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cappymightwrite · 3 years

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Jon Snow, Manfred & The Byronic Hero: Part 2

Previous Posts: PART 1

Hopefully Part 1 served as a good introduction on the topic and characteristics of the Byronic Hero, as well as how Jon Snow in particular is likely an iteration of this figure. But now we come to the real meat of this meta series — a closer look at Byron's dramatic poem Manfred (1816–1817), and more importantly, its titular character in comparison to Jon Snow. I was originally going to do an analysis and comparison of two key episodes in Manfred and A Storm of Swords, Jon VI, but have since decided to give that its own post... that's right kids, there will be a part 3!

(Detail from Lord Byron, Thomas Phillips, 1813)

So... why Manfred? Why not Childe Harold's Pilgrimage, or The Corsair, or Don Juan, or any other work by Lord Byron? Well, I'll tell you why, my sweet summer children. It's because of THIS:

Manfred/Manfryds and Byrons in ASOIAF, by order of first appearance and publication:

Ser Manfred Swann (ASOS, Jaime VIII)

Ser Manfred Dondarrion (The Hedge Knight)

Manfred Lothston (The Sworn Sword)

Manfryd o' the Black Hood (AFFC, Brienne I)

Manfryd Yew (AFFC, Jaime V)

Ser Byron the Beautiful (AFFC, Alayne II, TWOW, Alayne I)

Ser Byron Swann (ADWD, Tyrion III)

Manfryd Merlyn of Kite (ADWD, Victarion I)

Manfryd Mooton, Lord of Maidenpool (The Princess and the Queen, TWOIAF)

Manfred Hightower, Lord of the Hightower (TWOIAF)

Manfred Hightower, Lord of the Hightower (Fire and Blood)

Like... what the hell, George?

I find this very interesting, very interesting indeed! *cough* intentional, very intentional *cough* And I have to thank @agentrouka-blog for reminding me of the existence of these Manfreds/Manfryds, and thus pointing me in this particular direction. This evidence is, for me, my smoking gun, it's why I feel justified in exploring this specific work. In my opinion, it really strongly confirms that GRRM is aware of Manfred, he is aware of its author — as a literary name, it is pretty much exclusively connected to Byron, it's like Hamlet to Shakespeare, or Heathcliff to Emily Brontë. In fact, GRRM likes it enough to use this name several times in fact, its frequency of use aided by a slight variation on its spelling.

So, as we can see, there are a striking number of Manfred/Manfryds (9!!) featured in the ASOIAF universe, whereas Byron (2) is used a bit more sparingly — perhaps because the latter, if more liberally used, would become far more recognisable as an overt literary reference? Interestingly, though, we can see a direct link between the two names as both bear the surname Swann: Ser Manfred Swann and Ser Byron Swann (note the exact spelling of Manfred here, as opposed to Manfryd). Ser Byron was alive during the Dance of Dragons and died trying to kill the dragon Syrax, whereas Ser Manfred was alive during Aegon V's reign and had a young Ser Barristan as his squire. So, in terms of ancestry, Byron came before Manfred, which makes sense since Lord Byron created the character of Manfred; he is his authorial/literary progenitor, if you will.

But why Swann, though? Is there any significance to that surname? Well, I did a little bit of digging and turned up something very interesting, at least in my opinion. In Percy Bysshe Shelley's poem Lines written among the Euganean Hills (1818), in its sixth stanza, the poet addresses the city of Venice... the “tempest-cleaving Swan” in the eighth line is clearly meant to be his friend and contemporary, Lord Byron, that city’s most famous expatriate:

That a tempest-cleaving Swan Of the songs of Albion, Driven from his ancestral streams By the might of evil dreams, Found a nest in thee;

(st. 6, l. 8-12)

Ah ha! But let's not forget that the Swanns are also a house from the stormlands — stormlander Swanns vs. "tempest-cleaving Swan." It seems a nice little homage, doesn't it? You could also argue that the battling swans of House Swann's sigil are a possible reference to Byron's fondness for boxing (he apparently received "pugilistic tuition" at a club in Bond Street, London). But to make the references to Byron too overt would ruin the subtly, so it isn't necessary, in my opinion, for the Swanns to be completely steeped in Byronisms.

All in all, it would be very neat of GRRM if the reasoning behind Byron and Manfred Swann is because of this reference to Lord Byron by Shelley. How these names and the characters that bear them might further reference Byron and Manfred is a possible discussion for another day! It's all just very interesting, very noteworthy, and highlights how careful GRRM is at choosing the names of his characters, even very minor, seemingly insignificant ones.

(Illustration of Villa Diodati from Finden's Illustrations of the Life and Works of Lord Byron, Edward Finden, 1833)

Now onto the actual poem, and the ways in which Jon Snow could being referencing/paralleling Manfred. First things first, a bit of biographical context. Take my hand, and let's travel back in time, way back when, to 1816, the year in which Lord Byron left England forever, his reputation in tatters due to the collapse of his marriage and the rumours of an affair with his half-sister, Augusta Leigh (plus he was hugely in debt). No doubt, most of us are familiar with the story, but in 1816 Byron travelled to Switzerland, to a villa on Lake Geneva, where he met the Shelleys and suggested that they all pass the time by writing ghost stories.

The most famous story produced by them was, of course, Mary Shelley's Frankenstein (1818) — which may have served as the partial inspiration behind Qyburn and Robert Strong! Byron himself did begin a story but soon gave it up (yesss, we love an unproductive king); it was completed, however, by his personal physician, John William Polidori, and eventually published, under Byron's name, as The Vampyre (1819). But Byron didn't completely abandon the ghost story project, as later that summer, after a visit by the Gothic novelist M. G. Lewis, he wrote his "supernatural" tragedy, Manfred (1817).*

*I've seen it dated as 1816-17, but the crucial thing to rememeber, in terms of Byron's own biography, is that unlike The Bride of Abydos, he wrote it after his departure from England... this theme of exile will come up later.

Manfred is what is called a "closet drama", so is structured much like a play, with acts and scenes, though it wouldn't have actually been intended to be performed on stage. Indeed, Lord Byron first described Manfred to his publisher as "a kind of poem in dialogue... but of a very wild—metaphysical—and inexplicable kind": "Almost all the persons—but two or three—are Spirits... the hero [is] a kind of magician who is tormented by a species of remorse—the cause of which is left half unexplained—he wanders about invoking these spirits—which appear to him—& are of no use—he at last goes to the very abode of the Evil principle in propria persona [i.e. in person]—to evocate a ghost—which appears—& gives him an ambiguous & disagreeable answer..."*

*As in Part 1, more academic references will be listed in a bibliography at the end of this post.

To sum up the narrative for you, Manfred is a nobleman living in the Bernese Alps, "tormented by a species of remorse", which is never fully explained, but is clearly connected to the death of his beloved Astarte. Through his mastery of poetic language and spell-casting, he is able to summon seven "spirits", from whom he seeks the gift of forgetfulness, but this plea cannot be granted — he cannot escape from his past. He is also prevented from escaping his mysterious guilt by taking his own life, but in the end, Manfred does die, thus defying religious temptations of redemption from sin. He therefore stands outside of societal expectations, a Romantic rebel who succeeds in challenging all of the authoritative powers he faces, ultimately choosing death over submission to the powerful spirits.

According to Lara Assaad, the character of Manfred is the "Byronic hero par excellence", as he shares its typical characteristics found in Byron's other work (as discussed in Part 1), "yet pushed to the extreme." As noted above, there is a defiance to Manfred's character, which is arguable also found in Jon. Certainly though, in all of Byron's works, the Byronic Hero appears as "a negative Romantic protagonist" to a certain extent, a being who is "filled with guilt, despair, and cosmic and social alienation," observes James B. Twitchell. I'll come back to those characteristics presently.

As noted by Assaad, "Byron scholars seem to agree on this definition of the Byronic Hero, however they focus mainly, if not exclusively, on the dynamics of guilt and remorse." Indeed, it is only in more recent years that the incest motif, as well as the influence of Byron's own biography, have been more widely discussed. But perhaps the most compelling aspect of the Byronic Hero is his complex psychology. Although trauma theory only really started to flourish during the 1990s, thus providing deeper insight into the symptoms that follow a traumatic experience, it nevertheless seems, at least to Assaad, that "Byron was familiar with it well before it was first discussed by professionals and diagnosed." As we know, GRRM began writing his series, A Song of Ice and Fire, during the 1990s, and character trauma and its effects feature heavily in his work, most notably in the case of Theon Greyjoy, but also in the memory editing of Sansa Stark in terms of the infamous "Unkiss".*

*The editing, or supressing, of memories is not exclusive to Sansa, however. E.g @agentrouka-blog has theorised a possible memory edit with regards to Tyrion and his first wife Tysha.

But if we return back to that original quote, in which GRRM makes the comparison between Jon and the Byronic Hero, his following statement is also very interesting:

The character I’m probably most like in real life is Samwell Tarly. Good old Sam. And the character I’d want to be? Well who wouldn’t want to be Jon Snow — the brooding, Byronic, romantic hero whom all the girls love. Theon [Greyjoy] is the one I’d fear becoming. Theon wants to be Jon Snow, but he can’t do it. He keeps making the wrong decisions. He keeps giving into his own selfish, worst impulses. [source]

As noted by @princess-in-a-tower, there is a close correspondence between Jon and Theon, with each acting as the other's foil in many respects. In fact, Theon does sort of tick off a few of the Byronic qualities I discussed last time, most notably standing apart from society, that "society" being the Starks in Winterfell, due to him essentially being a hostage. Later on, we see him develop a sense of deep misery as well due to his horrific treatment at the hands of Ramsey Snow. Like Theon, his narrative foil, Jon is also a character deeply informed by trauma (being raised a bastard), but the way they ultimately process and express that specific displacement trauma differs profoundly — Theon expresses it outwardly through his sacking of Winterfell, whereas Jon turns his trauma notably inwards.*

*Obviously, I'm not a medical professional — I'm more looking at this from a literary angle, but the articles I've read for this post do include reference to real medical definitions etc.

Previously, I observed how being "deeply jaded" and having "misery in his heart" were key characteristics of the Byronic Hero, as well as Jon Snow — this trauma theory is a continuation of that. Indeed, to bring it back to Manfred, Assaad goes as far as stating that the poem's titular hero "suffers from what is now widely recognised as post-traumatic stress disorder (PTSD)." I am purposely holding off on discussing what the origin of that trauma is, in relation to Manfred specifically, because, well... it needs a bit of forewarning before I get into it fully. Instead, let's look at the emotions it exacerabates or gives rise to, as detailed by Twitchell, and how they might be evident in Jon and his feelings regarding his bastard status.

(Jonny Lee Miller as Byron in the two part BBC series Byron, 2003)

Guilt

Does Jon suffer guilt due to him being a bastard and secretly wanting to "steal" his siblings' birthright? I'd say a strong yes:

When Jon had been Bran's age, he had dreamed of doing great deeds, as boys always did. The details of his feats changed with every dreaming, but quite often he imagined saving his father's life. Afterward Lord Eddard would declare that Jon had proved himself a true Stark, and place Ice in his hand. Even then he had known it was only a child's folly; no bastard could ever hope to wield a father's sword. Even the memory shamed him. What kind of man stole his own brother's birthright? I have no right to this, he thought, no more than to Ice. – AGOT, Jon VIII He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. – ASOS, Jon XII

But I think Jon's sense of guilt also extends to the high expectations he sets for himself, his "moral superiority" in the face of his bastard status, as discussed in Part 1. He feels guilt pulling him in two different directions, in regards to Ygritte: guilt for loving her, for breaking his vows, and potentially risking a bastard, but also guilt for leaving her, for abandoning her, and potentially leaving her unprotected:

His guilt came back afterward, but weaker than before. If this is so wrong, he wondered, why did the gods make it feel so good? – ASOS, Jon III Ygritte was much in his thoughts as well. He remembered the smell of her hair, the warmth of her body... and the look on her face as she slit the old man's throat. You were wrong to love her, a voice whispered. You were wrong to leave her, a different voice insisted. He wondered if his father had been torn the same way, when he'd left Jon's mother to return to Lady Catelyn. He was pledged to Lady Stark, and I am pledged to the Night's Watch. – ASOS, Jon VI "I broke my vows with her. I never meant to, but..." It was wrong. Wrong to love her, wrong to leave her..."I wasn't strong enough. The Halfhand commanded me, ride with them, watch, I must not balk, I..." His head felt as if it were packed with wet wool. – ASOS, Jon VI

This guilt surrounding leaving the women/girls he cares about unprotected also extends to Arya. Yet it was his need to prove himself as something more than just a bastard, by joining the Watch, which initially prevents him from acting, and which also makes him feel guilt for being a hyprocrite:

Jon felt as stiff as a man of sixty years. Dark dreams, he thought, and guilt. His thoughts kept returning to Arya. There is no way I can help her. I put all kin aside when I said my words. If one of my men told me his sister was in peril, I would tell him that was no concern of his. Once a man had said the words his blood was black. Black as a bastard's heart. – ADWD, Jon VI

I think there is a lack of reconciliation between Jon and his bastard status, between what being a bastard implies in their society: lustful, deceitful, treacherous, more "worldly" etc. Deep down, subconsciously, Jon really rebels against it. You can see that rebellion more clearly in his memories as a younger child, less inhibited:

Every morning they had trained together, since they were big enough to walk; Snow and Stark, spinning and slashing about the wards of Winterfell, shouting and laughing, sometimes crying when there was no one else to see. They were not little boys when they fought, but knights and mighty heroes. "I'm Prince Aemon the Dragonknight," Jon would call out, and Robb would shout back, "Well, I'm Florian the Fool." Or Robb would say, "I'm the Young Dragon," and Jon would reply, "I'm Ser Ryam Redwyne." That morning he called it first. "I'm Lord of Winterfell!" he cried, as he had a hundred times before. Only this time, this time, Robb had answered, "You can't be Lord of Winterfell, you're bastard-born. My lady mother says you can't ever be the Lord of Winterfell." I thought I had forgotten that. Jon could taste blood in his mouth, from the blow he'd taken. – ASOS, Jon XII

But Jon knows this truth about himself, he knows that he has "always wanted it", and that causes him so much guilt because he can't allow himself to be selfish in that regard, because to do so would confirm for him his worst fears... that he truly is a bastard in nature as well as birth — treacherous, covetous, dishonourable.

Despair

As he grows up, learning to curb his emotional outbursts from AGOT, Jon appears more and more stoic upon the surface. But beneath that, buried in his subconscious in the form of dreams, you have this undyling feeling of despair, this trauma connected to his bastard status, his partially unknown heritage:

Not my mother, Jon thought stubbornly. He knew nothing of his mother; Eddard Stark would not talk of her. Yet he dreamed of her at times, so often that he could almost see her face. In his dreams, she was beautiful, and highborn, and her eyes were kind. – AGOT, Jon III

These recurring dreams, sometimes explicitly involving his unknown mother, sometimes not, represent a clear gap, a gaping blank in Jon's personal history and his perception of his identity:

"Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." [...]

"Do you ever find anyone in your dream?" Sam asked.

Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf's shaggy white fur. – AGOT, Jon IV

"That always scares me", he says quite tellingly. From this key passage, in particular, we can see that Jon feels a deep rooted despair at essentially being unclaimed, unwanted... being without a solid (Stark) identity around which to draw strength and mould himself. He's afraid of being a lone wolf, because as we all know, "the lone wolf dies, but the pack survives," (AGOT, Arya II).

This dream points him in the direction of the crypts — "somehow I know I have to go down there, but I don't want to" — which actually does have the answers he seeks because that is where Lyanna Stark is buried. Yet Jon is "afraid of what might be waiting for [him]", and wants to "scream" with dispair because of the darkness. So, this need for a confirmed identity is a double edged sword, which will no doubt be further complicated when his true parentage is revealed.

Elsewhere, Jon's dreams continue to have this despairing quality to them, often involving Winterfell, the Starks, and especially Ned, which is very interesting on a psychological level:

The grey walls of Winterfell might still haunt his dreams, but Castle Black was his life now, and his brothers were Sam and Grenn and Halder and Pyp and the other cast-outs who wore the black of the Night's Watch. – AGOT, Jon IV

Last night he had dreamt the Winterfell dream again. He was wandering the empty castle, searching for his father, descending into the crypts. Only this time the dream had gone further than before. In the dark he'd heard the scrape of stone on stone. When he turned he saw that the vaults were opening, one after the other. As the dead kings came stumbling from their cold black graves, Jon had woken in pitch-dark, his heart hammering. Even when Ghost leapt up on the bed to nuzzle at his face, he could not shake his deep sense of terror. He dared not go back to sleep. Instead he had climbed the Wall and walked, restless, until he saw the light of the dawn off to the east. It was only a dream. I am a brother of the Night's Watch now, not a frightened boy. – AGOT, Jon VII

But it is never "only a dream", is it?

And when at last he did sleep, he dreamt, and that was even worse. In the dream, the corpse he fought had blue eyes, black hands, and his father's face, but he dared not tell Mormont that. – AGOT, Jon VIII

Even Jon's conscious daydreams in AGOT revolve around his dispairing search for a solid identity:

A lot of these early dreams occur in A Game of Thrones, probably in response to his removal from Winterfell... his self exile. But later on in the series Jon continues to have dreams that tie him to the Starks and to Winterfell, ominous and sometimes despairing too. There's honestly too many instances to list, but if you want to understand the root of Jon's existential despair... it's in his dreams.

Cosmic Alienation

Cosmic alienation, now that's an interesting one in regards to Jon, since he definitely hasn't reached this state... yet. Life and his belief in the divine (the old gods) still hold meaning for him, but then he gets murdered by his black brothers. In the show, the writers hint at some cosmic alienation through Jon stating that he saw "nothing" whilst dead, but then they take it no further and generally do a piss poor job of post-res Jon. This characteristic of Manfred coming to the fore in Jon depends on what happens in The Winds of Winter, but I don't think it is at all that far fetched to assume that Jon will return to his body with a darker, altered perception of things.

Social Alienation

In Part 1, I discussed how Jon, like Byron's heroes, could be read as a "a rebel who stands apart from society and societal expectations." On a more psychological level, we can see how this Otherness, stemming from his bastard status, deeply affects Jon and his perception of himself and the world:

Benjen Stark gave Jon a long look. "Don't you usually eat at table with your brothers?"

"Most times," Jon answered in a flat voice. "But tonight Lady Stark thought it might give insult to the royal family to seat a bastard among them." – AGOT, Jon I

In his very first chapter, we see him quite literally alienated from the rest of his siblings, made to sit apart from them, an apparent necessity he seems fairly resigned to. Also in Part 1, I gave examples of instances in which Jon is mockingly called "Lord Snow," as well as a "rebel", "turncloak", "half-wildling", all of which serve to alienate him from the rest of the brothers of the Night's Watch.

Stannis gave a curt nod. "Your father was a man of honor. He was no friend to me, but I saw his worth. Your brother was a rebel and a traitor who meant to steal half my kingdom, but no man can question his courage. What of you?" – ASOS, Jon XI

The above interaction may seem on the surface to be about one thing — whether or not Jon will be of help to Stannis, offer him loyalty etc. — but tagged onto the end we have quite a poignant question: "what of you?" What are you, essentially. Who are you? The truth of his parentage may, in part, solve these questions... but it may also serve to alienate Jon from his perception of himself further. Ultimately, who exactly he is — what he believes in, who and what he fights for, etc. — will be solely his decision to make going forward.

So, the Byronic Hero, certainly in Manfred's case, but also in later iterations, is arguably traumatised by his own past. But regardless as to whether his trauma is related to a mysterious past, a secret sin, an unnamed crime, or incest, aka "secret knowledge", what is clear in Assaad's interpretation, is that the Byronic Hero is "living with the traumatic consequences of his own past and so suffers from PTSD." But why is Manfred traumatised, what is the specific cause of this trauma, or how might it reveal something deeper about Jon's own trauma? Now, here we come to the unavoidable... I'm going to start talking about Byronic incest and the pre-canon crush/kiss theory, and how it potentially parallels certain aspects of Manfred.

I should preface this by stating that I don't think Jon is suppressing trauma because he committed intentional incest with Sansa, but I do think (or at least somewhat theorise that) Byronic incest does come into play regarding his intense feelings of guilt and existential despair.

But still, stop reading now if are opposed to discussions of the pre-canon crush/kiss theory and the literary incest motif as a whole!

(Detail from The Funeral of Shelley, Louis Édouard Fournier, 1889)

Hey there to the depraved! If you aren't already familiar with the theory, here are some previous discussions/metas on the subject:

Full Blown Meta:

A Hidden and Forbidden Love by @princess-in-a-tower

Ask Answers (Long):

Jonsa as a more positive mirror to Jaime and Cersei? by @princess-in-a-tower, with additional comment by @jonsameta

Discussing the theory by @jonsameta

Evidence for pre-canon Jonsa? by @agentrouka-blog

Kissing in the godswood? by @agentrouka-blog

Why don't we read about Jon's reaction to Sansa and Tyrion? by @agentrouka-blog

More on Jon's supposed non-reaction by @agentrouka-blog, with additional comment made by @sherlokiness

A Jonsa "Unkiss"? by @fedonciadale

A hidden memory? by @fedonciadale

Sansa's misremembering by @fedonciadale

Descriptive parallels between A Song for Lya and Jonsa by @butterflies-dragons

Ask Answers (Short) & Briefer Mentions:

Jealous Jon by @princess-in-a-tower

Your new boyfriend looks like a girl by @butterflies-dragons

Like in Part 1, I've tried to cite as much as I could find, but as always, if anyone feels like I've missed someone important or that they should be included in the above list, please just drop me a line!

Now, it's a controversial theory, and not everyone's cup of tea — I think that's worth acknowledging! I myself am not wholly married to it, I'd be fine if it wasn't the case, but that being said, I can't in good faith ignore it when considering Lord Byron and the Byronic Hero. The incest is, unfortunately, very hard to ignore, both in his work and in his personal life. It's pretty hard to ignore in Manfred, for that matter, which is why I've held off talking about it... until now!

All aboard the Manfred incest train *choo choo* !!

First stop, Act II, scene one. Oh, wait, an annoucement from your conductor... apologies everyone, I purposely neglected to mention quite a key detail. Remember "Astarte! [Manfred's] beloved!", (II, iv, 136)? Yeah... it's heavily implied that Astarte is in fact Manfred's half-sister. *shoots finger guns* Classic Byron! *facepalms*

Oh, and that's not all! Let's consider the context surrounding the writing of this work for a moment, shall we? Unlike The Bride of Abydos (1813),* Manfred was written notably after the fallout of his incestuous affair with his half-sister, Augusta Leigh, composed whilst in a self-imposed exile. *spits out drink* Woah, woah there cowboy... what in tarnation?! EXILE?!

*As referenced in Part 1, @rose-of-red-lake has written an excellent meta on the influence of Lord Byron's work (and personal life) on Jonsa, paying special attention to the half-siblings turned cousins in The Bride of Abydos.

Although, as noted by rose-of-red-lake, The Bride of Abydos bears strong parallels to the potential romance of Jon and Sansa, as well as Byron’s own angst regarding his relationship with Augusta Leigh, the context surrounding Manfred seems... dare I say it, even more autobiographical. Because like Byron himself, Manfred wanders around the Bernese Alps, solitary and guilt ridden, in a state of exile heavily evocative of Byron's own — as I mentioned earlier, the beginnings of Manfred occured whilst Byron was staying at a villa on Lake Geneva, in Switzerland... the Bernese Alps are located in western Switzerland. In light of this, I think it's very understandable that some critics consider Manfred to be autobiographical, or even confessional. The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. But what has that got to do with Jon?

Look, I don't know how else to put this:

Byron self-exiles in 1816, first to Switzerland, to Lake Geneva, where it is unseasonably cold and stormy — his departure from England is due to the collaspe of his marriage to Annabella Milbanke, unquestionably as a result of the rumours surrounding his incestuous affair with his half-sister.

Displaced nobleman Manfred wanders the Bernese Alps, in a kind of moral exile, where "the wind / Was faint and gusty, and the mountain snows / Began to glitter with the climbing moon" (III, iii, 46-48), traversing "on snows, where never human foot / Of common mortal trod" (II, iii, 4-5), surrounded by a "glassy ocean of the mountain ice" (II, iii, 7). He feels extreme, but unexplained guilt surrounding the death of his "beloved" Astarte, who is heavily implied to also be his half-sister.

In A Game of Thrones, Jon Snow chooses to join the Night's Watch, with the reminder that "once you have taken the black, there is no turning back" (AGOT, Jon VI). By taking the black, Jon arguably exiles himself from the rest of the Starks, from Winterfell, to a place that "looked like nothing more than a handful of toy blocks scattered on the snow, beneath the vast wall of ice" (AGOT, Jon III). But we aren't given any indication that he does this due to incestuous feelings regarding a "radiant" half-sister, akin to Byron/Manfred, are we? And it's not like we have several Manfreds/Manfryds AND Byrons namedropped within the text, is it? Oh wait... we do. *grabs GRRM in a chokehold*

What the hell, George?!

(Lord Byron on His Deathbed, Joseph Denis Odevaere, c. 1826)

But lets get back on track here and take a closer look at that section of Manfred I mentioned at the beginning — Act II, scene one, aka the part where all the incest and supressed trauma really JUMPS out.

So, early in Act II, in the chamois hunter's abode (a chamois is a type of goat?), according Assaad's analysis, Manfred is "hyper-aroused by a cup of wine." The wine is offered in an attempt to calm Manfred; however, to the chamois hunter's great dismay, it instead agitates him and makes him utter words which are "strange" (II, i, 35). Rather than wine, Manfred sees "blood on the brim" (II, i, 25). His sudden agitation and erratic behaviour confound the chamois hunter, who observes that Manfred is losing his mind: "thy senses wander from thee" (II, i, 27). Assaad's analysis of this scene, which she believes "is the most revelatory in the entire play" discloses "a bitter truth: Manfred's traumatic past informs his present life."

We might compare this with Jon, in particular, how his dreams reveal certain bitter truths to do with his past, now subconsciously informing his present. I've already looked a bit at his crypt dream from AGOT, Jon IV, but we see a sort of recurrence of this dream again in ASOS, Jon VIII. The imagery of being in a crypt, somewhere underground, buried, in the dark, a place of ghosts and spirits, is extremely evocative. Indeed, to go back to Byron's own description of Manfred, the setting of a crypt is extremely suggestive of certain bitter truths "left half unexplained", of secrets buried... and we know that's true because the secret of Jon's parentage is hidden down there, in the form of Lyanna Stark.

He dreamt he was back in Winterfell, limping past the stone kings on their thrones. Their grey granite eyes turned to follow him as he passed, and their grey granite fingers tightened on the hilts of the rusted swords upon their laps. You are no Stark, he could hear them mutter, in heavy granite voices. There is no place for you here. Go away. He walked deeper into the darkness. "Father?" he called. "Bran? Rickon?" No one answered. A chill wind was blowing on his neck. "Uncle?" he called. "Uncle Benjen? Father? Please, Father, help me." Up above he heard drums. They are feasting in the Great Hall, but I am not welcome there. I am no Stark, and this is not my place. His crutch slipped and he fell to his knees. The crypts were growing darker. A light has gone out somewhere. "Ygritte?" he whispered. "Forgive me. Please." But it was only a direwolf, grey and ghastly, spotted with blood, his golden eyes shining sadly through the dark... – ASOS, Jon VIII

I don't think it's outlandish to state that, unquestionably, Jon's bastard identity is a source of ongoing pain for him. I talked about the theme of despair in Jon's characterisation and it is very evident in the above, and it stems from this "bitter truth" of not being a trueborn Stark, of not being "welcome", or having a true place. The emotions/mindset this trauma, concerning his birth and identity, evokes in Jon is arguably what brings him, on first glance, so closely in line with the Byronic Hero:

Their grey granite eyes turned to follow him as he passed / The crypts were growing darker = A mysterious past / secret sin(s)

You are no Stark / I am no Stark = Deeply jaded

There is no place for you here / I am not welcome there / This is not my place = standing apart from society and societal expectations / social alienation

He dreamt he was back in Winterfell / He walked deeper into the darkness = Moody / misery in his heart

He fell to his knees / Forgive me = Guilt

He walked deeper into the darkness / Please, Father, help me / He fell to his knees = Despair

These aren't all the Byronic characteristics I've addressed in relation to Jon, but it is a substantial percentage of them, all encapsulated, in one way or another, within this singular dream passage. As far as what is fairly explicit in the text, being a bastard is Jon's "bitter truth", it is the "traumatic past inform[ing] his present life." But what is Manfred's "bitter truth", what past trauma is informing his present? And can it reveal a bit more about another layer to Jon's trauma? Because there is a key distinction — Manfred's trauma, his PTSD, stems from a specific event, notably triggered by the (imagined) "blood on the brim" of his wine, whereas for Jon, we have no singular event, we have no momentus experience, we just have this "truth."

As mentioned previously, Assaad has recognised the character of Manfred as displaying symptoms of post-traumatic stress disorder (PTSD). In Assaad's article, she remarks that "an experience is denoted as traumatic if it completely overwhelms the individual, rendering him or her helpless," and this is quite evident in the interaction between Manfred and the chamois hunter. Sharon Stanley, an educator and clinical psychotherapist, writes that "the word trauma has been used to describe a variety of aversive, overwhelming experiences with long-term, destructive effects on individuals and communities."

So, if trauma is related to an experience, or experiences, is it still accurate to say that Jon experiences trauma, connected to being a bastard? Because there is seemingly no singular or defining root experience, or event that it stems from, it just is… it is a compellation of several moments, revealed to the reader through Jon’s memories and/or dreams. What is being "left half unexplained” here?

Assaad makes reference to the American Psychiatric Association's definition of PTSD, in which it observes that for an individual to be diagnosed with PTSD, they have to suffer from one or more intrustion symptoms, one or more avoidance symptoms, two or more negative alterations, and two or more hyperarousal symptoms. The dreams Jon has certainly suggest something, but it seems like a stretch to say that, like Manfred, he is suffering from PTSD, right? We and Jon are very much aware that he is "no Stark", at least not in the sense that he is Ned's trueborn son, this isn’t something Jon is actively suppressing. By comparison, it is incontrovertible that Manfred committed something in the past, which he deeply wishes to forget and disassociate from:

Man. I say ’tis blood—my blood! the pure warm stream Which ran in the veins of my fathers, and in ours When we were in our youth, and had one heart, And loved each other as we should not love, And this was shed: but still it rises up, Colouring the clouds, that shut me out from heaven, Where thou art not—and I shall never be. C. Hun. Man of strange words, and some half—maddening sin

(II, i, 28-35)

However, we cannot be sure what this traumatic point of origin is, though we know that it is related to something he has done to his beloved Astarte, which subsequently led to her death. Many critics have suggested that his sin is that of incest, and as I noted earlier, that Manfred as a whole is more than just a bit autobiographical and/or confessional in nature. Manfred's incestuous sin therefore re-enacts Byron's incest with his half-sister Augusta. But regardless of the true cause, Manfred is traumatised by his past and cannot overcome it. Is there something in Jon’s past, that may have subconsciously, or consciously, influenced his departure to the Wall — his self exile — which he cannot overcome, and which is closely tied to the issue of and pain he feels due to being a bastard, not just the illegitimacy, but also the negative characteristics it assigns? Is there an event, or experience, we can pinpoint as the origin of Jon’s trauma and potential PTSD?

To circle back to Jonsa, there is some, not unfounded, debate amongst us concerning the validity of the pre-canon crush/kiss theory. I've always found it an interesting theory, but until now, I haven't really given it too much thought. In light of the Byron connection, however, as well as the textual analysis I have for Part 3, I think this scenario, as detailed by agentrouka-blog, seems more and more likely. And I don't say that lightly, I really don't. It is a somewhat uncomfortable speculation to make, even if the interaction was more innocent rather than explicit (this is the side I firmly fall down on), however, it’s ambiguity does potentially parallel Byron’s Manfred and Astarte. This post would be even longer if I included my side-by-side text comparisons, so you may have to trust me for the moment that there are some very striking similarities between Act II, scene I of Manfred, and Jon's milk of the poppy induced dream in ASOS, Jon VI, as well as the actual buildup to that vision.

But, that sounds frankly terrible doesn't it? And it doesn't bode well for his future relationship with Sansa, does it? And what does it mean if Jon is suffering from PTSD due to an incestuous encounter with Sansa? What does that mean for Sansa, Sansa who is doggedly abused and mistreated by men within the present narrative? This is awful, why would GRRM root their romance in something traumatic? Oh I hear you, and these are questions I needed to ask myself whilst compiling this. But you see... now bear with me here... it isn't the actual encounter itself that was traumatic, for either Jon or Sansa, and that is reflected in both their POVs, because, though they think about each other sparingly (explicitly at least), it is never done so negatively. No, the potential PTSD Jon suffers from this experience isn't connected to Sansa, to whatever occured between them. Rather, I believe, it's connected to either the fear, or the reality, that Ned, his assumed father, saw and/or caught him (either Sansa had left at this point, or didn't fully grasp the issue), and this fear, this guilt, this sense of despair, is made evident in this passage:

When the dreams took him, he found himself back home once more, splashing in the hot pools beneath a huge white weirwood that had his father’s face. Ygritte was with him, laughing at him, shedding her skins till she was naked as her name day, trying to kiss him, but he couldn’t, not with his father watching. He was the blood of Winterfell, a man of the Night’s Watch. I will not father a bastard, he told her. I will not. I will not. “You know nothing, Jon Snow,” she whispered, her skin dissolving in the hot water, the flesh beneath sloughing off her bones until only skull and skeleton remained, and the pool bubbled thick and red. – ASOS, Jon VI

That's the traumatic experience, I believe, not the kiss — yep, I strongly suspect there was a kiss. Moreover, Jon's recurring assertion, throughout the series, that he "will not father a bastard" is tied to this in some way, it’s tied to Ned, it’s tied to some sense of guilt and shame. It’s not tied to Sansa. But we'll look at this passage, what it means, what it parallels, and what directly precedes it, in comparison to Manfred, a lot more closely next time.

I'll leave you with a slight teaser though — the parallel that made me really sit up and take notice:

C. Hun. Well, sir, pardon me the question, And be of better cheer. Come, taste my wine; 'Tis of an ancient vintage; many a day 'T has thaw’d my veins among our glaciers, now Let it do thus for thine. Come, pledge me fairly. Man. Away, away! there’s blood upon the brim! Will it then never—never sink in the earth?

(II, i, 21-26)

Note this imagery!!!

Maester Aemon poured it full. "Drink this."

Jon had bitten his lip in his struggles. He could taste blood mingled with the thick, chalky potion. It was all he could do not to retch it back up. – ASOS, Jon VI

In both instances, a drink is offered, with "blood upon the brim", and "blood mingled". In Manfred's case, this is an explicit trigger for him, whereas for Jon? Well, it bit more hidden, a bit more buried, but this moment is, to my mind, the catalyst, because its imagery strongly evokes the colours of the weirwood tree — "blood" red and "chalky" white — you know, the "huge white weirwood" he later on envisions.

*spits out drink*

Maybe the magnitude of this parallel isn't completely evident as of yet, but it will be... or at least I hope it will be, so stay tuned for Part 3!

(Starting to run out of Byron pics so... I dunno, here's Rupert Everret, from The Scandalous Adventures of Lord Byron, 2009)

In Conclusion

To summarise, why is the Manfred connection so monumental to me? Why do I find the pre-canon kiss theory, specifically the scenario detailed by agentrouka-blog, now very hard to dismiss? Because:

The nine (!) Manfreds/Manfryds included within the text, as well as the two Byrons, one of which, the first mentioned in fact, first appears in Sansa's POV. But crucicially the direct link made by GRRM between Byron Swann and Manfred Swann.

The strength of the similarities that can be observed between Jon and the Byronic Hero, but also notably to Byron's Manfred, the "Byronic hero par excellence", according to Assaad. Especially the recurring emotions of guilt and despair, the latter exemplified perhaps most clearly in Jon's dreams.

The prominent theme of self-exile to escape something, something that perhaps cannot be openly stated, present in Manfred, Byron's own life, and Jon's narrative.

Those pesky half-sisters: Augusta, Astarte, and Sansa.

The PTSD symptoms clearly present in Manfred, but left "half unexplained", and seemingly not explained at all in Jon's POV — I'll dig more into this in Part 3.

The "blood upon the brim", and "blood mingled" — more on that in Part 3, I hope you guys like in depth imagery analysis!

Obviously, this is all still just speculation on my part, and it's speculation in connection to a theory that is understandably controversial. I'd be happy to dismiss it... if it weren't for the above. So, I suppose I'm in two minds about it. On the one hand, however you look at it, it's more trauma in an already traumatic series... which is *sighs* not what you want for the characters you care strongly about. But on the other hand, that literary connection to Manfred (and by extension to actual Lord Byron), the way it's lining up, plus that comparison GRRM himself made between Jon and the Byronic Hero... that's all very compelling and interesting to me as a reader, as a former English literature student. So, I don't want it to be true because... incest hell. But then, I also want it to be true because then it makes me feel smart for guessing correctly.

But anyway, we're going to be descending into incest hell in Part 3, so... we'll just have to grapple with that when we come to it. I hope, if you stuck with it till the incesty end, that you enjoyed this post!

Stay tuned ;)

Bibliography of Academic Sources:

American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 5th edn (Arlington, VA: American Psychiatric Publishing, 2013); online edition at www.dsm5.org

Assaad, Lara, "'My slumbers—if I slumber—are not sleep': The Byronic Hero’s Post-Traumatic Stress Disorder", The Byron Journal 47, no. 2 (2019): 153–163.

Byron, George Gordon Noel, Byron’s Letters and Journals. Ed. Leslie A. Marchand. 12 vols. London: Murray, 1973–82.

Holland, Tom, "Undead Byron", in Byromania: Portraits of the Artist in Nineteenth- and Twentieth- Century Culture, ed. by Frances Wilson (Basingstoke: Palgrave, 2000).

MacDonald, D. L. "Narcissism and Demonality in Byron’s 'Manfred'", Mosaic: An Interdisciplinary Critical Journal 25, no. 2 (1992): 25–38.

Stanley, Sharon, Relational and Body-Centered Practices for Healing Trauma: Lifting the Burdens of the Past (London: Routledge, 2016)

Twitchell, James B., The Living Dead: A Study of the Vampire in Romantic Literature (Durham, NC: Duke University Press, 1981).

#jonsa #jon x sansa #jonsa meta #jon as the byronic hero #byronic hero #lord byron #tw: incest #cappy's thoughts #grrm and the Romantics #Jonsa and Romanticism #percy bysshe shelley #romantic poets #literary references #damn this was a long one!#glad a split it into another part!#i started to get a bit unhinged by the end not gonna lie

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dwellordream · 3 years

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“...By the 1920s, only the very poorest Danish families had to depend on the economic contributions of adolescent children for survival, but in most households daughters were still expected to help supplement the household income by handing over their pay. Especially in their first years as wage earners, parental control over children's income was considerable. Mothers in charge of the family budget generally kept most of the wages, permitting adolescent wage earners only a limited weekly allowance for personal expenses. Young women's family responsibilities continued in other ways as well.

While sons were given much more leeway, daughters were generally expected to contribute their labor to the household after they arrived home from work. "In my family, all the children were sent out to work after their [Christian] confirmation [at the age of thirteen or fourteen], and we all had to give mother some of the money we earned for housekeeping," Gerda Eriksen recalled of her working class youth in the early 1920s. "But," she continued, "the girls also had their chores—running errands, peeling potatoes, setting and cleaning the table, doing the dishes, bringing up coal from the basement. My brothers never had to do any of that. That was women's work."

But if contributing wages and labor to the household continued to be the unquestioned norm, young women's sense of their rights and obligations vis-a-vis the family was nevertheless changing in other ways in the early decades of the twentieth century. When earnings were sufficient, some daughters decided to strike out on their own and live independently in rented rooms, small apartments, or boarding houses, but given their low wages this was a possibility for the very few. More frequently, young working women sought to use their earnings as leverage to negotiate a stronger position within the family. Especially after World War I, when most families were able to place themselves safely beyond the poverty line, the necessity of individual sacrifice for household survival began to fade.

This allowed even working-class daughters to assert their right to new privileges in exchange for their economic contributions, and in the 1920s they did so in increasing numbers. Young women's sense of what they could legitimately demand from their families clearly sprang from their status and experiences as wage earners outside the home. In the labor market, and particularly in jobs other than domestic service, young women learned a rhythm of time and labor that divided daily life into paid work and one's "own" time. This was a rhythm already familiar to most men, whose lives had long been split into realms of work and leisure. Therefore, (male) wage earners were the obvious beneficiaries when Danish government regulations in 1919 limited the work day to eight hours, allowing working men more free time than ever before.

Married women, on the other hand, did not experience a similar shortening of the workday. Whether they worked outside the home or not, housework, child-rearing, cooking, and cleaning were never ending tasks, and unlike their husbands, they had to snatch their few leisured moments in between domestic responsibilities. As working women, daughters were precariously positioned between these different patterns of daily life. Even though they took on wage labor much like their fathers and brothers, young women were simultaneously expected to share the steady burdens of domestic work with their mothers and to devote their nonworking time to household labor.

It was this discrepancy between expectations fostered by labor market participation in the context of increasing standards of living, and the realities of family life that became increasingly intolerable for many young women in the 1910s and 1920s. In their minds, earning a living and bringing home money positioned them on a par with male members of the family, entitling them to at least some of the same prerogatives. Consequently, while they did not resist having to hand over a substantial part of their earnings, they more and more openly resented that their financial contribution did not always earn them what they considered its reasonable counterpart, namely the right to free time. As a result, families with adolescent daughters were plunged into conflicts about the degree of personal autonomy that labor market participation and wages ought to bestow.

Intrafamilial conflicts are often difficult for historians to document, but in this case tensions between parents and children are easily discernible. They surface, for instance, in the immensely popular advice columns of the 1910s and 1920s. Convinced of their right as wage earners to at least some free time and exasperated by their parents' unwillingness to grant them this privilege, some young women turned to advice columnists, hoping for replies that would affirm the legitimacy of their demands.

Among the correspondents was "Betty" who openly questioned her parents' authority. "I work from 8 A.M. to 6 P.M. every day," she explained. "When I come home, I am tired, but I still have to fix dinner and look after my younger sister. In the evenings my parents say I have to do needle-work, but I would rather read or go for a walk. Can they really demand that I stay at home? I am seventeen and a half years old, and I pay my mother Dkr. 8 every week."

Similarly, "a Copenhagen girl" found the relationship between rights and duties in her life unreasonable. "Before I leave in the morning," she complained, "I have to light the fire, make coffee and pack lunches. When I come home, the dishes are still sitting there, and there are errands to be run. Sometimes I want to meet my girlfriend at night, but my parents will almost never let me go. They say there is no reason to 'gad about,' but I don't understand what is wrong with having a little bit of fun at night when you work all day." Other evidence also suggests that many young women openly struggled to obtain the right to leisure and independent activities they thought they deserved.

Personal narratives often reveal both the intensity of such conflicts and the ingenuity of young women bent on getting their way. Emilie Johansen, who grew up in a middle-class family in a suburb of Aarhus recalled, for example, how she and her sister enlisted the help of an older aunt in their conflicts with an authoritarian father. "He was so strict. He would never allow us to have any fun, never allow us to go anywhere. It was hopeless. But then my aunt—I guess she was feeling sorry for us— we talked to her, and she hired us to do some cleaning and stuff. And we would get there and she would say, 'Why don't you girls run off to see a movie?' I don't remember if we ever actually did any work."

Equally resourceful, Copenhagen native Anna Eriksen depended on the backing of an older brother, who, in exchange for small favors, would promise to act as her chaperon outside the home only to vanish as soon as the siblings were out of their parents' sight. In addition to such evidence, numerous magazine articles and newspaper columns from the 1910s and 1920s chronicle the anger and bewilderment of parents who found themselves in constant conflict with their daughters. For mothers, this seemed particularly difficult. Not only did their daughters' desire for a "modern" life seem a rejection of their own norms and values, which in itself was hard to bear, but on top of that, some girls directly flaunted their disrespect of maternal authority, especially if fathers were absent, indulgent, or merely lackadaisical.

"When my daughter is not at the office, she thinks life has to be lived in a cafe, or in other places where people are judged according to their dress and style," "Ninka's mother" wrote to a women's magazine in 1921. "If I tell her to stay home even a few nights a week, she acts as if I've just imposed a life sentence on her." "She doesn't listen to me," another mother complained of her seventeen-year-old daughter. "When I tell her to stay home, she just laughs and says that you are only young once, that this is the twentieth century and not the Middle Ages, and that she is already wasting too much of her youth in a dirty factory. Besides that, she has her own money."

Even more desperate, the mother of one of the much maligned Langelinie girls told a newspaper journalist that she had "begged and pleaded with [her daughter] not to go there, but it doesn't help. I have to go to work, and my neighbor tells me that as soon as I am out the door, she takes off." Using whatever means it took, many young working women who came of age in the late 1910s and 1920s thus pushed for new personal freedoms and especially the right to free time. While some parents never gave in to their pressure, most young women seemed gradually to succeed in carving out of daily life at least some uninterrupted time devoted to relaxation and their own enjoyment.

From the mid-1920s, the frequency of daughters' publicly voiced complaints declined dramatically, and coming-of-age stories no longer featured such conflicts. Apparently, Ernestine P. Poulsen, born in 1902, described a phenomenon that extended beyond her family when she explained that "I fought a lot of battles with my parents [over the right to leisure]. Perhaps I cleared the way because when my [younger] sisters came along, they did not have to do the same. My parents had kind of accepted that girls also needed time of their own."

This did not mean, however, that conflicts between parents and daughters faded. Rather, the grounds of conflict merely shifted. Much resistance to giving young women free time derived from the material conditions of daily life—the practical assistance of grown daughters was still important for the well-being of many working-class households—and from a more general reluctance to give up control over children. But parents' reluctance also stemmed from their misgivings about young women's actual use of their leisure time.

Had daughters simply demanded more time to pursue leisure activities within the home, had they insisted on participating in cooking classes and sewing circles, or had they wanted to attend lectures on hygiene and housewifery, they would probably have been met with more understanding. But these were not the kinds of activities young women longed to engage in, and therefore the question of female leisure remained a contentious issue throughout the postwar decade.

Working-class and middle-class daughters had of course not been entirely without time of their own prior to the 1920s. Nor had they been completely confined to the home. Girls from the countryside had always been allowed to participate in regional fairs, celebrations, and local get-togethers of young people. Urban working-class daughters had long socialized outside the home on staircase landings and front steps, in backyards, and on city streets or in neighborhood parks, and many middle-class daughters belonged to women's clubs and organizations.

What constituted the major departure from convention in the 1910s and 1920s was young women's insistence on their right to "go out," an activity significantly different from the kind of casual socializing that took place outside their parents' windows or in clubs and organizations under adult supervision. "Going out," Regitze Nielsen recalled, "that was when we got dressed up and went somewhere." More specifically, "going out" meant pursuing pleasures that took young women away from home and family, into the public, and, in particular, toward new forms of commercial recreation, including movie theaters, cafes, dance places, and amusement parks. As a social practice, this form of "going out" challenged older norms for female behavior in several ways.

First, it obviously entailed their deliberate desertion from the domestic world, if only momentarily. Second, "going out" meant young women venturing outside familiar neighborhoods and beyond the realm of adult control and surveillance, claiming for themselves the right to an independent, unsupervised social life distinct from familial traditions. Third, as opposed to more traditional forms of leisure for women, "going out" was a strictly peer-oriented activity in which kinship ties had much less significance than freely chosen and carefully cultivated friendships among girls and young women who usually met in school, at work, in clubs and organizations, or in the neighborhood where they lived.

Finally, and perhaps most importantly, "going out" meant women's entrance into public spaces traditionally defined as male territory and often imagined as sites of immoral activity where men and women freely mingled, potentially transgressing social and sexual boundaries. Because each of these four aspects seemed to pose a fundamental threat to the social and sexual status quo, intense controversies between parents and children over young women's new leisure activities reverberated throughout the postwar decade. Years after families had conceded to daughters' demands for more time of their own, parents struggled to control or at least influence their use of that time.

By dictating curfews, prohibiting particular activities and specific locations, insisting on being introduced to friends and companions, and demanding the chaperonage of brothers, parents sought not only to protect their daughters against potential dangers but also to maintain at least some authority. Consequently, when young women ventured out into the public sphere, they generally did so under the intense scrutiny of parents who continued to hold some power to revoke their newly won privileges. Thus, even as "going out" gradually became a regular part of young women's lives, treading carefully remained an often perplexing prerequisite.”

- Birgitte Soland, “Good Girls and Bad Girls.” in Becoming Modern: Young Women and the Reconstruction of Womanhood in the 1920s

#1920s #history #danish #birgitte soland #becoming modern

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aion-rsa · 3 years

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Fear Street Part Two: 1978 Breaks Friday the 13th’s Darkest Rule

https://ift.tt/eA8V8J

This article contains Fear Street Part Two: 1978 spoilers.

On the surface, Jason Voorhees appears to be no one’s idea of a rule-follower. Ranging in heights between six and seven feet—depending on the movie—the hockey masked behemoth dominates every room he’s in, even before the machete starts swinging. He’s cut a brutal path across 10 canonical films, plus a remake and a crossover movie with Freddy Krueger, and built a throne of blood amongst the horror movie pantheon.

Yet deep down, as Freddy might tease, Jason is still the mama’s boy who feels bad about being picked on as a child at summer camp…and who is still hounded by his crazed mother’s voice: Kill them, mommy, kill them!

In truth, you might even say Jason is just trying to make Mom proud one dead camp counselor at a time. After all, Mrs. Voorhees (Betsy Palmer) didn’t blame the other kids who tossed poor Jason into the lake. Kids will be kids, or so she might say. Rather Mama blamed the camp counselors who were too busy canoodling to notice a child drowning. So, like his mother before him, Jason reserves his machete for teenage counselors while largely leaving the “kids” alone—similar to how the horniest teens are the first to die in a Friday the 13th movie, and the generally most virginal is the one to live to see another summer.

Which is what makes the killings in Fear Street Part Two: 1978 so shocking to both its younger target audience and the adults who grew up watching the movies Fear Street emulates. Because whether or not you’re aware of the “rules” of horror movie franchises, as best explained by Jamie Kennedy in the original Scream, you inherently are unsettled by the image of Fear Street’s Tommy Slater (McCabe Slye) standing above a child with an axe. And then watching him swing it.

As with Fear Street Part 1 before it, 1978 wears its influences on its sleeves. The previous film was set in 1994 and opened with the biggest star in the cast, Stranger Things’ Maya Hawke, getting viciously slaughtered, a la Drew Barrymore in Scream. By contrast, Fear Street Part Two pulls from slower burning horror movies.

When we properly begin the film in its ’78 setting, we meet Sadie Sink’s Ziggy Berman, who is being tortured at the hanging tree by her summer camp’s resident mean girls. This plays like it’s straight out of Carrie, both the Stephen King novel published in 1974 and Brian De Palma’s zeitgeist-shattering adaptation from 1976.

Fear Street eventually admits its Carrie White fixation, even having Ziggy reverse engineer the famed “pig blood” sequence from that movie to get back at her Queen Bee tormenter. The new movie also references a few of the tracking shots from the actual slasher movie landmark of 1978, Halloween. But when everything’s said and done, Fear Street Part Two is about the Friday the 13th of it all.

Jordana Spiro does a pretty good Mrs. Voorhees impersonation as she tries to kill one of the camp counselors—little do the others realize she would’ve saved their lives if only Tommy could’ve died that afternoon—and when Tommy is possessed by the Shadyside witch, he soon takes on the oft-forgotten burlap sack that Jason wore in Friday the 13th Part 2 (1981).

For all intents and purposes, Tommy Slater is Shadyside’s Jason Voorhees. But in addition to being a poor soul “enslaved” by a witch’s curse, there is something nastier about Tommy Slater because he doesn’t play by Jason’s rules. He kills stoners and tea-totalers, virgins and harlots, and he even murders children.

To be fair, almost all the characters in Friday the 13th and its various clones are kids: teenagers just trying to get by at summer camp. However, most of them are played by twenty-somethings and all of them are old enough to partake in the sins and vices that summon their puritanical boogeyman from beneath the lake. In fact, the only Friday the 13th picture to even feature campers at Camp Crystal Lake, Friday the 13th Part VI: Jason Lives! (1986), goes out of its way to creep out audiences with Jason watching the wee ones sleep. But the movie then reassures us that he’s not that bad, with Jason then electing to butcher their babysitting counselor one cabin over instead.

This is likely a choice made in part by 1980s filmmakers at Paramount Pictures who wanted to sell their schlock with minimal blowback from parents groups. But 40 years later on a streaming service like Netflix? There is little need to worry about such concessions intended to protect box office receipts.

So it is that we see the magnanimous, popular counselor Tommy in Fear Street Part Two dote on the heavyset nerdy kid by day, and then swing an axe into his bespectacled skull by night. We’re even reminded about how different the social mores of the ‘70s were when he’s told to “shut the fuck up, nerd” during an era when that was hardly a compliment, even of the backhanded variety. Nay, his self-esteem is cut deep by fellow middle schoolers, and then his body is cut much deeper by his favorite counselor.

It’s fiendishly mean-spirited. But Fear Street doesn’t stop there. It breaks the “don’t kill kids” rule once in this scene and then it does so at least three more times when Tommy corners a cabin full of youngsters who spot the guy they all looked up to just long enough to realize he’s their murderer.

Jason wouldn’t dare.

This is one of the many ways Fear Street honors, critiques, and then attempts to outdo its inspirations. It also lays the groundwork for the climax where we’ve been led to believe Ziggy is the Berman sister who will die and virginal good girl Cindy (Emily Rudd) will be the one who lives. Yet during the film’s final movement, when both Ziggy and Cindy approach the Shadyside hanging tree, they’re cornered by Sarah Fier’s rogues gallery of terrors, including a reanimated Tommy Slater. Minutes earlier, Cindy did the unthinkable and decapitated the boyfriend she wished she’d consummated her relationship with.

Now in 1978’s finale, Tommy’s returned to kill a young woman who on paper should be our survivor girl: the studious one who played by the rules and was resourceful enough to figure her way out of the witch’s cave. Nevertheless, she receives the most graphic murder onscreen, with the director favoring extreme close-ups of nearly each axe blow Tommy delivers into her body.

Jason may have killed final girls before, but only after they survived one movie and have since been replaced by a new idol for the sequel to honor. But Fear Street? It’ll play in Jason Voorhees’ sandbox but not by his rules. Which makes it a far scarier camp fire yarn.

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The post Fear Street Part Two: 1978 Breaks Friday the 13th’s Darkest Rule appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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lepreuxchevalier · 6 years

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Edward Fitzroy, Titular Duke of Huntington. Nicknamed “The Gold Spun Angel” or “The Sweetest Devil” by his contemporaries, Edward is the illegitimate son of Robert III, 40th and Late King of Albion and Former Head of House Lyonheart through a union with a tanner’s daughter. Half Brother to Edmund IV, 41st and Reigning King of Albion and Current Head of House Lyonheart and Princess Kaitlin Lyonheart, Duchess of Kingswood. Following King Robert’s defeat and subsequent capture at The Battle of Tourangeau at the hands of Prince Tancred Williamson, Duc de Chambord, House Lyonheart and The Kingdom of Albion was pressed into a humiliating and disadvantageous peace treaty with House Williamson and The Kingdom of Aquitaine. As a compromise for ransoming King Robert back to his homeland at half price, King Robert agreed to offer his only son at the time as a lifetime hostage in the hands of House Williamson of Aquitaine. The infant boy taken into their custody would grow up to be Edward Fitzroy, The Titular Duke of Huntington. Edward would grow up as a Royal Hostage in the lavish and prestigious court of William XXI, King of Aquitaine and Current Head of House Williamson. Edward’s education was as militaristic as it was academic, being drilled in lessons on military strategy, fencing, jousting, and grappling while being tutored in more intellectual pursuits such as grammar, statecraft, classics, and theology. Edward was raised and tutored alongside The King of Aquitaine’s granddaughters through his firstborn son and heir, The Dauphin de Viennois: Princess Melaina Williamsdottir, Duchesse d’Orleans, Princess Erika Williamsdottir, Duchesse de Valois, and Princess Emily Williamsdottir, Duchesse de Bourbon. Growing up in the opulence and splendour of The Court of The Kings of Aquitaine, the princesses Melaina and Erika naturally developed an adoration for the handsome young man growing up in their residence. Edward’s heart, however, belonged to the youngest of these princesses, Princess Emily Williamsdottir, Duchesse de Bourbon. Her heart at the time belonged to the young and dashing Jean-Baptiste Lorieux, Duc de Logresse. Upon hearing the news that her first love was betrothed to an older and fairer lady of House Perrault of Caenesse, Princess Emily became devastated that her love was promised to another woman. In the spirit of vengeance and spitefulness, Princess Emily Williamsdottir eloped with Edward into the woods on the outskirts of her family’s favoured country estate of Chateau Lefleur. In the months that followed their return to the primary Williamson residence of Le Palais de Fontainebleau in the capital city of Couronne, Princess Emily Williamsdottir announced that she was pregnant with Edward’s unborn child, and “that it made her a little happy to be pregnant with his child.” This statement of apparent weakness and fragility by the princess only did much to arouse the hatred and disgust of The Great Houses of Aquitainian Nobility against Edward, who saw him as a selfish opportunist who cruelly violated the person of their King’s youngest granddaughter that had barely reached the age of maturity. This atmosphere of bitter disgust and hatred for Edward amongst the nobles at The Court of Fontainebleau was only fueled even more by the invalidation of Edward’s political importance as a royal hostage with the coronation of a legitimate male heir to House Lyonheart and The Crown of Albion. In a show of rare mercy and compassion for the young man raised in his court, King William XXI of Aquitaine exiled Edward to the court of House Buchenauer of Solingen in The Empire of Mankind Proper, where Edward currently spends his days attaining his knighthood as a squire for Duke Conrad Von Buchenauer, or the reigning Duke of Solingen and the current head of House Buchenauer. The suit of armour featured in this artwork was a gift by Emperor Alexius VI to Edward Fitzroy as a present for his 18th Birthday.

#coats of arms #heraldry #shields #medieval #renaissance #chivalry #knights #plate armour #black armour #blackened plate #gilding #swords #halberds #fantasy #fantasy world #graphic design #art #character portrait #Edward Fitzroy

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wearemmauk-blog · 5 years

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Pam Sorenson and Kaitlin Young fight for vacant featherweight title at Invicta FC 36

Pam Sorenson and Kaitlin Young fight for vacant featherweight title at Invicta FC 36 - http://mmauk.net/2019/07/03/pam-sorenson-and-kaitlin-young-fight-for-vacant-featherweight-title-at-invicta-fc-36/

Pam Sorenson and Kaitlin Young fight for vacant featherweight title at Invicta FC 36

Invicta Fighting Championships today announced that Pam “Bam” Sorenson (7-3) and “The Striking Viking” Kaitlin Young (10-9-1) will battle for the promotion’s featherweight championship. The title tilt headlines a nine-fight Invicta FC 36 card, taking place in Kansas City, Kan. on Friday, Aug. 9.

Sorensen was last in action at Invicta FC 32, taking on former featherweight champion Felicia Spencer. Sorensen suffered defeat at the time but gets another crack at Invicta gold after Spencer signed with the UFC and vacated her title earlier this year.

A 12-year veteran of the sport, Young left the cage in 2014 and served as Invicta FC matchmaker before returning to competition last year. Since August, the MMA pioneer has experienced a career resurgence, reeling off three straight wins, including back-to-back stoppages.

Former strawweight title challenger Janaisa “Evil Princess” Morandin (10-2) returns to action in the Invicta FC 36 co-main event, welcoming newcomer Emily “Gordinha” Ducote (7-5) to the organization’s 115-pound division.

Also featured at Invicta FC 36:

Twenty-five-year-old atomweight prospects square off as Jessica Delboni (8-1) meets Lindsey “Damsel” VanZandt (6-1), who is coming off a win over Japanese kickboxing star Rena Kubota

UFC veteran Kailin Curran (6-7) looks to follow up on her impressive Phoenix Rising Series outing against a strawweight opponent to be named

Undefeated wrestler Stephanie “Hold Fast” Geltmacher (4-0) vies with Victoria “Fury” Leonardo (5-1) at flyweight

Atomweight Alyse Anderson (4-1) attempts to hand Anastasia Nikolakakos (3-0) her first career defeat

Owner of the fastest knockout in Invicta history, Chantel “Killa” Coates (1-0) clashes with fellow flyweight Caitlin “Ginger” Sammons (1-0)

Recent signees Erin Harpe (1-0) and Auttumn Norton (0-0) battle at bantamweight

Bantamweights Megan “Killa” Cawley (0-0) and Julia Ottolino (0-0) will both make their professional debuts in the night’s opening bout

The complete nine-fight card for Invicta FC 36 can be found below:

INVICTA FC 36 Featherweight Title Bout: Pam Sorenson vs. Kaitlin Young Strawweight Bout: Janaisa Morandin vs. Emily Ducote Atomweight Bout: Jessica Delboni vs. Lindsey VanZandt Strawweight Bout: Kailin Curran vs. TBA Flyweight Bout: Stephanie Geltmacher vs. Victoria Leonardo Atomweight Bout: Alyse Anderson vs. Anastasia Nikolakakos Flyweight Bout: Chantel Coates vs. Caitlin Sammons Bantamweight Bout: Erin Harpe vs. Auttumn Norton Bantamweight Bout: Megan Cawley vs. Julia Ottolino

Invicta FC 36 streams live and exclusively on UFC FIGHT PASS at 7 p.m. CT on Friday, Aug. 9.

Tickets for Invicta FC 36 are on sale now and available for purchase at eventbrite.com.

#invicta #Invicta 36 #Invicta FC #Invicta FC 36

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henry-hart · 6 years

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question time

I’m making my own post too bc I know it’s gonna get long. lolol

First off, thank you Lou for tagging me. :))))) You tagged most of my friends in your post, so I just have a few people to tag lol @sleepylilsnowflake @sunbeameyes (take your time Nikki <3) @shonashee @writing-excuses ***you all aren’t required to do this. just, if you want to :)))

I. Nickname?

(Fun fact: Em is my actual first name--like, it’s not a nickname or short for Emily or Emma. Just Em) my nicknames are all longer than my actual name, and I have a lot, but the ones my fam uses the most are Emmers, Ems, and Emmy.

II. Gender?

Female

III. Star sign?

Pisces

IV. Height?

I think I’m like 5′3″??? I’m not sure. It’s been awhile since I’ve been to the doctor or measured myself alkjslkjslk

V. Favorite feature?

Uhhhhh myyyyy.....ears? I guess??? Is that lame??? lolol They’re just small and I pierced them so many times, so my earrings look cool. I don’t know. I don’t really find any of my features good ashkjskajk

VI. Favorite color?

Yellow! It makes me happy!

VII. Favorite animal?

I have the hardest time answering this hhhhhh I love all animals, but I guess....it’s gonna have to beeeeeee......tigers? I love that they like to swim despite being in the feline fam, and they’re so beautiful. Sorry to all the other animals. I love you all equally.

VIII. Average hours spent sleeping?

lol wut is sleep???? Just kidding kind of. Well, it depends on the kind of day I’m having. I mean, I just woke up an hour ago, and it’s three in the afternoon ajskjsklj. So, sometimes it’s a classic 10+ hour depression nap, or it’s the “I can run on three hours of sleep no problem.” Hardly ever do I sleep a healthy 8 hours. :(

IX. Dogs or cats?

ugh another “choose an animal” question. I can’t. I love dogs and cats, and I have both.

X. Number of blankets you sleep with?

In the summer, just one so I don’t die of heat exhaustion, but in the winter, I use two.

XI. What’s your dream trip?

Honestly, I’d love to plan a trip to hit every continent (apart from Antarctica bc no) and just see all the major countries and cities and just experience all the cultures of the world. Places I’d look most forward to on that trip would be Australia, Spain, annnddd the Scandinavian countries as well as Iceland (unless that’s considered Scandinavian???) :)

XIV. How many followers do you have?

On this blog, I think I have 80? I’m not sure. I’m surprised I even have that many a;kljskljs Thank you all!

XV. How many pets do you have?

A cat, a dog, two fish, and a turtle--so five.

XVI. Best places to visit in your town or country?

My town is sh*t, so there’s nothing “best” about it. As far as my country goes, I mean, where do you start? I’ve never been to most of these places, but probs the ever classic New York, Cali, Florida (I have been to FL, but not deep in the panhandle). I mean, they’re not really “talked about,” but I’d love to see Oregon and Washington.

XVII. Favorite ice cream flavor?

I’m in the 2% of people who actually like strawberry alkjslksj

XIX. Favorite study locations?

When I was in college, my dorm was on a little campus lake, so I’d take my studies out there bc it was really calming. I didn’t usually study in the library bc I couldn’t take the heavy feeling of desperation and stress and anxiety coming from everyone else in there.

XX. Favorite book series?

Uuuuuuuhhhhhhh this is a really hard question bc I’m ALWAYS reading. Hmmmmm maybe HP bc it’s one of the first series I completed???

(I don’t know if I was supposed to answer those questions, but here’s the second set lolol)

1. Favorite band/music group?

I am not good at making decisions like this. Maybe The Doors? Gotta love that classic psychedelic rock. RIP Jim Morrison.

2. Favorite subject in school?

I always loved English (duh lol) and science--esp biology.

3. Fruits or veggies?

Both! I don’t eat meat lolol

4. What’s an inside joke you have?

God, I wish I was cool enough to have all these cool insiders with friends, but I just don’t. My lil bro and I have a lot tho. Like, we’ll watch funny videos or play the same video game or watch the same tv show, so we can crack jokes about that stuff that makes everyone else go “???” Also, he and I are big on vines, so we make about 50 incredibly well-placed vine references every day. lolol (he’s my little buddy--I say little, but he’s 16 alkjljslksj)

5. Ever been to Disney?

No. >:( I’ve never been able to afford it, but ONE day.

6. Do you like rollercoasters?

I’ve only ever been on minor ones, but I enjoyed those, so maybe I’d like the major ones?

7. Favorite movie?

One of the first movies I remember watching was Ferris Bueller’s Day Off, and that’s a classic. It’s def one of my faves. I also watched The Labyrinth a lot as a kid. I JUST REMEMBERED CORALINE IS A THING, AND I LOVE THAT MOVIE. SO CORALINE IS MY FAVE.

8. What’s your dream job?

Something that categorizes as philanthropic. I just want to be able to help and talk to people all over the world. :)))) (also, if any of my young followers are stressed about not having it figured out, I’m 22 and have no idea what I’m doing. It’s okay.)

9. What’s something you wish you were good at?

Art or dancing. Ah, to have been one of those art students in college.

10. What do you listen to during long car rides?

I make me some rad af car ride playlists skljakljskl I have ones for summer car rides, ones for night car rides, ones for driving in the rain--I’ve got it all. lolol

11. Favorite warm drink?

I don’t usually drink warm drinks, but I occasionally have tea.

Now for Lou’s questions ;)

1) Favorite video game?

I play a LOT of video games, but one of the first I ever played was Super Mario on the Nintendo 64, so probs that. I also like Halo and Skyrim a lot.

2) What is one album you’d recommend?

The 1975 - The 1975 (it’s a self-titled album)

3) What type of weather do you like most?

I’d like to say warm, sunny weather bc I like it in theory--the feeling of the sun on your skin, light hair, dark skin, being outside, etc.--but it’s just not realistic. The rain is more likely bc I get inspired to write and I have an excuse to stay inside akjslksj

4) What mood are you currently in?

A very “blah” mood. There’s so much I want to get done, but I have NO motivation.

5) Favorite comfort food?

This is gonna be really lame, but it’s cereal. When I was in college, I could only afford cereal, and after going sometimes days without eating, to have that bowl of cereal was just a godsend. :)

6) What is one of your main hobbies?

READING! I have a literal wall of books in my room. I’ve been avidly reading since I was about eight years old.

7) Your opinion on the pineapple on pizza discourse?

Don’t like it. At all. That tangy fruit taste mixed with cheese and red sauce? No.

8) Someone you really look up to.

My mommy. <3333 She’s an incredible woman, and she just embodies everything that feels motherly. Most of my friends call her mom bc that’s what she is, through and through. I aspire to be like her in life because she’s just so full of love and comfort and warmth. I love her so much. (I’m crying now thinking about her alkjlksjslk)

9) A joke that makes you laugh.

It’s silly, but my little sister read it off a Laffy Taffy, and I lost it. “What kind of music are balloons afraid of? Pop music.” aklsjlskj same

10) How was/is your day?

Eh. I haven’t been awake for most of it, so I don’t really know alkjlksjs;l

Here are my questions!!! And, for the people I tagged, feel free to answer whichever set of questions you’d like! You can answer all, some, none--whatever you’d like!

1- What’s your comfort TV show/movie?

2- Favorite word and least favorite word?

3- Something (or someone) that makes you happy. :))

4- Biggest fear? (it can be a silly fear if you’d like)

5- What was the last thing that made you really laugh. What made you really cry?

6- Do you prefer the country or the city?

7- Which HP house are you in?

8- One word you’d say describes you best.

9- Cringiest thing you’ve ever done.

10- How long have you known your oldest friend? (by oldest I mean years you’ve known them not how old they are akdljlkjs)

Enjoy!

#this was fun #thank you lou for tagging me!!!#i hope you guys don't mind being tagged #have fun!#not henry danger

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netunleashed-blog · 6 years

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The best movies on Netflix: great films you can watch in Australia right now

http://www.internetunleashed.co.uk/?p=9110 The best movies on Netflix: great films you can watch in Australia right now - http://www.internetunleashed.co.uk/?p=9110 UPDATED: Your Name is one of the true anime masterpieces, and it's just landed on Netflix Australia — find out why you should watch the highest-grossing anime film of all time on page 5!If you're new to Netflix and want to find the best movies to watch, or you're tired of browsing the app for 30 minutes before finding something to watch, you've come to the right place. With thousands of movies at your disposal, it's easy to get stuck in binge-watching mode, but finding the honest-to-goodness best films can be a bit of a hassle.In an effort to determine the best of the best, we've put together a list of the greatest possible films you can watch – curated by TechRadar editors and backed up with ratings from IMDB and Rotten Tomatoes – so that you don't have to sift through the muck. We'll keep this best-of list up to date with the latest movies that are must-watch, so you waste zero screen time searching. Best Netflix TV shows: the top Netflix television series in Australia right now As tech enthusiasts, it's perhaps unsurprising that we're obsessed with science fiction here at TechRadar. From glorious space operas to mind-bending films that make you think, there's something for everyone on our list of the best sci-fi movies on Netflix Australia. Got a Stan account too? These are the best movies on Stan: a list of the top films streaming in Australia now Annihilation If you've seen writer-director Alex Garland's previous sci-fi masterpiece, Ex Machina, you'll know to expect a wild ride with his follow-up, Annihilation. Based on the highly regarded novel of the same name by Jeff VanderMeer, Annihilation follows a group of women who set off on an expedition into an environmental disaster zone where the laws of nature don't apply. Natalie Portman leads the pack as a biologist searching for her missing husband, and she's joined by Tessa Thompson, Jennifer Jason Leigh, Gina Rodriguez and more. Though the film has only just been released in theatres in the US, Australia is lucky enough to be one of the countries getting the film on Netflix right away. Equally brainy and terrifying, Annihilation has all the makings of a modern science fiction classic.IMDB Rating: 7.8, Rotten Tomatoes: 87% Rogue One: A Star Wars story As the first Star Wars anthology film, Rogue One had some pretty lofty expectations to live up to. Rather than try to replicate the formula that made The Force Awakens such a smashing success, director Gareth Edwards delivered a proper war film, one that had more in common with Saving Private Ryan than The Empire Strikes Back. Remember in A New Hope when the Rebellion got its hands on the Death Star plans that would lead to victory at the end of that film? Rogue One is about the group that stole those plans. Yes, it is a Star Wars prequel film, but don't worry – there's no Jar Jar Binks in sight. IMDB Rating: 7.9, Rotten Tomatoes: 85% Edge of Tomorrow A terrific science fiction war film starring Tom Cruise, Edge of Tomorrow plays like a cross between Halo and Groundhog Day, where the Cruiser is thrown directly into an alien war only to die almost immediately and then forced to repeat the day over and over, becoming a little more battle-hardened each time. Joining him is Emily Blunt, playing a tough-as-nails soldier who helps Cruise figure out a way to close this never-ending time loop and end the war for good. Backed by a terrific script and some fine chemistry between Cruise and Blunt, Edge of Tomorrow is a fantastic special effect extravaganza that should please both sci-fi and action fans.IMDB Rating: 7.9, Rotten Tomatoes: 91% District 9 The film that put both director Neill Blomkamp (Elysium) and star Sharlto Copley (Powers) on the international stage, District 9 is an ingenious science fiction Apartheid allegory that puts marooned aliens in South African concentration camps. An anti-alien pencil pusher (Copley) has his whole world turned upside down when he is sprayed with some kind of liquid that is slowly turning him into an alien, and now he has to team up with one of the "prawns" he so despises if he has any hope of turning back to normal. Hilarious, action-packed and filled with flinch-worthy body horror moments, District 9 is an instant classic that rightfully earned a best picture nomination at the Oscars.IMDB Rating: 8.0, Rotten Tomatoes: 90% Midnight Special The kind of smart science fiction film that Steven Spielberg used to make in his 'Close Encounters of the Third Kind' heyday, Midnight Special continually offers a sense of wonder as its story unfolds. Without spoiling too much, the film centres on Roy (Michael Shannon), a father who must protect his special son Alton (Jaeden Lieberher) from both the US government and a cult after it's discovered that the boy has otherworldly powers. Along for the ride are Alton's mother Sarah (Kirsten Dunst) and Roy's close friend Lucas (Joel Edgerton). With surprises around every corner, you never really know where Midnight Special is going, though what you can expect are some truly terrific performances and a mind-blowing finale. Fans of Stranger Things should check this out. IMDB Rating: 6.7, Rotten Tomatoes: 83% Minority Report What if you could prevent murders before they've occurred? More importantly, what would you do if you were due to be sentenced over a murder you haven't committed yet? That is the premise of Steven Spielberg's spectacular sci-fi film, Minority Report. Loosely based on the Philip K. Dick story of the same name, the film sees Tom Cruise play the head of a futuristic 'Precrime' Division tasked with stopping murderers from carrying out their violent actions. They can do this thanks to the psychic abilities of three siblings known as 'Precogs'. But what happens when this trio of soothsayers predicts a murder carried about by Cruise himself? Spoiler alert, he runs! A visually stunning film that's filled with ingenious and forward-thinking technological ideas that will likely become a reality in years to come, Minority Report is intense and action-packed. IMDB Rating: 7.7, Rotten Tomatoes: 90% The Terminator While other films from the same time period have struggled to stay relevant, The Terminator remains as interesting and unique as it was 33 years ago. An undisputed classic of intense, unrelenting action, The Terminator kickstarted the career of uber-director James Cameron, who would go on to direct such classic blockbusters as Aliens, Titanic, Avatar and, of course, Terminator 2L Judgment Day. If you're looking for a retro masterpiece that holds up to modern-day cinema standards, you can stop searching – The Terminator is a must-see for any fan of science fiction, action and horror. IMDB Rating: 8.0, Rotten Tomatoes: 100% Star Wars: The Force Awakens A triumphant return to the screen for the Star Wars franchise, The Force Awakens sees the characters we love from the original trilogy, like Han Solo, Chewbacca and Leia, set off another adventure with a new generation of wonderful characters. Ironically, for a series set among the stars, Director J.J. Abrams brings the franchise back to Earth by dialling down the CGI that hobbled the prequel trilogy – this is a Star Wars movie that uses real locations and sets, as well as puppets and actors in costume, to recreate the spirit of Episodes IV through VI. Featuring thrilling action, incredible special effects and terrific performances, The Force Awakens is the best Star Wars film in over 30 years.IMDB Rating: 8.2, Rotten Tomatoes: 92% Gravity It took an agonising seven years for director Alfonso Cuarón to follow his masterful last film, Children of Men, but what an incredible follow-up! With Gravity, he sure did stick the landing (ahem) and hit this one right out of orbit (I'll let myself out). This nail-bitingly intense film, in which Sandra Bullock's character must use her wits to survive in space after a catastrophic shuttle accident, is a technical marvel – the kind of film that wows even the likes of James Cameron, who called Gravity "the best space film ever done." A perfect marriage of drama and special effects, Gravity is an absolute classic.IMDB Rating: 7.8, Rotten Tomatoes: 96% We all love a good scare (so long as we're safe and sound at the end of it), so with that in mind, we've taken the liberty of shining a spotlight on some of the best horror movies currently streaming on Netflix Australia. These freaky flicks are guaranteed to send shivers down your spine! It Get ready, fright fans — the highest-grossing horror movie of all time has made its way onto Netflix and is bound to make you terrified of clowns all over again. Based on Stephen King's classic novel of the same name, It follows a group of tightly-knit adolescent misfits known as The Losers Club as they investigate an evil force that's been stealing and murdering children in their small town for decades. With its late '80s setting and talented cast of young performers, It is bound to appeal to fans of Netflix's brilliant series Stranger Things (and not just because Finn Wolfhard stars in both). As far as Stephen King adaptations go, it's one of the very best, managing to strike the right balance between horror and heart. Simply put, It is the kind of crowd-pleasing scare film we'd like to see more of. We recommend watching It before the upcoming sequel, which takes place 27 years later and sees the kids all grown up and terrorised by Pennywise the Dancing Clown all over again. IMDB Rating: 7.4, Rotten Tomatoes: 85% Jaws The film that defined the term 'blockbuster', Steven Spielberg's classic fright film Jaws has swam its way onto the the service and is hungry for more viewers to chomp on. When an aggressive great white shark starts eating swimmers in the lead up to Fourth of July weekend, the mayor of a popular tourist destination sets a bounty for the shark's head. The town's sheriff (Roy Scheider), an oceanographer (Richard Dreyfuss) and a shark hunter with a grudge (Robert Shaw) set out on the seas to take it down for good. They're gonna need a bigger boat...IMDB Rating: 8.0, Rotten Tomatoes: 97% It Follows Considered a modern horror classic by many, It Follows sees a young girl (Maika Monroe) terrorised by a sexually-transmitted demon. This terrifying apparition looks different every time and will chase you relentlessly until you either pass it on by sleeping with someone else, or until it catches up to you and finishes you off for good. To make matters worse, if the person you pass it on to dies, it will turn its attention back to you again. Did we mention that it can only be seen by the people that have been 'infected', so your friends won't be able to help as much as they'd like to? Yeah, it kinda sucks. Stylish, atmospheric and with a terrific John Carpenter-inspired synth score, It Follows in an effective horror movie which may suffer a little from a few odd decisions by its characters, but is still well worth watching.IMDB Rating: 6.9, Rotten Tomatoes: 97% The Babysitter One for the horror comedy fans, the Netflix Original film The Babysitter, from director McG (Charlie's Angels), is an energetic and fun flick with some killer one-liners and a star-making performance from Aussie actress Samara Weaving (yes, she's related to Hugo), whom horror fans may remember from her role in the first season of Ash vs Evil Dead. The plot is simple: kid develops a crush on his incredibly cool babysitter, only to find out that she's sadistic, devil-worshipping killer with a group of equally psychotic friends, all of whom are planning to kill him. Though he's a total wimp, he must now fight back in order to survive. Gory and funny in equal measure, The Babysitter is a hell of a time.IMDB Rating: 6.4, Rotten Tomatoes: 71% Evil Dead One of the few horror remakes that fans of the original have embraced, The Evil Dead (2013) takes the outrageous series in an even gorier direction than ever before. Director Fede Alvarez (Don't Breathe) drops the slapstick comedy that was introduced in Evil Dead II, dialling up the gory grossness that made the original film an instant classic among horror fans. Sure, it lacks the winning charisma of Bruce Campbell, whose presence is definitely missed and cannot be replaced the mostly bland cast found here, but the film is still a slime-covered blast that puts its actors through hell regardless – just the way it should be. Groovy. IMDB Rating: 6.5, Rotten Tomatoes: 61% Documentaries offer unprecedented insight into the lives of real people and the extraordinary events that surround them. Fiction is great, but fact truly has the power to move and inspire people like nothing else. With that said, here are some of the best documentaries currently available to stream on Netflix Australia. Tom Petty and the Heartbreakers: Runnin' Down a Dream An epic 4-hour documentary on the classic rock band, Tom Petty and the Heartbreakers, Peter Bogdanovich's all-encompassing opus follows Tom Petty and his band from childhood to 2007 and is packed with candid interviews with the band's members, as well as the people that helped them become who they are. Having tragically passed away at age 66, Tom Petty will forever be remembered as one of the best songwriters in rock and roll, and a pioneering artist for everyone who has come since. If you've only just become aware of Tom Petty following his untimely death and want to know more about his impact on rock music, Runnin' Down a Dream has you covered. IMDB Rating: 8.7, Rotten Tomatoes: 100% Amanda Knox Following the enormous success of its original docu-series Making a Murderer, Netflix has once again returned to the ever-popular 'true crime' well with Amanda Knox. The Netflix Original documentary tells the harrowing story of an American exchange student who spent four years in an Italian prison after being convicted for the murder of her roommate, Meredith Kercher. Forced to endure the prosecution's various character assassination tactics, including public slut-shaming, Knox maintains her innocence at all times, with her appeals eventually reaching Italy's Supreme Court. Amanda Knox is an effective and truly eye-opening documentary that is not to be missed.IMDB Rating: 7.0, Rotten Tomatoes: 85% Rubble Kings Thought the classic '70s film The Warriors was pure make-believe? You'd be surprised how much truth was actually buried under all the crazy costumes. Throughout the decade, the New York City borough known as The Bronx was teeming with gang violence; each gang with its own uniform, its own war-chief and its own piece of turf to fiercely defend against rival gangs – sometimes to the death. Rubble Kings documents this fascinating era, interviewing many of the key players and giving insight into the series of events that would eventually bring peace to The Bronx at the tail end of the tumultuous decade. Fans of The Warriors, The Get Down and Hip-Hop Evolution will adore Rubble Kings. Okay, boppers. It's time to add Rubble Kings to your Netflix queue...IMDB Rating: 7.1, Rotten Tomatoes: 75% We love a good thriller, which is why we've narrowed down some of the best ones that are now available to watch on Netflix Australia. These films will have you on the edge of your seat in suspense, so sit back, try to relax, and enjoy. The Villainess Equal parts Oldboy and La Femme Nikita, The Villainess is a female-driven Korean revenge thriller with the most incredible and original action sequences this side of The Raid — seriously, the first-person knife fights and shootouts in this put Hollywood action movies to shame. Sook-hee (Ok-bin Kim) is apprehended after carrying out a killing spree that leaves dozens of gangsters dead. She's given a choice: train to become a ruthless assassin and receive freedom after ten years, or spend the rest of her life in jail. Obviously, she chooses the former, and before long it becomes clear to her that her rampage was spurned on under false pretences. Now, it's time to make everyone pay for what they did to her.IMDB Rating: 6.7, Rotten Tomatoes: 83% Gerald's Game 2017 has been a great year for Stephen King adaptations (ahem, The Dark Tower aside), and the new Netflix Original film Gerald's Game joins It and 1922 in the upper echelon. In an attempt to rekindle their marriage, Gerald (Bruce Greenwood) and Jessie (Carla Gugino) retreat to a remote lake house. When a sex game goes awry, Jessie is left alone and handcuffed to the bed and must overcome her mounting paranoia and deep, personal demons. Though the film mostly takes place within the one room, Gerald's Game remains thrilling from start to finish. It also features one of the best performances of Gugino's career. IMDB Rating: 6.8, Rotten Tomatoes: 90% Munich Though he's established a rabid fan base due to the success of blockbuster films like Jurassic Park, Jaws and Raiders of the Lost Ark, director Steven Spielberg is arguably in at his best when tackling more grown up fare – films like Schindler's List and Saving Private Ryan can attest to that. However, there is one film in particular that is arguably the most complex and adult of his entire career, and that film is Munich. Based on the real-life tragedy that occurred during the 1972 Munich Summer Olympics, in which the entire Israeli team was taken hostage and then massacred by the Palestinian terrorist group Black September, the film sheds light on Israel's secret retaliation missions. Allegedly, these black ops saw undercover Mossad agents (played here by the likes of Eric Bana, Daniel Craig and Ciarán Hinds) track down and assassinate the men believed responsible in a rather public manner. Rather than take sides in the still ongoing conflict between Israel and Palestine, Spielberg questions the cost of vengeance on the conscience and soul of an entire country, asking whether it ultimately achieves anything other than more bloodshed. A riveting film that does not shy away from the story's more harrowing aspects. IMDB Rating: 7.6, Rotten Tomatoes: 77% Wake in Fright One of the most powerful and harrowing films in Australian cinema history, Wake in Fright forces audiences to take a good hard look at Australia's destructively macho drinking culture. Marooned in a small outback town while he waits for a train to Sydney, schoolteacher John Grant (Gary Bond) stops in at a local pub to pass the time. Sounds innocent enough, right? Unfortunately for John, a chance encounter with a pack of local louts sends him on an incredibly dark odyssey into the Australian heart of darkness. As shocking and menacing as any horror movie, Wake in Fright is an extremely confronting masterpiece that requires a strong stomach.IMDB Rating: 7.7, Rotten Tomatoes: 100% Drive Drive is the film that made it cool to love Ryan Gosling. Based on the novel of the same name by James Sallis, this pulpy thriller is one of the most stylish films of the last decade, having almost single-handedly revived the neon '80s synth-pop scene. Directed by Nicolas Winding Refn (Bronson, Only God Forgives), Drive sees Gosling play a nameless stunt driver who works as a shady wheelman by night. When a job goes horribly wrong, this 'driver' must dispense violent justice to make things right for those he cares for. The film's immense influence can be felt across all forms of media – the video game Hotline Miami, in particular, owes a large debt of gratitude to Drive. A loving ode to the early tough-guy crime movies of Michael Mann, Drive is essential viewing.IMDB Rating: 7.8, Rotten Tomatoes: 93% The Silence of the Lambs Simultaneously terrifying and mesmerising, The Silence of the Lambs is the film that catapulted the fictional character of Dr. Hannibal 'The Cannibal' Lecter to mythic proportions. This brilliantly psychotic serial killer, played with great menace by Sir Anthony Hopkins in the role won him an Oscar, has since gone on be the subject of several films, books and even a fantastic television series. But while his impact on The Silence of the Lambs is huge, the story belongs to Clarice Starling (Jodie Foster), an FBI trainee who is given the task of consulting with the infamous man-eater in an effort to track down a deranged killer that's skinning his victims. Foster's role is less showy but more impressive, played with equal parts determination and vulnerability. We fear for her because we see ourselves in her shoes, but also because we get a real sense of what drives her character, both emotionally and mentally. These characters may have appeared in many other films, but The Silence of the Lambs is still the best by a long stretch. A true masterpiece.IMDB Rating: 8.6, Rotten Tomatoes: 94% We're serious cinephiles here at at TechRadar. It's not all about Star Wars around here – we enjoy a good tear-jerker, too. There are many sensitive drama films streaming on Netflix Australia right, and these are some of the best ones. So grab a hanky and get ready for a heavy night in. Your Name A worldwide phenomenon, Your Name is the highest-grossing anime film of all time — that's right, bigger than any Studio Ghibli film or science fiction blockbuster. That a simple story about a young girl from a rural town switching bodies with a young man from bustling Tokyo hit such a cord with audiences is a testament to the heartfelt writing that helps bring these animated characters to life. Makoto Shinkai's film is the kind that will have you laughing one moment, then crying the next. A joyful and beautiful love story told in a unique and cerebral way, Your Name is one of the true anime masterpieces, sitting alongside the likes of The Girl Who Leapt Through Time, Grave of the Fireflies, Spirited Away and the legendary Akira.IMDB Rating: 8.4, Rotten Tomatoes: 97% Good Time Good Time stars Robert Pattinson in the type of performance that will make you forget all about his involvement in the Twilight saga. We're talking young De Niro good, here. When his mentally-challenged brother is snatched by the police after a bank robbery, Connie (Pattinson) sets out to do anything he can to free his brother before getting sent to the brutal Rikers Island jail complex. This sets off a night that spirals out of control extremely fast. There's pretty much no way of predicting what will happen next. Gritty and grimy, Good Time is an intense film with an incredible soundtrack and fantastic cinematography. One of the best films of 2017. IMDB Rating: 7.4, Rotten Tomatoes: 91% The Revenant The film that finally bagged Leonardo DiCaprio a much-deserved Academy Award, The Revenant is at once a stunning technical achievement and a gut-wrenching tale of survival in the harshest wilderness imaginable. Based on the true story of Hugh Glass (though fudged a little for the sake of added drama), a man who was left for dead by his fur-trapping party after a savage bear attack (amazingly realised here in one of the film's many single-take camera shots). Now, Glass must carry himself across 200 miles of snowy hell to track down down the man who killed his son (that part is made up) and left him to die alone, played here by a mumbly Tom Hardy. A powerful film with incredibly cinematography and exceptional performances, The Revenant is a must-see piece of cinema.MDB Rating: 8.0, Rotten Tomatoes: 80% Full Metal Jacket An astonishing work of immense power, Stanley Kubrick's masterpiece Full Metal Jacket examines man's innate desire to kill, memorably told against the backdrop of the controversial Vietnam War. The film is split in two halves – the first, which is set at boot camp, follows a young recruit who is pushed right over the edge by an abusive drill sergeant. The latter half focuses on a military journalist who watches in horror as Vietnamese people are killed indiscriminately by the soldiers he's following for reasons they don't even understand. Will they make a killing machine out of him, too? Essential viewing for war film aficionados. IMDB Rating: 8.3, Rotten Tomatoes: 95% Lawrence of Arabia (Restored Version) One of the greatest historical epics of all time, Lawrence of Arabia has arrived on Netflix in its recently restored form. Trust us when we say that the film, which won seven Academy Awards including Best Picture, looks even more sublime now than ever before. Desert landscapes are vast and immaculate, skies (and Peter O'Toole's eyes) are the incredibly blue, and close-up detail is off the charts. Still, underneath all the eye candy on display, lies one of the most inspiring war stories of all time, all of which is based on true events in the life of British officer T.E Lawrence, who led the Arab tribes against the Turks in WWI. If you haven't seen Lawrence of Arabia before, we suggest you set aside a weekend (this movie is very, very long) and remedy that as soon as possible. IMDB Rating: 8.3, Rotten Tomatoes: 98% Beasts of No Nation As Netflix's first original movie, Beasts of No Nation had a lot to prove. The VOD scene had traditionally been associated with low budget indies and D-grade horror films, but with Beasts of No Nation, Netflix managed to convince people that high quality (dare I say, Oscar-calibre) films could be streamed at home and shown in theatres at the same time. Directed by Cary Joji Fukunaga (True Detective season 1), Beasts follows the loss of a child soldier's innocence as he's forced to do unspeakable things. The film hits like a sledgehammer, never shying away from the brutality and horror experienced by this young boy (played masterfully by newcomer Abraham Attah). Equally powerful is Idris Elba's portrayal as the boy's remorseless and despicable commander. Though not what you'd call a crowd-pleaser, we hope that Netflix continues to bring us brilliant films like this.IMDB Rating: 7.8, Rotten Tomatoes: 91% Blue is the Warmest Color As soulful as it is erotically-charged, it's not hard to see why Blue is the Warmest Color won the highest prize at the 2013 Cannes Film Festival – its portrayal of two women who fall in love and allow each other to discover their true selves is truly special. Though Emma (Léa Seydoux) is a blue-haired free spirit, Adèle (Adèle Exarchopoulos) doesn't feel comfortable in her own skin. While Adèle's friends initially shun Emma due to her sexuality, she soon realises that Emma is the only person with whom she can express herself openly and bare her soul to. Together, the pair experience the ups and downs of a mature relationship, while also exploring social acceptance and their sexuality. A beautiful masterpiece that will take you on an emotional roller-coaster throughout its lengthy 3-hour running time, Blue is the Warmest Color is a film you won't soon forget. IMDB Rating: 7.8, Rotten Tomatoes: 91% Okja Korean director Bong Joon-ho (The Host, Snowpiercer) is an eclectic filmmaker, and his latest work, Okja, is in a genre all of its own. Is it an adventure film? Is it science fiction? Is it a drama? Is it a fairy tale? Is it satire? The answer is... all of the above. With a style that's somewhere between Spielberg and Miyazaki, the film follows a young Korean girl's quest to rescue her best friend Okja, a super-pig that was created by the multi-national conglomerate Mirando Corporation for the purposes of consumption. Flipping between heartbreaking and joyful at the drop of a hat, Okja is an emotional roller coaster of a film that may well have you reconsidering your dietary choices. IMDB Rating: 7.4, Rotten Tomatoes: 85% Schindler's List This is one of the most affecting movies that you will ever see. Based on the true story of Oskar Schindler, a factory owner who begins to help his Jewish workers during World War II after he sees them persecuted by the Nazi Germans, the movie is a study in brevity. Steven Spielberg manages to find the human stories in the atrocity of WWII without shying away from the true horror of what happened during the conflict. Winner of several Academy Awards, including Best Picture and Best Director, Schindler's List is a film you won't soon forget. IMDB Rating: 8.9, Rotten Tomatoes: 96% Selma A heartfelt and considered look at Martin Luther King Jr's struggle to gain equal voting rights, campaigning in racially-charged Alabama, Selma was one of the finest films of 2014 and was rightly nominated for a Best Picture Oscar as a result. It may have missed out on the top gong, or a Best Director nod for director Ava DuVernay, but David Oyelowo's performance as the civil rights leader is a powerful one, with a supporting cast recreating the inspiring story with great respect. With recent real-life events showing that racial tension is still as prevalent in 2017 as it was in the 1960s, Selma is more relevant than ever. Powerful and moving, Selma is a must see film about courage, determination and the fight for equality among all people, regardless of their colour. IMDB Rating: 7.5, Rotten Tomatoes: 99% Need a good laugh? Netflix Australia is home to some terrific comedies, with a number of hilarious movies ready to stream in an instant. Some are light-hearted, while others are pitch black. With that in mind, there's a comedy for everyone below. Swingers The indie film that made stars out Vince Vaughn and Jon Favreau, Swingers is a hilariously hip film (well, in the '90s it was) about friendship and moving on from a devastating breakup. Stylish and energetic, the film also made Doug Liman (The Bourne Identity, Edge of Tomorrow) one of the most sought-after directors in Hollywood. Worth watching for the hilariously-needy answering machine scene alone. Based on a winning script by Favreau (who would go on to huge success as a director with films like Iron Man and The Jungle Book), the movie is so, so money. IMDB Rating: 7.3, Rotten Tomatoes: 87% Coming to America Perhaps the most charming and endlessly entertaining comedy of Eddie Murphy's career, Coming to America takes the standard 'fish out of water' concept and weaves pure magic with it. Unhappy with the arranged marriage set up by royal parents, Prince Akeem of the wealthy (and fictitious) African nation of Zamunda sets off for America in search of love with help from his squire, Semmi (Arsenio Hall). Before long, Akeem falls for the smart and independent Lisa (Shari Headley), heir to the McDowell's fast food restaurant empire. Insistent that he win her affections with his personality and not his wealth, Akeem and Semmi pretend to be poor and acquire jobs at McDowell's. Now, the pair must contend with Lisa's over-protective father (John Amos) and her jerk boyfriend (Eriq La Salle). Full of heart and bloody hilarious, Coming to America is a comedy classic.IMDB Rating: 7.0, Rotten Tomatoes: 69% Fight Club You know what they say: black comedy is still comedy! While the first rule of Fight Club may be that you shouldn't talk about Fight Club, it's extremely hard to keep quiet about a film as provocative as this. Though its messages are based in extremely dark satire, David Fincher's film is as nihilistic and anarchistic as any major film studio has ever produced. Violent, gross and incendiary, Fight Club sees emasculated males bash each other's faces in to make themselves feel manly once more. While the film's themes are intended in jest (the film is basically Gen X's ultra-dark version of a Marx Brothers comedy), they certainly resonated strongly with certain fans, many of which would go on to start their own fight clubs. Despite being misunderstood by its biggest admirers, Fight Club is one of the must-see films of the late '90s.IMDB Rating: 8.9, Rotten Tomatoes: 79% Hot Fuzz Following the success of their classic rom-zom-com, Shaun of the Dead, director Edgar Wright, star and writer Simon Pegg and co-star Nick Frost teamed up once again to bring their hilarious sensibilities to the buddy-cop movie genre with Hot Fuzz. London super-cop Nicholas Angel (Pegg) is involuntarily transferred to a village in the English countryside for making his superiors look bad by comparison. There, he teams up with dim-witted (but well-meaning) cop Danny Butterman (Nick Frost) and together, the pair uncover a murder conspiracy. If films like Point Break and Bad Boys II are in constant rotation at your place, you absolutely owe it to yourself to grab a Cornetto and watch Hot Fuzz.IMDB Rating: 7.9, Rotten Tomatoes: 91% American Psycho It may look like a thriller, but Just like its main character, American Psycho is something entirely different under the surface. Quite frankly, most people don't expect this film to be as funny and endlessly quotable as it is. Director Mary Harron and co-screenwriter Guinevere Turner did the unthinkable when they took on the job of adapting Bret Easton-Ellis' hugely controversial and largely unfilmable book, American Psycho – they looked beyond the source material's horrendously graphic and seemingly never-ending violence to focus on the scathing satire of the greed-obsessed '80s buried underneath. Christian Bale solidified himself as one of the world's most exciting actors in the role of Patrick Bateman, the Wall Street yuppie with an insatiable lust for blood and dinner reservations. Both shocking and hilarious, American Psycho is a remarkably clever cult classic.IMDB Rating: 7.6, Rotten Tomatoes: 68% Though they live on the other side of the law, we as people tend to be fascinated by criminals. Whether it's the outlaw lifestyles they lead, or the fact that they live those lives on the edge and do things most of us wouldn't dream of, something about their stories makes them cinematic gold. Here are some of the best crime movies now streaming on Netflix Australia. The Wolf of Wall Street The characters in the fact-based film The Wolf of Wall Street may very be completely reprehensible with little-to-no redeeming qualities, but damn if they aren't freakin' hilarious. An adults-only tour through the real-life antics of white collar criminal Jordan Belfort (Leonardo DiCaprio at his most unhinged), the film revels in the excess and debauchery of Wall Street in the 1980s, where thieving yuppies spent millions of dollars on drugs, hookers and extravagant lifestyles they did not earn. While the film's three hour runtime might scare off potential viewers, Martin Scorsese's energetic direction keeps the action moving at a lightning-fast pace. The film was also stars Margot Robbie's in her breakout role, playing Belfort's ever-suffering wife, Naomi. Jonah Hill is also incredibly funny as Belfort's partner in crime, Donnie. If you love Scorsese's classic film Goodfellas, chances are you'll enjoy this just as much. IMDB Rating: 8.2, Rotten Tomatoes: 78% Snatch A rollicking crime caper movie from Lock Stock and Two Smoking Barrels writer and director Guy Ritchie, Snatch takes everything great about that movie and dials it up to 11. Featuring a large cast of colourful cockney crooks, including Jason Statham, Stephen Graham, Dennis Farina, Benicio Del Toro, Vinnie Jones and Brad Pitt (particularly memorable as an unintelligible Gypsy boxer), Snatch flies thick and fast with hilarious quotable lines and energetic performances. Whether they're chasing after a diamond the size of a fist, or betting on illegal bare-knuckle brawls, you can expect these characters to end up getting into all kinds of mischief. IMDB Rating: 8.3, Rotten Tomatoes: 73% City of God If you've blasted your way through both seasons of Narcos and want another South American crime epic to get stuck into, consider City of God as your next destination. Based on true events that took place over three decades in the favelas (slums) of Rio de Janeiro, the film accurately recreates the lively and energetic vibe of Brazil, but also counters it some truly harrowing scenes of devastating violence. In the 'City of God', children brandish firearms and kill each other indiscriminately over petty drug deals. While that might sound like too much to bear, the terrific filmmaking on display from Fernando Meirelles and Kátia Lund will keep you on the edge of your seat, as will the film's authentic performers and compelling story. One of the greatest films of all time, City of God is like Goodfellas scored to a samba beat.IMDB Rating: 8.7, Rotten Tomatoes: 90% Pulp Fiction Perhaps the most influential movie of the 90s, Quentin Tarantino’s Pulp Fiction won the Academy Award for Best Original Screenplay, the big prize at the Cannes Film Festival, and the hearts and minds of an entire pop culture-obsessed generation. Presented as an ingenious crime anthology with three interlocking parts, Pulp Fiction follows two hitmen as they go on a job and experience what may or may not be an act of God, a dinner date with the crime boss' wife which (almost) spirals out of control, and a boxer who accepts money from the aforementioned boss to take a dive, but opts to skip town instead. Violent, audacious and with little concern to the rules of cinema, Pulp Fiction is the kind of whip-smart classic that can be watched at the drop of a hat. The film may have seen its fair share of imitators over the years, but none of that has diluted Pulp Fiction's immense power. IMDB Rating: 8.9, Rotten Tomatoes: 94% Buckle up for some heart-pounding entertainment with some of the most kick-ass action movies now streaming on Netflix Australia. Adrenaline junkies will get a kick out of every one of the brawny movies listed below. The Warriors Set in a heightened version of New York in the dirty 1970s, where the streets are ruled by violent gangs in crazy costumes, The Warriors follows one particular gang (we'll give you one guess as to what they're called) that's framed for the murder of a visionary gang leader during a city-wide midnight summit. Originally meant as a peaceful event, The Warriors must now make it back to their home turf at the other side of the city with every other gang in town out for their blood. Will they survive long enough to prove their innocence? And will the real culprits get what's coming to them? A fantastic piece of '70s pulp, The Warriors is a guaranteed great time. And while its vision of colourful gangs lording over the slums of NYC seems outlandish, it's a lot closer to the reality of the time than most people realise. To learn more about this bygone era, check out the documentary Rubble Kings, which is also streaming on Netflix (read more about it on Page 3). IMDB Rating: 7.7, Rotten Tomatoes: 89% Wonder Woman The DC Cinematic Universe has had a bit of a rough start in its attempts to catch up to competitor Marvel, with films like Batman v Superman and Suicide Squad unable to adequately please both fans and critics. That all changed with Wonder Woman, the first DCU movie to receive universal praise across the board. Perfectly cast as Wonder Woman a.k.a. Diana Prince, Gal Gadot breathes warmth and love into the world's most famous female superhero. Diana is swept into the wars of man when charming pilot Steve Trevor (Chris Pine) crash lands near the hidden island of Themyscira, home of the Amazons. Sensing that WWI is the doing of Ares, the God of War, Diana sets off with Steve into the world of man to end the war (and Ares) once and for all. One of the greatest superhero movies of all time, Wonder Woman is a triumph. Now let's hope we get more DC movies like this...IMDB Rating: 7.5, Rotten Tomatoes: 92% Guardians of the Galaxy Vol. 2 The sequel to Marvel's 2014 phenomenon, Guardians of the Galaxy Vol. 2 finds the intergalactic heroes thrust into another adventure, one that could reveal the identity of Peter Quill's father. Even more spectacular than the first film, Guardians of the Galaxy Vol. 2 continually aims to surprise the audience, with simultaneously keeping its action and comedy levels high. IMDB Rating: 7.8, Rotten Tomatoes: 83% Mad Max: Fury Road The world has gone to hell following a cataclysmic event, plunging headfirst into madness and chaos. All that remains is a wasteland governed by tyrannical men, populated by downtrodden hordes, and hopefully, rescued by mythical heroes. Immortan Joe (Hugh Keays-Byrne) rules with an iron fist, doling out meagre amounts of water to the masses, while keeping a stable of wives for himself to breed future warlords. His most trusted Imperator Furiosa (Charlize Theron) has betrayed him and freed these women from their lives of sexual slavery. Now, the chase is on, as Immortan Joe and his party of warboys set out to retrieve their "property". If Furiosa and co. are to succeed, they’ll need the help of Max Rockatansky (Tom Hardy), a wandering road warrior in search of a cause. Director George Miller has crafted the most dynamic, vibrant and sensational action blockbuster of the decade with Fury Road. it’s an inventive, high-octane kick in the guts to a film industry that has played it safe for far too long. The chases and stunts in this film are unparalleled. Best of all, the film's cut-to-the-chase plot manages to sneak in a powerful and extremely timely rebuttal to patriarchy.IMDB Rating: 8.1, Rotten Tomatoes: 97% Boyka: Undisputed Fight fans raised on the likes of Jean-Claude Van Damme and Donnie Yen are no doubt familiar with Scott Adkins, the British martial arts sensation that has made a name for himself as a heavy in big Hollywood blockbusters (Doctor Strange, The Expendables 2, The Bourne Ultimatum) and as a leading man with a number of franchises under his (black) belt (Ninja 1 & 2, Undisputed 2 & 3). Now, Adkins has returned to what is arguably his best character with Boyka: Undisputed, which has been made available to stream on Netflix for the first time. For those who haven't seen the previous two Adkins entries in the Undisputed series, Boyka is a Russian prison fighter who entered the series as a villain in the second instalment, only to become the hero in the third film. In Boyka: Undisputed, we follow the beastly fighter as he tries to find redemption by helping the wife of a man he accidentally killed in the ring. Come for the phenomenally-staged, CGI-free fight sequences, but stay for the sincere story. IMDB Rating: 7.2, Rotten Tomatoes: N/A Marvel's Doctor Strange Marvel's first cosmic adventure film, Doctor Strange sees the talented surgeon Stephen Strange (Benedict Cumberbatch) turn to the mystical arts in search of a cure for his mangled hands. More arrogant than the usual Marvel superhero (yes, even more so than Tony Stark), Doctor Strange must learn to get over his own ego before he can rise up and be the hero he was born to be. With trippy visuals and mind-bending twists that make the film Inception look tame by comparison, Doctor Strange is both familiar and incredibly unique among the superhero blockbusters that have been released so far. IMDB Rating: 7.6, Rotten Tomatoes: 90% Rambo Living off the grid in Southeast Asia, John Rambo is dragged back on to the battlefield once more when a group of missionaries is taken hostage by despicable war criminals in war-torn Burma. To get them back, he's going to have to blast through an entire army. Kicking the level of gruesome violence up to the extreme, Rambo is not a film for the squeamish. However, if you love the character and enjoy seeing irredeemable baddies get torn apart by 50-caliber machine gun fire and makeshift machetes, this is the movie for you – just don't expect high art (check out the disparity between the IMDB user score and Rotten Tomatoes critic score below).IMDB Rating: 7.1, Rotten Tomatoes: 37% Con Air One of the most entertaining action movies of the '90s, the Nicolas Cage vehicle (in more ways than one) Con Air has been added to Netflix Australia. After spending seven years in jail for accidentally killing a man while protecting his wife, newly paroled ex-con (and former US Ranger) Cameron Poe (Cage) is on a prisoner transport plane heading home to meet his daughter for the first time. Unfortunately for him, this is going to be one bumpy ride, as a group of death row inmates who are also onboard decide to hijack the plane in a last ditch attempt at freedom. Packed with colourful characters and terrific one-liners, Con Air is the kind of brawny action movie they just don't make anymore.IMDB Rating: 6.8, Rotten Tomatoes: 56% Captain America: Civil War Though Marvel Studios films are known for being visually spectacular, action-packed and epic in scope, the real reason audiences around the world have embraced the Marvel Cinematic Universe is because of its characters. While we may have our favourites, we've spent enough time with the likes of Iron Man and Captain America to know what these beloved heroes stand for – they don't always agree with each other, but this dynamic of differing opinions is the key to The Avengers successful. That's all well and good when there's a clear enemy to face, but what happens when these super-powered individuals fall on opposing sides of an issue that strikes at very heart of the team? Answer: friends and teammates will go to war with each other. Easily the Marvel film with the highest emotional stakes to date, Captain America: Civil War is a phenomenal entry in the ongoing Marvel saga, one that provides no easy answers. Neither side is wrong about its stance, yet we know that there will ultimately be only one victor. IMDB Rating: 7.9, Rotten Tomatoes: 90% Django Unchained Quentin Tarantino is loved and revered for his work in American cinema, and lately his takes on classic '70s movies. Like his take on Inglourious Basterds before it, Django Unchained deals with role reversal in a historically controversial time. The story of revenge and justice, Django (played by Jamie Foxx) and Dr. King Schultz (played by Christoph Waltz) set off to hunt down a gang of felons before the ultimate promise of setting Django free. Like other Tarantino films, it doesn't shy away from the grotesque and gory or mind going against the grain, making it easy to recommend and easier to watch time and time again. And, Netflix also provides QT fans with the ability to stream his classic films Inglourious Basterds and Reservoir Dogs.IMDB Rating: 8.5, Rotten Tomatoes: 87% Need some kid-friendly entertainment that will make the whole family happy? We've selected some of the best family movies that Netflix Australia has to offer. Each one of these films is guaranteed to leave you feeling warm and fuzzy. Beauty and the Beast An utterly enchanting and completely magnificent live-action adaptation of one of Disney's most celebrated animated classics, Beauty and the Beast absolutely nails the source material — maybe even betters it in some regards. Much of the praise can be bestowed upon Emma Watson, who plays Belle with grace and warmth. The same can be said about Dan Stevens, who spends the film injecting life into the computer-generated Beast. Luke Evans comes close to stealing the show, though as the vicious and vain Gaston. We're also pleased to report that all of the original film's songs are present and accounted for, so gather the whole family and settle in for a wonderful night singing, laughing and crying. IMDB Rating: 7.3, Rotten Tomatoes: 71% The Lego Batman Movie If you loved Will Arnett's hilarious take on the Caped Crusader in The Lego Movie, you're going to be over the moon to see him take centre stage in his very own block-filled blockbuster! In The Lego Batman Movie, all of the Dark Knight's villains are teaming up to take over Gotham City, and it's up to Batman and his newly adopted sidekick Robin (Michael Cera) to stop them! With an incredible cast of comedic superstars in tow, including Zach Galifianakis as the Joker, Conan O'Brien as The Riddler and Riki Lindhome as Poison Ivy, The Lego Batman Movie keeps the laughs coming for its entire runtime. Quite frankly, it's the best Batman film since The Dark Knight.IMDB Rating: 7.3, Rotten Tomatoes: 91% Moana Having achieved monumental success with its film Frozen, Disney had a lot to live up to with its next major 'Disney Princess' movie, and it still managed to blow away expectations with Moana – a visually stunning tale of an independent free-spirit (played by newcomer Auli'i Cravalho) who sets off on a journey to save her island from a devastating curse indadvertedly set by the selfish demigod, Maui (Dwayne Johnson). Though it follows all the familiar Disney beats that we've come to expect over the years, Moana is well written, wonderfully animated and terrifically acted. You may also find its many catchy songs stuck in your head for days after watching it. IMDB Rating: 7.6, Rotten Tomatoes: 96% Fantastic Mr. Fox Wes Anderson (The Grand Budapest Hotel, Moonrise Kingdom) is a writer/director know for his whimsical and inimitable style, with characters who are fleshed out (regardless of whether they're actually people) and have warmth and heart to spare. With his first foray into family-fare, Fantastic Mr. Fox, the visionary filmmaker succeeded in creating his most accessible film to date. Based on the classic story by Roald Dahl, the film follows a wily fox (played with incredible charm and terrific comedic timing by George Clooney) who bandies together with his family (voiced by Meryl Streep and Jason Schwartzman) and friends (including voice work from regular Wes Anderson collaborator, Bill Murray) to fight off the mean farmers that plan to destroy their homes. Featuring wonderful stop-motion animation, Fantastic Mr. Fox is a heartfelt and hilarious film that's destined to become a family favourite. IMDB Rating: 7.8, Rotten Tomatoes: 93% The Iron Giant Criminally overlooked by audiences upon initial release, The Iron Giant is an animated film that has steadily grown in appreciation over the years, to the point where many traditional animation purists now consider it an undisputed classic. The feature-length debut of director Brad Bird (The Incredibles, Ratatouille, Mission: Impossible – Ghost Protocol), and Set during the 1950s at the height of the 'Red Scare' period of America's history, The Iron Giant tells the story of a lonely boy named Hogarth (Eli Marienthal) who makes a new best friend in an enormous amnesiac robot (Vin Diesel). The robot eventually realises that he was actually built as a weapon, and before long, the authorities find out about him and set out on a quest to destroy the gentle giant. Now the boy and his metallic friend have to protect each other at all costs. A touching film in the tradition of E.T. the Extra-terrestrial, The Iron Giant deserves to be considered as not just a terrific animated film, but as one the greatest films of the '90s, period. IMDB Rating: 8.0, Rotten Tomatoes: 96% Back to the Future A time-travelling classic from director Robert Zemeckis (Forrest Gump) and producer Steven Spielberg (Raiders of the Lost Ark), Back to the Future sees 1980s teenager Marty McFly (Michael J. Fox) race back to the 1950s to ensure that his parents meet during high school and fall in love – he better succeed, because if he fails, he'll be wiped from existence in his current timeline! To do this, he'll need help from Doc Brown (Christopher Lloyd) – an eccentric scientist who's built a working time machine in the form of a DeLorean sports car. A fantastic fish-out-of-water tale that leans heavily on 1950s nostalgia, great performances and terrific visual effects, Back to the Future can be considered a high-watermark from everyone involved.IMDB Rating: 8.5, Rotten Tomatoes: 96% Zootopia More than just a cute movie about talking animals, Disney's Zootopia cleverly sneaks messages about prejudice, tolerance, and even the war on drugs, into its animated take on cop movie procedurals. Though its characters may be bunnies, foxes and other wild animals, the idea of not judging someone by their race (or in this case, species) is more important than ever right now. Gorgeously animated with loveable characters and a hilarious script full of jokes that only adults will get (there's even a Breaking Bad reference at one point), Zootopia continues Disney's streak of incredible animated films. Now bring on Zootopia 2!IMDB Rating: 8.1, Rotten Tomatoes: 98% Source link

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