#headless miniseries

[lostlegendaerie]

the headless horseman is my new blorbo

[melinoegoddessofghosts]

Headless: A Sleepy Hollow Story - YouTube

Why You Should Watch Headless

Headless is a free webseries from Shipwrecked set in Sleepy Hollow and following the new middle school science teacher Ichabod Crane. Ichabod’s rent gets raised, and he finds an unlikely roommate in none other than the headless horseman, on the condition he help the horseman find their head. What follows is a great comedy as Ichabod, Headless, local witch Matilda (who runs the not-a-drugstore), the mayor’s daughter Kat, absolute joy and middle school PE teacher Brom Bones, and the Babes (Brom’s three (3) weed smoking boyfriends who can and will do anything. Not well. But they will do anything.).

Every time they find and try out a new head, the owner of the head takes the episode – a pirate, a local weed guy and history nerd, a youtuber, an infamous James Bond-esque thief, etc.

Now, some Headless things in no particular order:

- All the characters are great. Even character who seem like they should be side characters, like the Babes, get their time in the limelight and are absolute delights.

- THE BABES. Not only are they multi-talented icons, they also start their own show following up on the different heads called “Unsolved Babesteries”.

- Brom Bones. Brom could have been a nothing character, a dick and a rival for Kat’s affections. BUT NOT THIS TIME. Brom is a delight, and I adore him.

- There is a heist episode.

- Verla is a horror that may or may not have crawled out of a TV. She is also functionally Matilda’s adopted teenage daughter.

- M.K. Wiles wears a fake mustache one time.

- There are a lot of interconnected webs which unfold so nicely.

I highly recommend it!

[free-for-all-fics]

The Phantom of the Opera (1990 Miniseries) Prompts! These got very long but this is one of my favorite adaptations and my brain wouldn’t stop. Pls tag me if you’re inspired by any of these ideas and I’d love to read it! 🎭🧡

1. In Erik’s lair underneath the Opera House, he has a room that contains a fireplace, a portrait of his mother, and a baby’s cradle. Inside the cradle is a headless baby doll. The baby doll’s head is shown disfigured with angry red scars, probably mutilated by Erik to resemble his own face. Erik found love and happiness with you as his wife and you later discovered you were with child. Even though you and Erik fashioned it into a suitable home as best as you could, it was no place for a child so small. As Gerard said, the catacombs underneath the Opera House aren’t exactly a healthy place to live in. Your child unfortunately died in infancy of an indeterminate cause. It was nobody’s fault. It just happened suddenly overnight. They were fine…until they weren’t.

“You sleep well?”

“Mm-hmm.”

“Me too. The baby didn’t make a sound all night.” You give Erik a kiss before getting out of bed to enter your baby’s room and rouse them from their slumber. They look to be fast asleep in Erik’s old cradle.

“Hey you, it’s time to wake up and greet the morning,” you coo with a smile, but you notice something’s wrong when you touch them gently. They’re snuggled underneath soft baby blankets and the fire in the fireplace is still burning strong, but their skin feels cold. Far too cold. “Baby?” When they neither gurgle nor stir, you scream for your husband. Your voice is strained, as if your throat is full of cotton. You’re panicking and are about to cry at any moment.

“Erik? ERIK?! There’s something wrong—There’s something wrong with the baby.” Your husband enters the baby’s room in a flash, rushing to your side. He reaches into the cradle to inspect your child while you take several steps back, not wanting to see. Not wanting to believe what you already know to be true.

“Oh, God. Oh, my God. Dear God. They’re dead. Our baby is dead.”

“No. They can’t be! No! My baby! NO!”

2. For something much happier: You fell in love with and later married Erik, happily living with him underneath the Opera House as his beautiful bride. Usually nobody who’s seen his face is allowed to leave. Up there is where Hell is and Erik wouldn’t dare send an angel such as you to Hell, but you were able to change his mind. You’re his best friend, his wife whom he loves and trusts with all his heart. Despite knowing all the terrible things he’s done as the Opera Ghost and what his face looks like beneath the mask, you still love him unconditionally. He’s perfect in your eyes. So he lets you ascend and takes you back up whenever you wish.

Gerard wasn’t getting any younger and only had a few years left - both you and Erik knew that. It was Gerard who found an officiant who was more than happy to marry you and Erik properly. The officiant told you himself that you’d be surprised how many marriages he did for forbidden, star-crossed lovers such as yourselves. You and Erik were glad Gerard could be there to witness your vows, but he couldn’t help his son forever so you needed to step up and be the one to run errands. When you reached the hidden passage to the surface and Erik could go no further, you’d kiss him goodbye with a promise of returning soon. An hour or two later and you’d come back with food and other necessities, which Erik would help you carry to your home down below. You’re happy with the way things are for a year or so - but then you discover you’re with child and, suddenly, the catacombs under the Opera House doesn’t seem like a suitable home for you anymore. It’s not the healthiest place to raise a child, so you start coming up with ideas for better living arrangements.

If it’ll make Erik more comfortable, you’ll find a cute little house out in the countryside and away from the city. When you tell Erik you’re pregnant with his child, he cries tears of happiness and tears of fear. He never dreamed he’d be blessed with a wife or a child but, oh God, what if the child is cursed with his face? You run your fingers through his hair and rub his back as he cries and whimpers into your lap. The only other time you saw him in this state was when you consummated your marriage for the first time.

Erik has spent his entire existence believing he’s fit for nowhere but these gloomy vaults bereaved of light, like blackness itself. For he is blackness itself, isn’t he? You try your best to convince him that you both need to move forward with your lives. You need to re-enter Paris society to give your child their best chance at a healthy and normal life. You want to give them the proper education, socialization, etc. They’ll need sunlight, plenty of space to run around and play, and the opportunity to make friends. They wouldn’t thrive down here, isolated in the dark tunnels beneath the Opera House.

You know it’ll be a big adjustment and incredibly scary for him, but you assure Erik that all of you will be perfectly safe. You promise him that it’ll be good for his health. He’ll get used to living in the world above, surrounded by fresh air and sunlight. He’ll even grow to love it, in time. You’ll be right by his side and he won’t have to do it alone. He’ll have both you and the baby, and hopefully more children will follow. Erik knows you’re right, but he’s just so apprehensive of change. The Opera House has been his home for so long, it’s all he’s ever known. He doesn’t know how he’d be able to just leave it all behind. But with you by his side, he’ll summon the courage and the strength to do anything - even start anew.

3. Following the traumatic experiences he suffered in childhood after losing his dear mother, Belladova, to fever when he was three, Erik becomes very concerned whenever you fall sick. Even something as common as a cold has him worried and hovering over you. If you so much as sneeze, he’s on high alert. He’s always prepared, ready to hand you a clean handkerchief or give you anything else you may need to feel better. If he must, he’ll go to Gerard for help in procuring items from the apothecary. He’s very doting, sometimes smothering when he acts as your personal nurse and watches over you. Dearest, are you well? Eating well? Sleeping well? How does the heat affect you? Even though it’s so hot, you must always be wrapped up against any sudden changes. You assure your beloved Erik that you’re very well and healthy. You know that every care that could be taken is taken for your better comfort, thanks to his attentiveness. Gerard told you about Belladova’s untimely death, so you understand Erik’s trauma and fears regarding sickness. You’re patient with him when you have to assure him multiple times that you’ll be fine and will recover, you just need to rest. You won’t leave him like she did, you promise.

4. Carlotta used the wrong kind of herbs and inadvertently poisoned you to the point of near-death in her attempt to make you lose your voice. On opening night, you’re bedridden with fever, pale countenance, drowsiness, dizziness or weakness, chills, loss of appetite, mental confusion, loss of consciousness, etc. In your delirium, you think you’re still needed on stage and shouldn’t be lying in bed, so you keep trying to get up. Your friends, consisting of the ballerinas and chorus girls, do their best to urge you to lie down and rest, all you need to do is rest. They try to bathe your forehead and look after you, but you find it hard to remain still, complaining of headache and dizziness. They watch on in worry as they try to stop you from accidentally hurting yourself until you finally succumb to fitful sleep just as the doctors arrive.

Watching you from within the walls, surrounded by doctors and looking so unwell, drives Erik to seek revenge on Carlotta for what she’s done to you. Out of petty jealousy, the odious woman nearly killed you. He shows up in her suite and empties a suitcase full of rats all over her, driving her into insanity as she babbles and sings incoherently. Or he may do something far worse. He soon returns to your room using the secret passageways and spirits you away to his underground lair. You can’t be left alone in such a fragile state and need someone to watch over you. Erik couldn’t bear it if you were taken from him in the same manner his dear mother, Belladova, was. She was the first woman he ever loved and she succumbed to fever when he was but three years old. He’ll be damned if he lets you, the only other woman he’s ever loved, slip away from him too. He wouldn’t survive it. Not again. With or without Gerard’s help, he’ll make sure you have medicine and everything else you could possibly need. He’ll act as your nurse until you fully recover. Taking you back up isn’t an option. He won’t hear of it, not even from Gerard.

“Now you listen to me. For as long as I can remember, ever since I was a child, I have dreamed of her. Now people are born for many things, Gerard. I was born to live, if one can call this living, down here. But until now I have never known quite why. I was born so that she could save me, but that’s what she’s done. She’s the reason I was born. I love her, Gerard. And I believe, in time, with any luck, she will learn to love me. It will be a cruel God indeed to have sent her otherwise.”

5. Erik being the softest, most doting husband you could ever ask for. He not only gifts you pretty dresses, but he helps you put them on and take them off. With so many things to lace and button, and so many buttons being tiny, close together, and often in hard-to-reach places in the case of undergarments, it’s no wonder that many women relied on the help of a lady’s maid or an obliging sister for help getting dressed. But you have no sisters and no maids, so must rely on your husband to help you get ready for the day and prepare for bed at night. Whenever you can’t decide what you should wear for the day, he picks out a dress for you.

“This is what you will wear.”

He ties your dress laces for you while you brush out your hair. He holds the hand mirror for you while you fix your hairdo or makeup. Sometimes you curse women’s fashion for being so complicated and coming with so many layers, but Erik is always ever so patient in helping you get ready. It’s probably one of his favorite parts of the day.

“Forgive me, I’m hurrying as fast as I can.”

“Don’t worry. I’ve never seen such perfection.”

You, of course, return the favor by tying his cravats for him when his fingers seem to fumble and he just can’t get it right, helping him with his cuff links, or buttoning up his vests and coats. You’d go for strolls and have picnics in the woods which he planted. Filled with imitations of woodland animals which he had built, this is the most enchanted spot of all the places in his realm.

6. You’re Erik’s twin sister and live with him underneath the Opera House, having also been born with facial deformities and forced to wear a mask. Your mother, Belladova, saw nothing ugly in her children at all. She thought you and Erik were absolutely perfect and beauty itself. She would sing to you for hours. When you were children, you and Erik saw your reflections in the water of the lake and thought they were sea monsters - and then you realized it was you yourselves. It was not an easy day for either of you or Gerard. Belladova died of fever when you were three and Gerard thought, “and now they will die, and that will be a mercy to all of us.” But your mother begged Gerard to take care of you both, and so he watched over his twins thinking, “If they die, they die.”

With your mother gone, you both began to cry. Your cries would echo up through the shafts and cracks. At night when the Opera House was empty, people could hear them up above. And so the legend of the Opera Ghosts was born. Gerard became manager and let this ghost story grow to make sure nobody would discover either of you. Erik creates beautiful masks for you and himself. You’ve never shown your faces to anyone except each other, unmasking only in the privacy of your underground home when you feel safest and can be sure no trespassers or intruders will stumble upon you.

While Erik’s composing, you’re often dancing to his music or catching the stray rats that find a home in the catacombs by the lake. You don’t always kill them right away, believing they’re your friends. The rats tell you things! Gerard can’t be sure, but he theorizes that Belladova taking the poison to try to induce a miscarriage was the cause of your hallucinations and delusions, as well as yours and Erik’s facial deformities. When you were a girl, you were frightened by your first menstrual cycle and refused to allow Erik to inspect you for what he imagined was a wound. Neither you nor Erik understood why you were bleeding and suffering stomach pains and other strange physical symptoms. You both thought you were dying until Gerard had to explain it to you to the best of his ability. It was very awkward, scary, and gross, but you were relieved it was normal and you weren’t dying after all. Since Gerard has grown old and only has a few more years, Erik has become your primary protector and caregiver. He has to watch you very closely whenever you have another episode because you’ve often wandered off while talking to yourself or telling fairytale stories you make up on the spot. They coincidentally reflect your own life experiences, such as:

“In 1851, the Queen died so the King commissioned a labyrinth to house his son and daughter. The daughter was clever and escaped within a few days. But no one was aware of this, so the people believed she was still trapped. The only things in the maze were rats and rodents, So the Princess was henceforth called the Rat Queen!”

Erik has become very in tune with your behavior, what your footsteps and voice sound like, etc., even when he’s composing or playing music. He can tell the differences between when you’re lucid and when you’re muddled. He’s always been able to catch up to you and bring you back down before you made it up the stairs and opened up a secret passageway to the surface. After exiting his office, Choleti and Carlotta were once stopped in their tracks after hearing scurrying coming from the walls and…faint giggling? Erik stopped you from exposing yourself to the people above and gently wrapped his arms around you, holding your hand or carrying you bridal style as he guided you back home. He tucked you into bed once you were in the safety of your bedroom and sang you a sweet lullaby so you’d go to sleep. He had to kill Joseph Buquet when the wardrobe man ventured down below and found where you lived. Buquet almost discovered you during another one of your wanderings and Erik did what he had to do to protect you. Buquet could’ve seen your faces. You know what Erik is capable of, but he told you so himself that he doesn’t like killing people. Neither of you understand the world above, but you’re happy listening to the music.

When Carlotta poisons Christine and makes her lose her voice during her debut, Erik comes to you for help in getting revenge. You consider Christine a friend, so you happily provide him with a suitcase of live rats and use the secret passageways to hide it in a closet that’ll be ready for him. Carlotta is sitting at her vanity applying makeup when Erik purposefully strides into the room as casually as if he belongs there, forgoing his usual method of stealth. She freezes in terror as he promptly empties the suitcase full of rats all over her. Rats for a rat. After Christine faints upon seeing your faces, you try to console Erik as he cries and wails in agony. You try to stop him from destroying your home, but have to step back and keep your distance to avoid getting hit by falling objects. He’s hurt, he’s angry, but it’s never been this bad before. Despite what’s happened, Christine is still your friend so you help her escape by unlocking the door to her cage and distracting Erik just long enough so she can get a head start before he runs after her.

Erik becomes despondent and very ill after Christine leaves him, and you soon follow. Yours and Erik’s terminally ill state consists of coughing fits and shortness of breath, though neither of you bring up blood. Gerard is by your side and offers to fetch you water, then reveals he’s your father. You and Erik just nod your heads. You’ve both known the truth for many years and were just wondering when Gerard would finally say. Erik has Gerard’s eyes and you have Belladova’s, so it wasn’t very hard to connect the dots. You both have your mother’s soul and Gerard could never leave you nor regret any day spent with his children.

“You should go.”

“What if I stay?”

“Privacy is best for this. Come back in…a day. We’d thought about being buried in our lagoon. Then we thought no, we’d float up and scare some poor child downstream.”

“I will bury you.”

“And make it deep with no markings. There will be an inevitable curiousity.”

“No one will find you.”

“It’s our faces we’re concerned about.”

“You will not end up on display.”

You and Erik lay down side by side and either hold hands or hug as you wait for death, wanting to feel the comfort of each other’s embrace before you go. You were born together, you lived together, and you hope to die together. You succumb to your sickness within the hour. Erik feels your body become stiff and cold, but he only holds you tighter as he weeps for you, glad he’ll soon follow. He kisses you goodbye on the cheek or forehead and doesn’t open his eyes until he hears music. Not just any music, but Faust being sung by Christine. She’s come back. The realization that Christine loves him is enough for Erik to revive from his mysterious illness to sing a magnificent duet with her. After Gerard fatally shoots Erik, Christine unmasks him and smiles, kissing him on the forehead before he dies. Your body is recovered from the catacombs and she kisses your face as well, before replacing your mask and walking away with Philippe. Gerard fulfills his promise to his dearly departed children - He buries you and Erik together in an unmarked grave, in a place where nobody will ever find you.

7. Gerard had only been married to another woman for less than a month. The details of this marriage don’t really matter except there was a child on the way and the girl claimed that he was responsible. Gerard says himself that it could’ve been his, so what if it was? That child is you, but Gerard didn’t love your mother and she felt the same toward him. So as soon as possible, with her blessings, he left. Gerard still provided for you financially and shared custody with your mother, so you’d spend lots of time with him in the Paris Opera House. You’d go exploring while your father worked, often giving the person or people watching over you the slip.

You wandered down into the catacombs of the Opera House, following the sounds of a child crying. You came across a little boy wearing a mask. He looked to be just about your age, maybe a little younger. You introduced yourselves to each other and comforted him until his crying ceased. Though curious as to why he wore a mask, you didn’t ask questions and assumed it was part of the game he was playing by himself. You complimented how pretty it was and then played with him. You’re not sure how long you played together down there, but Gerard eventually found you. He was so angry at you for wandering off, but deep down he was just afraid you may have gotten hurt or kidnapped. Gerard never wanted you to come down here or find out about Erik, but it’s too late now. Erik’s never had any friends and has been sad ever since his mother’s death. Gerard figured his son must be so lonely when he can’t be there with him, so he reluctantly lets you come down below with him to play with Erik from time to time, so he can keep an eye on both of you. He never tells you and Erik the truth.

As you blossom into womanhood, your visits to Erik become less and less due to your busy schedule. Since joining the Opera Company as a ballerina, your days have been sacrosanct and filled with rehearsals. You’ve had no time to visit your friend. Despite your talent and years of hard work, you’re still stuck in the ensemble. The Prima Ballerina is an arrogant and spoiled woman who suffers from a bad case of massive self-importance. She’s gotten the role of Prima Ballerina only because she’s married to the new manager, and not on any show of merit or talent. She can’t dance, but obviously she doesn’t know that. She already has a reputation for being a brilliant but heartless and soulless ballerina and, at the first opportunity, resolves to smother your career by all means possible. She uses her position of power as the manager’s wife to deny you opportunities for any career advancement, spreads malicious rumors about you around the Opera House, and goes out of her way to make everyday life in the Opera House difficult for you. Gerard doesn’t have his job anymore so there’s not much he can do to help you, though he does try.

Your rival is threatened by Erik if she performs instead of you. But she thinks herself the victim of a thousand jealous attempts and goes about saying that she has a secret enemy who has sworn to ruin her. She pretends that a wicked plot is being hatched against her. Neither she nor her husband believe in ghosts, so they shrug the warnings off and she performs anyway. When she does, however, her performance is a disaster due to Erik tampering with her ballet shoes or costume. Embarrassed, she hides from the public view for a few weeks. Erik uses ventriloquism to speak to her and her husband through the walls of the Manager’s Office.

“Can’t say I didn’t warn you.”

“Who’s that?”

“Who do you think? The sooner you both leave the sooner your ordeal will be over. Forgive me if I don’t stay to chat, but I have other matters to attend to now.”

When she returns to the stage, you’re performing as Prima Ballerina in her stead. You receive great applause and esteem, and your dressing room is full of flowers from your fans and admirers. She sees you as the one great threat to her status and career. Her jealousy of you is so bad that she sabotages your performance as Princess Odette in Swan Lake (or any famous ballet of your choosing). Her meddling causes you to suffer a terrible fall and/or injure your leg. This is especially egregious as you’re her understudy and her responsibility.

Erik is enraged by your public humiliation and brings down the chandelier on the audience. While everyone is in a mass panic and distracted by the disaster, he kidnaps you and takes you away, carrying you bridal style since it’s hard for you to move. In the safety of his underground lair, he lays you down on his bed and personally nurses you back to health for days, caring for your injured leg using medical supplies that he either stole or had Gerard retrieve for him. When Gerard comes down to try to convince Erik to let you go, he refuses. He scoffs at the very idea.

“Erik, you must send her back. If you don’t, they’ll come down and take her back. And when they do, they’ll kill you.”

“The world up there is not fit for one such as her. She was betrayed tonight and I’d sooner die than let her be betrayed again! Could’ve burned the place down, better in ashes and memory than like this. Send her back? Never! I may be hideous but I’m not hideous enough to do that!“

When Gerard comes to you to urge you to flee, he tells you the entire story of his romance with Belladova, Erik’s mother. He tells you every last detail about his marriage to your birth mother, his love affair with Belladova, all of it. Until finally he divulges the shocking truth to you - You’re Erik’s paternal half-sister.

“I don’t believe this.”

“You’d better, because he plans to keep you down here forever. You see, he loves you. He’s always loved you.”

You’ve always loved him too. He’s been your dearest friend, but you see him in a new light now that you know he’s your half-brother. You understand now that he terrorized the Opera Company all these years out of love for you. He watched over you from the shadows and saw your potential. He knew you possessed great talent and wanted your ballet career to soar. He wouldn’t let anyone stand in your way. You were destined for stardom and just needed a little help from him.

When you and Erik are alone, you convince him to remove his mask and finally show you his face. He wouldn’t do this for anyone and he’s scared of your reaction, but you’re his best friend and you’ve known him since you were children - so he grants your request. When you see his face for the first time, you don’t faint. You don’t scream or cry out. You smile. He’s perfect to you because his soul is as pure as an angel’s. You don’t care what his face looks like because you’ve seen his eyes. You reach out towards his face with your hand as if you want to caress his cheek, but you hesitate and stop yourself short to ask for his permission first. You’re afraid your touch would hurt him or cause him physical pain. Does he usually feel any pain or discomfort on his face? Erik lets you touch his face and nearly cries when you kiss his forehead.

When Gerard confesses to Erik that he’s his father and you’re his half-sister, Erik only nods his head. He’s known that Gerard was his father and you were his half-sister ever since he was a child. Erik admits his eyes are the only part of his face he can look at in a mirror without wishing to break the glass - but they’re not Belladova’s eyes, they’re Gerard’s. You inherited your father’s eyes too, and Erik noticed the family resemblance early on.

[melinoegoddessofghosts]

Will I ever stop posting about Headless? About the greatest miniseries of all time? About supporting women-led projects? About independent creators? About the perfect spooky Autumn vibes? About the Emmy-worthy acting in it? About the phenomenal writing? About how EVERY. SINGLE. CHARACTER. is the best character? About one of the best original mysteries I've encountered in a long time?

So, on that note, go watch it here:

[sunshinereddie]

sorry ben but your library scene will never be miniseries richie’s library scene

genuinely that the scene from the miniseries with all the blood balloons popping and pennywise there being silly and richie losing his mind is SOOOOOO GOOOOOOOD it’s definitely a favourite scene from the miniseries sorry ben your headless egg boy scene just can’t compare

[melinoegoddessofghosts]

More Headless festival news! We'll be playing at the Lighthouse International Film Festival the first weekend of June as a part of their episodics lineup. Check us out at the festival on Long Beach Island New Jersey if you're in the area!

[letsgethaunted]

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04: What's Haunting You? (Familial Hauntings) Photodump

IT’S ALMOST HALLOWEEN! This is the fourth and final episode of a spooky season miniseries we are calling “What’s Haunting You?” We hope you enjoyed this miniseries as much as we did! What was your favorite part of this minisode? Do you think my horse will come back or is he for the undead streets? Image 01: Ellie’s haunted trouble seemed to have started in her youth, but multiplied after she opened her third eye. I wonder if Sarah was actually astrally projecting in another dimension and her dad had the same gift, which is why he saw Sarah in the house when she was at work. It makes sense if you don’t think about it! Image 02: This meme will surely attract some evil spirits. Image 03-04: Sarah and her dad witnessed the after effects of an exorcism while on a mission trip in Haiti. The woman being exorcised spoke a language she did not know while being exorcised! Did I just get influenced to become possessed so I can learn a new language??? Image 05-06: El describes a childhood haunting where a strange creature stood on a branch outside her home. Even weirder, her father and stepmom saw the same creature! Did she see a gargoyle, a demon, a cryptid , or a familial curse?? Image 07: My Horses’s ex profile pic. Image 08: My horse’s new profile pic. Do you guys think my horse is going to come back to me, go to his headless owner, or find a new life in Montana? Is anyone else really invested in this horse subplot or am I going insane?! Happy Halloween Haunties!!!

[405blazeitt]

Hello again. I started watching Labyrint on SVT. I ended up watching Volfram Våknar Daidalosas Hämnd first by accident but ended up watching Bulten Krossar (I skipped around it is very repetetive) and then Daidalos Diamant. I just finished watching that and started Huset Daida but suddenly Lupus (who until then had not been show fully at all) is just standing there and it feels like something is missing continuity-wise.

If you know the order of all the SVT programs (and NRK too if you know) it would be nice to know. Is the seemingly missing program only watchable in Sweden or is it off the site? You mentioned a series called “Monsterets Hjarta” or however it’s spelled and that it has been taken off. It would be very nice to know what to do since Lupus is probably my favourite and it’s jarring to see him included out of nowhere. Like a minute ago no one knew about him and he was sabotaging everything and was basically just a hand and then he’s just standing there all headless in the next episode…

I hope this is not too much. This is very niche and finding information is quite difficult.

I have access to all NRK Labyrint content as long as it’s on the app.

Also forgot to add I don’t have a VPN so the only Labyrint content I can see on SVT is, Tävlingar, Mer Labyrint and Volfram Vaknar/Labyrintäventyr. I suspect this is incomplete. What spin-offs only exist in Sweden and not in Norway? If any?

Also is Volfram Vaknar actually suppossed to be split up into 4 miniseries (5 with the cooking one) with no series actually called Volfram Vaknar in sight?

Hello!! That sounds super jarring lol poor Lupus' story getting scrambled by SVT and NRK not organizing things in order...

SVT takes down their shows pretty often, so even with a VPN it's easier to follow the story through NRK. Except yeah, Sweden has a good number of spin-offs that were never remade for Norway, so you only get part of the continuity. Kind of a strange way to do things, but I guess the 8yos aren't complaining.

From the NRK side, it's:

Seasons 1-4 -> Grompestreker -> Daidalos befaler -> Los & Lupus -> Huset Daida -> Season 5 (2020) -> Daidalosas hevn -> Volfram våkner -> Monsterets hjerte

Bolded titles are part of the continuity and exist in the SVT version too, italics are NRK-only and fully self-contained. I was pretty sure the SVT 2020 season was s8, but there's currently a season 8 on the site and it's from before the 2020 season, so I'm not sure what's going on there. It's not SUPER vital, but the jump from Huset Daida and Daidalosas hevn can feel a bit odd without it.

Leading up to Los & Lupus, SVT also has:

Bulten krossar -> Daidalos diamant -> I Krampus klor -> Utmanningen

Plus (I THINK) one season of regular Labyrint between Daidalos diamant and I Krampus klor, and another after Daidalosas hämnd but before Volfram (this latest one isn't continuity-vital, but it introduces Gorgo and has Daidalosa as a resident of the Labyrint world. And the song Stark Ensam makes more sense here than where NRK put it).

Bulten krossar is part of the continuity, but yeah, it's repetitive and you only really need to watch the last episode if you're only there for the story.

I haven't watched Utmanningen all the way through, so I'm not sure how much it fits into the continuity, but iirc it does explain some minor things in Los & Lupus through Daidalosas hämnd.

Volfram vaknar is the title of one spin-off series (with Monsterets hjerta following it as a prequel), so I'm not sure why SVT is organizing a bunch of dramas under it, let alone the cooking series.

SVT had another drama spin-off before the Lupus arc that's been taken down (iirc it was called Labyrint mysteriet), but it doesn't involve much continuity. It's not bad, though!

I hope that helps! SOMEDAY I'll make a proper timeline on my neocities site...

[spending-life-pretending]

Not that I have many followers I can influence on here but if anyone’s going to appreciate this miniseries it’s the tumblr audience so pls go watch Headless by Shipwrecked on youtube:

I’ve been a Shipwrecked girlie since middle school, and for anyone who likes (or has liked in the past)…

a) Critical Role

b) The Legend of Sleepy Hollow / Washington Irving in general

c) the literary webseries fad of the early 2010s (Lizzie Bennet Diaries, Nothing Much to Do my beloveds, etc.)

d) Starkid musicals

e) Tin Can Bros

f) Supernatural

g) witnessing the fruits of labor when a passion project pays off in a big way

h) beautiful himbos who steal every scene they’re in (Brom Bones accidental marriage to me when)

…this show will deliver laughs, gasps, and oh-my-god-is-that-who-I-think-it-is’s galore. The finale had me on my feet shouting at the screen; please PLEASE go show this amazing independent endeavor some support and love if you have a minute.

[aisterion]

yeah if you couldn’t tell the 1993-1994 Marvel miniseries “Mort The Dead Teenager” is kind of a thing that exists and I’m happy it does because this fucking headless idiot has been rotating in my mind for almost two years at this point and nobody talks about it despite it being very very funny

here are some CHOICE pages to sell you on it. great comic overall

[forthegothicheroine]

american psycho, the company of wolves, beauty and the beast (og disney), beauty and the beast (disney remake), tim burton's sleepy hollow, the over the garden wall miniseries, disney's legend of sleepy hollow (lmao i want it to be fall so bad), sofia coppola's marie antoinette, sofia coppola's the beguiled, the innocents, fire walk with me, crimson peak, coppocula

Hoo boy! Stuffing this big series of answers below the cut.

American Psycho:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Love it! I don't think the book would do it for me (I don't do well with graphic torture) but I thought the movie did a good job of showing us the kind of things he was doing, while also leaving enough ambiguity even before the twist at the end, and letting us sympathize with his depression (even if he can't name it) while also making him deeply unpleasant.

The Company of Wolves:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Do I like it as a big feminist statement? Honestly, not really- there's no sympathy for any women who aren't Rosalie or maybe her mother, and I think we are supposed to be conflicted over whether the choice she makes at the end is the right one. Do I like it as an exploration of an adolescent female id? Absolutely. Sex and violence and terror and quests are all on her mind and are all equally awful and thrilling, and Rosalie wants what's bad for her and isn't sure it's actually bad for her and the balance of power is always see-sawing and the whole thing feels like the most amazing dream.

Beauty and the Beast (original):

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I thought the Beast was too mean when I was a little kid and forming my Disney opinions- I might actually like it more now. This is probably why I like the Cocteau version, even though what he does is basically still just as bad, because at least he's not a dick about it (and Panna a nevtor, which plays it all for gothic horror.)

Sleepy Hollow:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

In retrospect, this one shows a lot of the problems that would later kill my love for Tim Burton, but it's still a lot of fun. The Hessian is genuinely scary, Johnny Depp is mugging a bit but it's not as bad as it would eventually get, and I want all the dresses.

Over the Garden Wall:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Pure distilled autumn in its aspects of both harvest and death, fun and fear. It's a world based on vintage Halloween postcards and fairytales that don't actually exist but feel like they do. I love every character, and that momentary flash where we see what the Beast looks like haunts my nightmares. My only caveat is that I do sometimes have to tell other people to keep watching after Schoolyard Follies, there will be a plot I promise!

Disney's Legend of Sleepy Hollow:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I think this is one of those where I never saw the whole thing, just the main song on one of those Best of Disney compilation videos. I'll at least give it credit for preserving the original story rather than making the Headless Horseman actually real (which I think most adaptations do because frankly the original story isn't long enough for feature length.)

Marie Antoinette:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

This seems like one of those movies where you've supposed to get into the mood of the music and the visuals more so than the plot or characters? I can get into that.

The Beguiled:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I still don't know if I want to see this or not! The concept sounds cool and creepy, but I don't like the idea that these ladies are the good guys. Or maybe I'm wrong and nobody's supposed to be a good guy? Or maybe I should watch the grimier original since I unfortunately find young Clint Eastwood hot?

The Innocents:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I'm personally of the opinion that the ghosts in The Turn of the Screw were real (it's just that screaming at a child is not a good way to exorcise them), but the deliberate ambiguity/unreliability of this version is also creepy in its own way. It's a much darker ghost story that you'd get from most big studio films of the time, certainly.

Fire Walk With Me:

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

This really did a good job of portraying its protagonist as a real person rather than just an object of clinical observation or perverse whimsy (which I think Twin Peaks the Return fell into.) It's just so heartbreakingly sensitive and Sheryl Lee does such a good job of portraying Laura as both kind and mean, loving and hateful, and absolutely the victim of someone she should have been able to trust. And then the end, where Cooper is smiling gently at her and the angel has come back and she's laughing in relief? Oh my god.

Crimson Peak

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I didn't love this as much as I thought I would (maybe because I was spoiled about what was up with the Sharpes, or maybe because I didn't like the implication that Edith should have gone with the nice boy best friend she didn't love) but I'd still say it's a good entry in the gothic romance genre. Stunning clothes and scenery, great actors, scary ghosts, an ending open enough for fanfiction. If I picked this up as an Avon Satanic Gothic at a thrift store, I'd definitely be happy!

Coppocula (Bram Stoker's Dracula)

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Oof. I don't want to be a snob about this. I've definitely liked Dracula movies that were wackier or dumber than this (looking at you, 2004 BBC version!) This one just breaks my heart because there's so much talent on display and I just. fucking. hate it! That soundtrack deserved a better movie. That red dress deserved a better movie. All the characters deserved better writing. Whenever someone tells me they love this movie, I have to nod and say that it's certainly beautiful looking, because I don't want to be a terrible gatekeeper, and if it was an original vampire story it might well be a guilty pleasure of mine. I just fucking hate it. On the bright side, it did give us Vlad the Poker in the What We Do in the Shadows movie, a pitch-fucking-perfect parody of Gary Oldman's Dracula, and the Nadja/Gregor plot in the What We Do in the Shadows tv show, a pitch-fucking-perfect deconstruction of the reincarnated wife trope.

[shipwreckedcomedy]

🎉 We've hit our goal!!! But now is no time to relax, because with our pre-production numbers adding up - and Covid protocols still very much a thing - we're going to need even more money to help bring Headless to life. So we've cooked up some amazing Stretch Goals that we are very excited about.

$160,000: At $160k, we'll be able to afford a Behind the Scenes Videographer!! Our dedicated BTS Videographer Christopher Higgins helped document the making of Poe Party, The Case of the Gilded Lily, and American Whoopee, providing us with numerous featurettes, hilarious side sketches, and amazing photographs that we love looking at while thinking "Wow... we did it." And it lets the rest of Shipwrecked focus on the nuts and bolts of day to day production.

$175,000: It's right there in the name: The Headless HORSEman. It would be odd to make a webseries about the legendary ghost without ever seeing his horse. If we hit 175k, we'll be able to afford a cameo from Headless' trusty stallion, courtesy of Studio Steeds in Los Angeles.

$190,000: Our show revolves around the Headless Horseman trying on heads from various corpses - dug up from cemeteries, stolen from the morgue, or lifted from Matilda's bookshelf. Who were these people though? What were their stories when they were alive? We may not have time to delve too far into these characters' pasts in Headless itself, but if we hit 190k, we'll be producing a 6 episode Unsolved Mysteries style companion series that explores all of these characters a little more in depth, hosted by none other than Brom's Babes themselves.

  $200,000: You asked and we're answering. None of the 4 Shipwrecked members have ever played Dungeons and Dragons, but our cast is full of notable DnD enthusiasts. If we hit 200k, Shipwrecked will play a one shot campaign featuring a few other Headless cast members, to be released as a miniseries on Shipwrecked's channel.

But that's not all! We have a few more goals in the works, so help us spread the word so we can unlock them! https://www.kickstarter.com/projects/shipwrecked/headless-a-sleepy-hollow-story

[melinoegoddessofghosts]

This BOP of a music video:

The wonderful, spooky, autumnal, Halloween-y mystery miniseries that contextualizes the song:

when did u hav time 2 make all this SLIME???

[multiverseforger]

In the novel, It is a shapeshifting monster who usually takes the form of Pennywise the Dancing Clown, originating in a void containing and surrounding the Universe—a place referred to in the novel as the "Macroverse". It arrived on Earth during an asteroid impact and made its home under the land which Derry would be built on, initially preying on indigenous tribes. It would sleep for millions of years, then, when humans appeared in Derry, would fall into a 27-year slumber and wake for about a year in order to feed on human fear, often assuming the shape of what its prey fear the most. It has a preference for children since their fears are easier to interpret and adults are harder to scare, in a physical form. It can manipulate people with weaker wills, making them indifferent to the horrific events that unfold or even serve as accomplices.

In the novel, It claims that its true name is Robert "Bob" Gray, and is named "It" by the Losers Club. Throughout the book, It is generally referred to as male due to usually appearing as Pennywise. The Losers come to believe It may be female (because it lays eggs), and perceiving It's true form as a monstrous giant spider. However, It's true appearance is briefly observed by Bill Denbrough via the Ritual of Chüd as a mass of swirling destructive orange lights known as "deadlights", which inflict insanity or death on any living being that sees them directly. The only person to survive the ordeal is Bill's wife Audra Phillips, although she is rendered temporarily catatonic by the experience.

Its natural enemy is the "Space Turtle" or "Maturin", another ancient dweller of King's "Macroverse" who, eons ago, created the known universe and possibly others by vomiting them out as the result of a stomachache. The Turtle appears again in King's series The Dark Tower. Wizard and Glass, one of the novels in the series, suggests that It, along with the Turtle, are themselves creations of a separate, omnipotent creator referred to as "the Other" (possibly Gan, who is said to have created the various universes where King's novels take place).

Throughout the novel It, some events are depicted from Pennywise's point of view, describing itself as a "superior" being, with the Turtle as an equal and humans as mere "toys". It's hibernation begins and ends with horrific events, like the mysterious disappearance of the Derry Township's 300 settlers in 1740–43 or the ironworks explosion. It awoke during a great storm that flooded part of the city in 1957, with Bill's younger brother Georgie the first in a line of killings before the Losers Club fight the monster, a confrontation culminating in Bill using the Ritual of Chüd to severely wound It and force It into hibernation. Continually surprised by the Losers' victory, It briefly questions its superiority before claiming that they were only lucky, as the Turtle is working through them. It is finally destroyed 27 years later in the second Ritual of Chüd, and an enormous storm damages the downtown part of Derry to symbolize It's death.

Pennywise makes a tangential appearance in King's 2011 novel 11/22/63, in which protagonist Jake Epping meets a couple of the children from It, asks them about a recent murder in their town, and learns that the murderer apparently "wasn't the clown." It also appears to Jake in the old ironworks, where it taunts Jake about "the rabbit-hole," referring to the time portal in which Jake moves from one time to another.

Film and televisionEdit

In the 1990 miniseries, Pennywise is portrayed by English actor Tim Curry. One original guise is made for the miniseries: Ben Hanscom's deceased father (played by Steve Makaj).

In the 2017 film adaptation, It Chapter One and its 2019 sequel It Chapter Two, Pennywise is portrayed by Swedish actor Bill Skarsgård.[5] The second movie slightly deviates from the book in It's final form being a drider-version of Pennywise and is motivated by revenge on the Losers Club. Will Poulter was originally cast as Pennywise, with Curry describing the role as a "wonderful part" and wishing Poulter the best of luck, but dropped out of the production due to scheduling conflicts and first film's original director Cary Fukunaga leaving the project. Spanish actor Javier Botet was cast as the Hobo leper in both movies and the monstrous form of Ms. Kersh in the second film. Two original guises were made for the first film: the Headless Boy, a burnt victim of the Kitchener Ironworks incident (played by Carter Musselman), and the Amedeo Modigliani–based painting Judith (played by Tatum Lee).[6]

Pennywise will also appear as a supporting character in the upcoming live-action/animated film Space Jam: A New Legacy, which will also be distributed by Warner Bros.[7]

Reception and legacyEdit

Several media outlets such as The Guardian have spoken of the character, ranking it as one of the scariest clowns in film or pop culture.[8][9][10] The Atlantic said of the character; "the scariest thing about Pennywise, though, is how he preys on children's deepest fears, manifesting the monsters they're most petrified by (something J. K. Rowling would later emulate with boggarts)."[11] British scholar Mikita Brottman has also said of the miniseries version of Pennywise; "one of the most frightening of evil clowns to appear on the small screen" and that it "reflects every social and familial horror known to contemporary America".[12] Author Darren Shan cited Pennywise as an inspiration behind the character Mr. Dowling in his 12.5 book serial Zom-B.[13]

The American punk rock band Pennywise took its name from the character.[14]

Association with 2016 clown sightingsEdit

Main article: 2016 clown sightings

"I suspect it's a kind of low-level hysteria, like Slender Man, or the so-called Bunny Man, who purportedly lurked in Fairfax County, Virginia, wearing a white hood with long ears and attacking people with a hatchet or an axe. The clown furor will pass, as these things do, but it will come back, because under the right circumstances, clowns really can be terrifying."

—Writer Stephen King's reaction to the recurring clown scare phenomenon.[15]

The character was suggested as a possible inspiration for two incidents of people dressing up as clowns in Northampton, England and Staten Island, New York, both during 2014.[1][16]

In 2016, appearances of "evil clowns" were reported by the media, including nine people in Alabama charged with "clown-related activity".[17] Several newspaper articles suggested that the character of Pennywise was an influence, which led to King commenting that people should react less hysterically to the sightings and not take his work seriously.[18]

The first reported sighting of people dressed as evil clowns in Greenville, South Carolina was by a small boy spoke to his mother of a pair of clowns that had attempted to lure him away.[19] Additional creepy clown sightings were reported in other parts of South Carolina.[20]

Evil clowns were reported in several other U.S. states including North Carolina,[21] Kentucky, Pennsylvania, and Wyoming[22] Later the same year, "clown sightings" were reported in Great Britain, Australia, and Latin America.[23][24][25]

One hypothesis for the wave of 2016 clown sightings was a viral marketing campaign,[26] possibly for the Rob Zombie film 31 (2016).[27] A spokesperson for New Line Cinema (distributor of the 2017 film adaptation of It) released a statement claiming that "New Line is absolutely not involved in the rash of clown sightings."[28]

[radiotransylvania]

5 Seasonal Things To Watch In November

There’s plenty of great media to watch in October and even more for December, but what about the month in between? If you’re looking for some great seasonal content to watch in November and aren’t a fan of Thanksgiving, check out these movies, miniseries, and TV specials:

The Adventures Of Ichabod And Mr. Toad (1949)

This underrated Disney movie is probably best known for being the source material for the beloved dark ride Mr. Toad’s Wild Ride. It’s basically a double feature, with two separate literary adaptations linked by a bit of narration and some library footage. The first half is The Wind In The Willows, which tells the story of Mr. Toad and his motormania. It’s got fun antics, sneaky weasels, and charming as hell animation. There’s also a part at the end where it’s Christmas for a bit. It’s not a huge part of the plot tbh, but it feels like enough of a nod to earn its place on the list. The second half of the film is The Legend Of Sleepy Hollow which is obviously the spooky part of this one. It also contains “The Headless Horseman” a criminally overlooked Disney song sung by Bing Crosby (though if you want to hear my favourite cover, you’ll have to seek out the Thurl Ravenscroft version).

Over The Garden Wall (2014)

This is Tumblr, so y’all know this one but I’m going to talk about it anyway. While it’s spooky throughout, I put this one in the “transition” category because I don’t necessarily associate it with Halloween so much as I think of it as quintessentially autumnal. The visuals of the woods transition from falling leaves to snow-covered, barren trees throughout the course of the episodes, so I feel like works nicely as November viewing. Also the whole thing is just fantastic, from the turn-of-the-century style music to the gorgeous backgrounds. The visuals and audio are each great enough to stand out on their own, but put together they create a truly magical experience. Even though I didn’t see this one until after I had graduated college, it’s so timeless that part of me just feels like it’s been around forever.

The Nightmare Before Christmas (1993)

You all knew this one was coming. “Tim Burton’s” classic tale (neither written nor directed by Tim Burton) of what happens when Halloween and Christmas collide. A lot of great Danny Elfman songs that don’t fit neatly into the “Christmas Song” box or the “Halloween Song” box (I don’t want to put “Kidnap The Sandy Claws” on my Halloween playlist because it’s not the time of year I want to be thinking about Santa yet, but it’s too dark to go on my Christmas playlist. On the other hand, I would find it totally reasonable for someone else to put it on either playlist for themselves) and visuals that have fun with mixing the two holidays together.

Anna And The Apocalypse (2017)

The only live-action entry on the list and the only one that’s not family-friendly. This British Christmas zombie musical is about a horrific apocalypse that just happens to coincide with the holidays. This leads to a lot of fun gory Christmas imagery, like a zombie in a snowman costume getting decapitated and Anna using a large candy cane decoration with a spike at the bottom as weapon against the undead. It also has a bunch of catchy songs: some that work for Halloween (”Soldier At War”), some that work for Christmas (”It’s That Time Of Year”) and some that aren’t seasonal but are really fun to sing (”Turning My Life Around”). There’s a lot of blood. There’s a lot of tinsel. It’s a good time! (For the audience, I mean. The characters do NOT have a good time).

Halloween Is Grinch Night (1977) & How The Grinch Stole Christmas (1966)

Rather than a single piece of media, this last one is a recommendation for two specials you can watch as a double feature. While How The Grinch Stole Christmas is a well-known classic, Halloween Is Grinch Night is fairly obscure. Is some of that because of the difference in quality between the two? Probably. But I would argue that Grinch Night is still definitely worth watching. It’s written by Seuss himself, it has some weird and wonderful songs, and it contains this iconic exchange:

Since Boris Karloff was dead by the time it was made, the Grinch is voiced by Hans Conried instead. Conried is best known as the voice actor for Captain Hook (and Mr. Darling) in Disney’s Peter Pan. He puts his cartoon villain skills to good use here, having fun with being a delightfully nasty Grinch. Grinch Night can be considered a prequel to How The Grinch Stole Christmas (as long as you come up with some sort of headcanon for what happened to Max in-between) so the two work well as a back-to-back viewing experience.

This has been a text post version of this vlog:

If you love Halloween songs like “The Headless Horseman” and “This Is Halloween,” check out the Radio Transylvania podcast! You can find it on iTunes, Spotify, or wherever you get podcasts, or follow me here, where I post when each episode comes up and share other spooky content.

[tisthewoman]

Why You Shouldn't Let An English Teacher See Movies: a reaction post of IT:Chapter 2

Okay, so I finally saw IT Chapter 2, and I have some thoughts. Some of these thoughts might rub people the wrong way, which is okay, but be warned that I'm not going to hold back here.

As a whole, let me preface by saying that I loved this movie. I will go to see it 3 more times, and I will enjoy every moment. However, objectively… this is not a film that I can recommend to people as a “great film” artistically speaking. Is it fun and Good™? Yes. Did I enjoy it immensely? Yes. Were there some very odd and disruptive writing/direction choices? Yeah. This isn’t a masterpiece, as fantastic as I personally felt it was, and honestly I do not think it topped Chapter 1 in terms of flow, total presentation, or scriptwriting.

I’m going to break down my thoughts by category:

1. Story elements

2. Visuals & Horror

3. Tone

Starting with Story Elements:

I am incredibly torn on this. I LOVED aspects of this film, and was wildly confused by others. As a whole, I think the film began strong. 

The re-introductions to the characters were fantastic, though taking the “historian” thing from Mike in Chapter 1 definitely made Chapter 2 weak in regards to his characterization. He’s a hard character to get right, but it honestly feels a little like they didn’t try, and just used him to progress the story. I could continue, but that is a whole separate Mike Essay. Bev, Ben, Richie, and Eddie were all fantastic. Eddie in particular was taken in a slightly more aggressive angle than traditional for his character, but it worked very well with the way he was established in Chapter 1, thanks to Jack’s interpretation. Bill was a little bit weaker in some ways, but still at his core Bill Denbrough. I unapologetically LOVE adult Stan, and only regret that due to the story, we don’t get to experience him as much as he deserves in the film.

The return to Derry was great, and I still think that the group dynamics are what make this story shine. 90% of what I loved so much in Chapter 1 was the group dynamics, and they are here in SPADES. The group makes sense together, and the cast did a great job, though Eddie’s constant repetition of the word “fuck” seemed a little unnecessary after the second time in the restaurant scene. However, one thing I think the miniseries did better is establish them as “the lucky seven” - they’re not just the Losers Club; they’re held together by fate, and there’s definitely some supernatural elements to that which are not present in the films, weakening their group connection. This is shown most strongly in their moments of conflict in Chapter 2, especially when they want to leave, because their draw to each other doesn’t seem to be present, at least not in the same capacity. It seems weird to feel let down by this considering my next point, but it is what it is.

Some may disagree here, but… I really dislike the decision to include the ritual of Chud in the movie. I disliked it in the book as well, as I think that it unnecessarily complicates things and turns this horror story into a surreal sci-fi story in a way that doesn’t always mesh well. King does both sci-fi and horror well, but I’ve always felt the crossover in IT was off somehow. Also, the lack of connection with this to the first film makes the ritual of Chud seem even weirder in Chapter 2. Mike’s characterization with this gets… odd… and its inclusion is very confusing. I actually said “what the hell are they doing” in theaters when Mike introduces this with Bill. That’s how weird it was for me. My biggest problem was that it makes Chapter 2 a sharp departure from Chapter 1, and failing to achieve the cohesion that the miniseries had is a huge downer for me, considering that the IT reboot is an improvement to the miniseries in so many other ways.

In comparison to the book and miniseries, I think that it was a bad choice to leave out Audra, as it was good closure for the Billverly plotline. Bill and Bev even kiss in Chapter 2 - and then it is promptly forgotten. I’m not necessarily looking for conflict, but Audra was a huge motivator for Bill, and it was much less significant to have his driving force be this random kid that reminds him of Georgie. I get it, but Audra helps show how Bill has grown more strongly and pushes him forward after the final battle. I also wanted a cinematic parallel between Audra and Bev in the sewers and was really disappointed that I didn't get it. I have similar feelings about Tom - yes, Bev obviously leaves him for Ben, but Tom had a huge impact on Bev and her growth. Leaving him out weakens her personal story.

I’m not going to say much about Henry, but the scene where he pops out of the sewers is FANTASTIC. I absolutely did not expect to get that scene (I figured we’d just pop in on him in the hospital), but was glad we did. However, this lost its impact the longer we went on; he was relevant for all of one (1) stabbing of one (1) Edward Kaspbrak, and then died without even putting Mike in the hospital like he was supposed to. A waste of his character.

There are other positives. The connection Adrian and Richie’s stories are great, and I think Richie’s moments of reveal are very well handled. I just wish the Adrian/Eddie parallels had been highlighted as well. Richie and Eddie are fantastic together, and Bev and Richie are also sweet as hell. Besties for the resties, man. In general, I think Richie’s relationship with the Losers is the strongest writing in terms of group dynamics. Putting aside his feelings for Eddie - which do a fantastic job of fleshing him out and showing how multifaceted his character is - he is the one Loser who has strong ties to every other character. Bev’s relationships with Mike and Eddie are weak, Ben’s most relevant relationship is to Beverly, Bill’s most relevant relationship is Mike - you see where I’m going with this. Only Richie’s writing showed the importance of all his group relationships, though some were stronger than others.

Almost every individual scene with the Losers and Pennywise are very enjoyable. The moments where their personal motivations and fears shine are truly the best in the film. While there were some design issues that disappointed me in terms of IT terrorizing them, their stories are great - the apartment scene with Beverly is still poignant, and Bill’s revelation about the day of Georgie’s death made me a little emotional. I’ve already mentioned this in general terms, but the arcade scene with Richie is fantastic.

As a whole, there is a lot of love here, and so much to enjoy. The script writers and the director worked hard on this film, and they tried to do a lot with it - just maybe too much, which caused problems with flow and tone as a whole.

Visuals & Horror

I love horror - I could go on all day about how it’s the best genre. As such, I have a lot of feelings about the horror elements in this film. 

I already mentioned how the ritual of Chud/Sci-Fi elements weaken the horror - in truth, the horror elements were already weak. As a result, sci-fi elements distract from what already has flaws. There are two major categories for this discussion: subtlety and design.

In terms of subtlety, a majority of Chapter 2 was basically hitting you over the head with a Pennywise-shaped hammer. There were jumpscares everywhere, and they were rarely impactful ones. How many times did we get a “Pennywise chomps down on somebody” moment? I was totally engrossed in Adrian’s scene at the beginning, but when Pennywise just takes a bite out of him and it ends, I was honestly disappointed. I do realize this is book canon, but there is something about the presentation in the book - the precise moving of Adrian’s arm, the bite, the smile, the cracking of his ribs - that is dulled in the movie for a lack of a better term. There is just something about this death that fails to hit home. Maybe it’s because Pennywise is more or less out in the open, or maybe because in the book, the bullies see It, too, making it a surreal moment that no one believed except those who were there.

As a whole, the movie has plenty of gore but little suspense. I think I had more interest the less I knew about how exactly people died. Eventually you get sick of the chomping - the unknown is more frightening than a monster with a predictable attack pattern. The missing kids. Betty Ripsom’s shoe and lack of explanation. Patrick’s fade to black. These things made Chapter 1 unsettling, but scenes like Victoria’s death had no other elements other than being bitten to death by Penywise, and that was predictable. 

For an example of what could have been in terms of subtlety, I can honestly say that I was more creeped out by “Mrs. Kersh” slinking around in the background of Beverly’s old apartment than I was by the old woman monster. For what it's worth, the way these monsters move is INCREDIBLE, especially so the more humanoid they are. I love the body language and movements. The earliest example is the headless boy in Chapter 1; the jerking limbs really emphasize their inhumanity, and it still works in this film (Mrs. Kersh at the end of the hall, Betty Ripsom’s legs, etc). This, with the use of humans and their subtle shift to the unnatural in the films, was much stronger than the larger monsters in Chapter 2. 

Another strength is the background details that you might miss. The librarian staring at Ben as he reads about the Ironworks explosion in Chapter 1 is a great example of this, as is Mrs. Kersh peeking her head out of the kitchen in Chapter 2. I would have rather had more small scares like this, rather than the reliance on jumpscares. The pomeranian monster behind the “Not Scary At All” door is essentially just that, and I was WILDLY unimpressed by it.

Returning to the focus of the film, Pennywise the clown is a great villain, but a lot of Its appeal is that It shifts into whatever scares you most. In the first film, this is done well - the painting lady, the leper, the headless boy, and even the way it shifts in the battle at the end. The strength in these forms is that you never know what to expect - and neither do the Losers. Each new nightmare looks and behaves differently. The flute dropping from the painting lady’s hands to announce her presence, the dropped eggs in the library scene… everything about the leper. Even the miniseries did this variety well (the werewolf, the shower scene with Eddie, Mrs. Kersh, etc)

Yet, in part 2, we get… two extra monsters. Which is fair - we already have plenty of material - but they both have the same style of warped features and aesthetic. I think creepy naked old Mrs. Kersh would have been a more disturbing visual than old lady monster turned out to be. Sometimes less is more. Clowns are creepy because they have almost-not-quite-human features… the same can be said of effective monsters (look at the leper, for example, or the painting lady). 

Pennywise in general and Its overreliance on Its clown persona weakens the effect. Eventually, Its presence becomes “oh, there’s the clown again,” especially considering that Its attack pattern has become so predictable. Is It going to drag me into the darkness? Is It going to manipulate me into hurting my friends? Is It going to do some other scary thing to me? No, he’s going to take a bite out of me. Not awesome, but certainly not the Pennywise of the novel or even of the miniseries, whose horror came from the fact that no one knew what happened when you disappeared - or when parts of you reappeared.

There were too many instances where the horror was all about jumpscares and theatrics. Pennywise is all about theatrics, I know, but It went from eldritch horror to dramatic murder clown in this film. In the book, Pennywise is extra as hell, so I wouldn’t be angry if that was the angle taken for the films - however, that is not what was established in Chapter 1, and isn’t actually what is achieved in Chapter 2. If we are going for a more serious, darker tone for Pennywise, I would prefer the eldritch horror we saw more strongly in Chapter 1.

Tone

This is the hardest category to explain well, because a lot of this is my personal impression of the film, but I’ll do my best. As a whole, the movie does not flow well, especially connected to Chapter 1, and this is largely because of tone. Some scenes shift too abruptly or push too hard, and I feel as though the writers were trying to capture the same charm and attitude that Chapter 1 achieved with the kids, but struggled because they aren’t kids anymore. The balance between gritty horror and charm is harder with adults, but this is something the miniseries excelled at compared to Chapter 2. In the miniseries, you never feel like you’re watching a new film when it switches to the present day with the adults. In IT Chapter 2, though the movie and story are meant to be a continuation, it feels more distant, like a sequel that doesn’t quite achieve the same mood.

I’ve said that the group dynamics of the Losers really shines in these films - however, it’s also a major problem in Chapter 2, because there are several times where the writers sacrificed the integrity and tone of a scene to fit in some banter. I love the banter, okay. I’m all about it. The banter in the IT movies is my favorite banter that I’ve seen in a fictional friend group, and yes, I’m including Stranger Things and classics like The Breakfast Club or the Goonies. However, when it’s ruining an otherwise impactful scene, it feels wasteful and disruptive. 

A good example is the scene with Richie and Eddie at the doors in the caves. This scene is fantastic - it’s funny without being a gag, and it showcases the brilliance of RichieandEddie. However - and this is a big however - every other Loser’s individual scene is dramatic and dark - tonally appropriate. Richie and Eddie, however, have their moment melding humor with some jumpscares, and though the scene is great on paper, it makes no damn sense compared to the tone of the rest of the damn sequence. There is no logical room for comedic relief here, and it was jarring, no matter how much I enjoyed the scene itself. Tonally, Richie’s one-liners in Chapter 1 made more sense, and the script of Chapter 1 did a much better job ensuring that those tiny breaks in tension do not disrupt the scene or atmosphere. I cannot say that about certain elements in Chapter 2.

The Losers work very well together, but they also have a tendency to get chaotic enough to break the atmosphere. In the book, there is a lot of quiet horror amongst the Losers Club that is disrupted in Chapter 2 by the multiple scenes where they just scream over each other during crucial moments (such as the scene in Jade of the Orient). The quiet fear and understanding amongst the Lucky Seven that made them such a dynamic group of protagonists just doesn't exist here. Every quiet moment is a moment for arguing or freaking out here, and it got tiring, especially when we went right back to individual reflection and exploration after. I use the term “quiet” here quite a bit, but I’m not sure how else to express the atmosphere I’m talking about. Hopefully the point gets across.

This may just be personal preference - I really enjoy subtle horror, as I’ve said. The moments where the Losers watch and take in the terror as it unfolds are important moments and are lacking in Chapter 2. I can’t empathize with the screaming and freaking out, but the dawning horror and realization of what’s happening puts me right in their shoes. Beverly’s slow realization when she’s staring at the picture of “Mrs. Kersh” and her “father” is a moment like this, to put it in context. 

Even more so than the Losers’ attitudes is the lack of the “dawning horror” vibe in the film at large. It is not meant to be an action film, and yet Chapter 2 is constantly go-going. The action is in places more akin to a slasher than the slower supernatural horror this story is meant to be. Chapter 1, with its slow reveals and strengthening group dynamics, hit the intended mood better, and seems further separated from Chapter 2 as a result.

Chapter 1 did a great job with balance - it knew when it was appropriate for the funnies, and how to shift that into the horror elements seamlessly. It also did a great job throwing in Richie’s one liners without ruining the balance of the scene, but Chapter 2 had several instances where it took those quick Richie moments and turns the focus entirely on him, breaking up scenes in a jarring way. An even more disruptive example is the “Richie said it best last time” bit before they entered Neibolt. The entire scene shut down for Richie’s moment, and it ruined the suspense of what could have been a really nice parallel to Chapter 1. We didn’t need the tension broken in many of these instances, and it was difficult to go back and forth. The focus on Richie is because of the positive fan response to his character, which is well deserved in my opinion. However, this could have been done better. 

Tonally, Pennywise’s script also came on too strong. The Pennywise we know and love is a lurker, manipulating humans and taking other forms rather than doing all the dirty work directly. Chapter 2 has moments of this, but more often has Pennywise as an aggressively taunting antagonist. It becomes loud and exaggerated. Part of this can be attributed to rising tension as the Losers return to finish It off, but Its dialogue is hammier than I expected. It’s become almost petty - and not to needle at the Losers, but more because It’s bitter and childish. I don’t know if it’s too much to use the term “eldritch horror” again, but I don’t know how else to describe what we were set up for with Chapter 1 and let down on in Chapter 2.

As a whole, I felt like the film was stitched together in places. After Chapter 1, I felt that I had just had an experience, but after Chapter 2, I actually looked at my best friend and said “I liked it, but I’m not sure what just happened.”

Let it be clear that I love Chapter 2, and will happily rewatch it many times in the future, but I do think that compared to Chapter 1, it is a far weaker film overall. You can watch them together for a similar experience to the miniseries, but it will be less cohesive and will feel like it fell apart a bit the longer it went on. I don’t fault the writers for this entirely, as the second half of this story is a daunting undertaking, but I think removing the sci-fi elements with the ritual of Chud and tightening down the horror aspects/tone would have made this a stronger continuation of Chapter 1.