dracula, every new generation brings a new interpretation, and makes new connections to him. The monster has, through his influence on culture, succeeded in becoming the father of his own race. He is a true monster of God, a divine omen, an abstract entity that conveys the importance of man’s reaching scientific knowledge. He makes us question our limits, our humanity, and how much we as a species are meant to stretch and bend away from the natural order. And to this day, nobody has managed to quite capture that ideal perfectly.

But the late great Bernie Wrightson came pretty close. Known mostly as a comics artist, Wrightson’s version of Frankenstein is the one that comes to mind for me whenever I envision the monster. He is simultaneously majestic, horrifying, and pitiful. Built like an Olympian god with a face like a corpse. Wrightson’s work on his expressions can convey anger, sadness, and the creature’s own weariness for existence. Wrightson’s monster, to me at least, comes the closest to invoking Shelley’s description of Frankenstein’s attempt at an ubermensch, and his subsequent failure.

2.) Boris Karloff

There’s a lot to be said against Karloff’s Frankenstein. It created a pop cultural image that is ultimately at odds with Shelley’s work. The monster’s eloquent suffering is replaced with a series of moans and grunts, and his arc is ultimately threadbare. And yet, Karloff’s Frankenstein brings something absolutely essential to the Frankenstein mythos; innocence. The creature is a victim of its own creation, too powerful and too strange for this world. The damage it causes is the byproduct of its father’s meddling in things man was not meant to know. That’s a perspective we didn’t get a lot of in Shelley’s original novel, and for all that the Universal movie is different from the novel, it meshes with the novel’s morality by reminding the audience of an important message; the value of humanity. Karloff’s monster appeals to our humanity on the most basic level, that of an innocent suffering. In that, I think even Mary Shelley would be proud.

3.) Shuler Hensley

Aaaaand now we’re back to Van Helsing. Okay, legitimately? I think the Frankenstein’s monster is the best part of Van Helsing. I am dead serious. Like Castlevania’s Dracula, the monster here is an amalgam of all the different parts of Frankenstein pop culture. There’s alchemy, mad science, and body horror, but there’s also a search for humanity and a desire to find meaning in life. Also, like everything in this movie, overacting. Just some grade-A overacting. Hensley screams his lungs out shouting Byronic prose, which I always took to be a kind of fun dig at the original monster’s own flair for the overdramatic.

4.) Peter Boyle

Boyle doesn’t bring a lot to the table as the creature in Young Frankenstein. The movie is a loving parody, and it clearly derives mostly from the Universal Studios movie. And yet, there are some subtle hints of brilliance in this portrayal of the creature and Frankenstein. The Universal movie was a source, yes, but Mel Brooks also drew from the novel for his own spin. At the end of the movie, Gene Wilder’s Frankenstein departs from Shelley’s (who is also the character’s grandfather) by taking responsibility and trying to help his creation. And in turn, the creature forgives and protects Frankenstein. I know it’s all just for good fun, but when you start viewing it through the classic metaphors applied to the novel, it creates a more optimistic picture about human progress. (Plus, I’d be remiss if I didn’t include one of my favorite movies on this list.)

5.) Christopher Lee

Christopher Lee’s Frankenstein is actually the version that turned me on to the character. When I was a kid, Boris Karloff’s Frankenstein did nothing for me; he was too sad, too sympathetic to be a monster. Frankenstein’s monster was supposed to be scary to me; stitched out of corpses, with greasy black hair and dead eyes, angry at all the world. (Also dressed in a stylish black suit.) Lee’s monster delivered that to me. The moment I first saw him, I knew that this was how Frankenstein’s monster was supposed to look. Now that I’m older, I can appreciate Boris Karloff’s performance more, but I’ll still always have a fondness for my first favorite Frankenstein.

6.) Rory Kinnear

The youngest monster on this list, Rory Kinnear played Frankenstein’s monster, referred to variously as Adam or Caliban, in Showtime’s Penny Dreadful. Think a cheaper, tawdrier League of Extraordianry Gentlemen. Appearance-wise, Kinnear’s Frankenstein is... it’s- it’s not great. This show had the special effects budget of some pocket lint and the grace of God. But the character is what stood out here. Kinnear’s creature, more than any other, struggles to find his identity, to find a means to turn his monstrosity towards good. His constant failure as people use him and reject him embitters him even more against his creator, but gives him a common bond to other characters. In the show’s last season, Kinnear’s Frankenstein reunites with the family of the man who’s body was used to create him, stepping in apparently returned from the dead. And that and what happens afterward with the character are, I think, worthy additions to the Frankenstein mythos.

7.) Junji Ito’s Frankenstein

Leave it to Junji Ito to create the first truly repulsive Frankenstein. Lee’s came close, but Ito’s portrayal of the monster is nothing short of revolting. In the novel, it’s never made clear why exactly people are repulsed by the creature’s appearance; it might even have been all in the character’s perception. But Ito’s Frankenstein is simply hideous; it’s the first Frankenstein I can think of where you can imagine what he smells like, and it’s like rotting meat. The monster is imposing, too; Ito, like Wrightson, didn’t skimp on making his creature gigantic in proportion. It’s hard to feel sympathy for this creature, and it almost seems to take pleasure in the evil it commits against its creator. It’s easily the nastiest version of the monster you’ll ever meet.

8.) The King of Toyland

Like Van Helsing, The League of Extraordinary Gentlemen is just something I’m going to keep coming back to during this challenge. League’s Frankenstein is mentioned only in passing, making an actual appearance only as a background cameo, but what little is given might just be the most heartwarming version of the character I’ve read. After the canon events of the novel, Frankenstein’s creature wanders the Arctic Circle, despondent and immortal, unable to kill himself. In his wandering, the creature finds a land populated entirely by sentient dolls and toys, hidden in the North Pole behind a magical field. This is Toyland, from the Noddy series of English children’s novels.

The residents of Toyland are ruled over by Olympia, the automaton girl from the opera The Tales of Hoffman. The toys, instead of rejecting the creature, ask him to stay, claiming they need his strength to protect the land. The toys don’t see the creature as unnatural; to them, he is simply another misfit toy, an oversized doll. In time, the creature and Olympia fall in love and marry, and they rule as the king and queen of Toyland. The creature, at last, has found a place and a people he can call his own, somewhere where he is accepted, a purpose for his strength. And somehow, this was all written by Alan “Old Man Yelling at a Cloud” Moore, without a shred of irony or cynicism. And if you don’t think that’s the most sentimental shit in all of Frankenstein lore, then I don’t know what to tell you.

9.) The Flesh Golem

Before even Christopher Lee, the first version of Frankenstein’s monster that I really loved was the one in the 3rd Edition Dungeons and Dragons Monster Manual. Well, okay, it’s not actually Frankenstein’s monster; it’s just a ‘flesh golem’. But energized by electricity, afraid of fire, made of dead men cobbled together? Come on. My older cousin used to tell me that her idea for Frankenstein’s monster was that Frankenstein ran out of human parts, and had to resort to animal material to finish the creature. Frankenstein might have the nose of a pig, or the eyes of a horse; anything to finish the work. That idea never left me, and I thought of it every time I stared at the flesh golem, taking in the metal frame and oversized claw. I remember the first time I actually read the novel, I kept drifting back to that lanky, stitched-up construct with its monster parts and lop-sided face.

10.) The Prometheans

Another tabletop rpg rendition of Frankenstein’s monster, this was a whole game built around them. Promethean: The Created was the fourth of the New World of Darkness line or Chronicles of Darkness or whatever we call it these days. In it, players took on the role of artificially created beings, filled with supernatural energy, whose very presence twisted and corrupted the world around them. Normal humans can’t stand to look at them as a supernatural field makes them immediate targets of hatred, and they are hunted by their own twisted, monstrous bretheren who want to consume their divine power. And yet, for all that, it was a fundamentally optimistic game. Promethean marked a trend in the World of Darkness line that turned away from doom and gloom towards seeking salvation. The ultimate quest of the Prometheans is to gain their humanity, and their journey is about undertaking a pilgrimage to their ultimate realization. Promethean is about personal horror, and defining one’s own humanity.