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Top Gun Soars Back into Production with "Top Gun 3" Confirmed at Paramount

Paramount Pictures has officially announced the highly anticipated next chapter in the iconic aviation franchise, "Top Gun 3." 

This thrilling news comes after the monumental success of "Top Gun: Maverick," which reignited the passion for high-flying action and cemented Tom Cruise's legacy as a cinematic powerhouse.

A Legacy in the Making:

Ehren Kruger, the acclaimed screenwriter behind "Maverick," is already penning the script for the next installment. 

While speculation surrounds Joe Kosinski's return as director, Deadline suggests he may assume a producer role, ensuring continuity in the franchise's signature visual and stylistic brilliance.

Familiar Faces Take Flight Again:

Fans can prepare to witness the evolution of beloved characters, as Variety confirms the return of Miles Teller's Rooster and Glen Powell's Hangman. 

Their dynamic bromance and daring maneuvers were a highlight of "Maverick," and their continued presence promises to be a major draw for audiences.

Box Office Success Fuels the Sequel:

The "Top Gun" franchise has consistently dominated the box office, with the original 1986 film becoming a cultural phenomenon. 

"Maverick" proved its enduring appeal 36 years later, grossing over $1 billion and becoming the highest-grossing film of 2022. 

This undeniable financial success leaves no doubt about the demand for a third installment, and Paramount is poised to deliver.

Beyond the Studio Walls:

While Tom Cruise's recent deal with Warner Bros. allows for creative exploration outside of Paramount, "Top Gun 3" remains firmly nestled within his long and successful partnership with the studio. 

This ensures a seamless transition and leverages the proven expertise of both parties.

Anticipation Soars, but Patience Required:

However, Cruise's packed schedule, featuring the next "Mission: Impossible" film and a potentially spacewalk-infused "Edge of Tomorrow" sequel, might push "Top Gun 3" production further down the line. 

Nevertheless, the immense hype and profitability of the franchise guarantee that this eagerly anticipated sequel will eventually take flight.

More Than Just Aerial Acrobats:

"Top Gun 3" has the potential to transcend the exhilarating aerial sequences and deliver a story that resonates on a deeper level. 

The camaraderie, competition, and personal growth experienced by these aviators offer compelling narratives that connect with audiences on an emotional level.

In conclusion, "Top Gun 3" promises to be a high-octane, nostalgia-fueled thrill ride that builds upon the foundations laid by its predecessors. 

While patience is required, the prospect of witnessing Tom Cruise and his team soar back into action is enough to keep our engines revving with anticipation.

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The storyline of "Joker" follows Arthur Fleck, a struggling stand-up comedian and street clown in 1980s Gotham City. Due to various hardships in his life, including a acoustic action that causes him to beam uncontrollably, he descends into carelessness and becomes the bent administrator accepted as the Joker. The film explores his motivations and how societal neglect and abuse ultimately lead to his transformation. The movie also touches on themes of mental health, class struggle, and the relationship between the have and have-nots in society.GET More DETAIL CLICK HERE

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Horror Literature Adaptations in Bollywood and Hollywood

Into the Dark World of American Horror Story: A Revolution in Horror Television

Since its launch in 2011, American Horror Story (AHS) revolutionized the conception of television horror, at least. It entered the fray with boundaries of storytelling and aesthetic terror. An anthology series, it was the brainchild of Ryan Murphy and Brad Falchuk; this phenomenon occurs from a new season-long story annually, comprising elements of psychological depth, shocking twists, and disturbing visuals. Every season of American Horror Story is a single, self-contained story; however, there exist regular actors, thematic parallels, and overarching motifs that bind these narratives together into an aesthetic universe.

The Anthology Format: A New Paradigm for Telling Horror

The most differentiating factor of American Horror Story is, without a doubt, its anthology format. While most other television shows continue with the same characters and storylines season after season, AHS takes the concept of renewal to a whole other level, starting the process from scratch with an all-new plot and characters every year. This bold narrative framework allows its creators the freedom to go anywhere with any kind of horror subgenre and not be confined to a consecutive tale that has some continuity between seasons.

What makes this format even more appealing is a returning cast of actors. The fans get to have familiar faces that kind of look like Jessica Lange, Sarah Paulson, and Evan Peters but in new roles because that shows their versatility. Reusing actors in different roles adds continuity but, at the same time, maintains the excitement of unknown twists since viewers never know who the hero or villain will be in a particular season.

Themes Beyond the Supernatural

When supernatural forces like ghosts, witches, and demons are the prominent features of American Horror Story, the truly scary episodes often live in real-life fears or anxieties. The horror series masterfully employs fantastical plots to explain what happens in real life, making insidious, everyday horrors something less even more terrifying.

For instance, Murder House is more than a ghost story. This season depicts the decline of the American family, adultery, and the consequences of unresolved trauma. Asylum touches on mental illness, religion, and an abuse of power because it questions the boundaries between sanity and insanity. Coven that mainly about a coven of young witches also involves themes of racism, sexism, and generational conflict.

Arguably one of the most charged seasons vis-à-vis its sociopolitical implications, Cult (season 7) is a seasonal response to the political context in which the show was produced. It is just coming almost four years after Donald Trump's victory in the US presidential elections and thus does not owe much to supernatural scares but rather the horrors of human behaviour in a television show that taps into one's anxieties regarding America's landscape after 2016.

It is because of this capacity to merge horror with social commentary that American Horror Story rises from the sphere of mere entertainment to a more thought-provoking television that makes the viewer think about the meaning lying behind the horror on the screen.

Visual Aesthetics: A Cinematic Approach to Horror TV

American Horror Story has always been noteworthy for its magisterial aestheticism. The writers, directors of photography, and production designers treat each season like a cleverly paced horror movie. Bold colour palettes, intricate set designs, and ever-so-unsettling camerawork come across to create a very immersive and often disorienting nature of a viewing experience.

The wardrobe line in American Horror Story is further used to support the plot with the dresses of characters. Each wardrobe line of a character reflects the inner world or the role that character might play in the story. The black, sleek, and tight wardrobes of the witches in Coven elaborate the power and control; the filthy and dreadful wardrobe of Freak Show reveals their deformity, both emotional and physical, resulting from being imprisoned within their twisted world.

This cinematic approach to horror television sets AHS apart from the rest within the genre, giving viewers a visual experience that is rivalled by many horror films in complexity and artistry.

Character-Driven Horror: Complex and Flawed Protagonists

The aspect of American Horror Story that really sets it apart is the need for complex, morally ambiguous characters. Traditional horror form does not see much distinction between heroes and villains, by which the blackest of black hats is slapped on the most evil of them, setting them irrevocably aside as abominable creatures. Conversely, this is the realm in which AHS excels, its characters best defined by shades of grey.

Characters of Sarah Paulson also usually act as emotional anchors of the show. One of the best performances in the series is her portrayal of Lana Winters in Asylum where the storyline observes a journalist's journey through horrific conditions at the Briarcliff Asylum. Paulson's characters usually suffer the most from emotional and psychological turmoil, so the fantastical happenings of the show are anchored in human vulnerability.

The villains of AHS are just as enthralling. From the sadistic Dr. Arthur Arden in Asylum to the charismatic yet deadly Countess in Hotel, starring the incomparable Lady Gaga, the show masters the art of creating antagonists that are at once terrifying and tragically human. These layered characters make the horror more personal and emotionally resonant, as their motivations and actions often have roots in deeply relatable human emotions—fear, jealousy, revenge, or survival.

conclusion American Horror Story has evolved from its small novel experiment in horror storytelling over the years into a cultural juggernaut that continues to redefine the genre. It gets the best of the finest things you'd have from traditional horror—a social comment, a visually stunning aesthetic, and complex characters—making it unique in television history. With every new season, American Horror Story will probably continue to move the yardstick of what horror on television can be, to be among the top and most influential horror series of all time.

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as part of my new build concept, i'm rebuilding magnolia promenade ! as we know i love a good community lot and i feel there are a few non-official lots that we don't have much options for..

so first up, this old hollywood style cinema! i love me some light neutrals so i tried to step out of my comfort zones and do some dark neutrals lol. hope u enjoy ♡

download info : free on patreon

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*just a lil note, i apologise for the weird lighting with the exterior, using individual cc trims is the culprit!

[anim-ttrpgs]

Hey I know you’ve probably said or before. But what’re some of the playable Supernatural folk in ANIM.

Firstly, just to be clear, A.N.I.M. is the design team, while Eureka: Investigative Urban Fantasy is the TTRPG currently in its final week of crowdfunding (ends 2:00 PM CST on Friday May 10th)

As for the supernatural folk, even though most PCs in Eureka end up being mundane, there’s quite a lot of options for supernatural characters, which we have talked about before, but we never miss a chance to talk about them again!

This will be a brief overview that will barely even scratch the surface of the depth and nuance we’ve written in to most of these abilities. If you’re interested in learning more, why don’t you just download the fully playable, free prerelease version of the Eureka: Investigative Urban Fantasy rulebook available on our website and our itch.io page, and go to Chapter 8!

There are ten of what we call “Mage traits.” A “mage” in Eureka is something you could think of as kind of like an X-man. They are otherwise normal people except for one single inexplicable power. Some of these include pyrokinesis, telekinesis, lightning powers, supernatural speed, supernatural beauty, and even the option to play a “psychic detective” who can receive clairvoyant revelations based on clues.

These powers tend to come with few if any downsides, besides the fact that the character can only have at-most one of them. There is also a slight investigation point penalty.

Then, there’s the playable monsters, of which there are five, each of which is fleshed out to the point that they are entirely unique gameplay experiences.

First up is the vampire.

Playing a vampire is a unique challenge because of their rather large list of weaknesses they must contend with in everyday life. The sun, while not instantly lethal like in Hollywood vampire movies, does strip them of all their powers, and they must contend with a compulsion to count large numbers of small objects, an unwillingness to enter private residences uninvited, difficulty crossing bodies of running water, an aversion to garlic, and more! They must of course also drink human blood to keep their Composure up, as they do not gain Composure from eating or sleeping.

These weaknesses are more than made up for by incredible stealth, combat, and mobility options. They can move nearly silently, travel through shadows as if by teleportation, are superhumanly strong, nearly unkillable, can walk effortlessly on sheer surfaces and ceilings, and can “remanifest” into a variety of forms, such as the classic bat, a wolf, an enormous monstrous bat form, and even mist! There’s also a religious angle with them but that is too complicated to get into with just a brief overview.

Next up, the wolfman.

The wolfman is like a Hollywood werewolf. They can transform from a mundane human to an anthropomorphic wolf(however you choose to interpret that) or a very large regular wolf. In either wolf form, they can only be permanently killed by decapitation or by silver weaponry.

My favorite thing about them is the fact that they transform involuntarily on the night of the full moon, or when they hit 0 Composure. In this state, they will rampage uncontrollably, attempting to devour just about anything that moves for a period of time. The fact that it can come out at the worst of times is so awesome it makes me super excited to hear about in future sessions.

Then there is the witch.

The witch is actually a regular human and has no supernatural weaknesses except for the fact that their powerful witchcraft takes more of a toll on their body than the supernatural powers of other playable monsters.

The first thing a witch can do is place a variety of terrible curses on people, a few examples of which include turning them to stone, putting them in a supernatural slumber, or turning them into animals.

The other thing witches can do is cycle throughout all the different Mage traits. They can only have one at a time, but if a Mage trait exists in the rulebook, they can have that trait when they need it, which basically represents their ability to cast a wide variety of different spells in addition to those curses.

My actual favorite thing about the witch though is their ability to enchant certain objects to make them fly, which is not limited to just broomsticks, although broomsticks are of course a classic.

Then there is the fairy.

The fairy was a tough one to translate into Eureka because of the sheer number of different things attributed to fairies in historical folklore. We had to come up with a sort of “generic fairy” that gets the gist of fairies across while leaving room for a player to get way more specific if they are so inclined.

The fairy shares the witch’s ability to place curses on people and cast a variety of different spells, but also can take pieces of people’s identity, such as their names, and/or spirit them away to the fairy world, from which they may never return.

This is offset by the fact that they cannot lie, as well as a few other folkloric fairy weaknesses.

Finally, one of the fan favorites, the thing from beyond.

(Fanart by @umbraldame)

The thing from beyond is kinda like if you wanted to play as something inspired by The Blob and The Thing.

Imagine a color-changing “blanket” of flesh and teeth that can fold itself up into the shape of a human, change colors to mimic the right colors including clothing, and mimic human speech. It wants to be your friend, and eat you, which, to it are not mutually exclusive.

The thing from beyond can do anything a thin blanket of flesh could do when unfolded, such as squeeze under doors or camouflage themselves against surfaces, and also fold themselves up to mimic just about anything, including specific humans. They tend to have a default human persona, but can get very specific with their mimicry if they want, which gets easier the more of that specific person they have ingested. A small sample of blood or hair could give a bonus, but eating the entire person makes mimicking them effortless.

Eating a person also allows them to absorb bits of their memories, which means they can get to know bits of what their meal knows, which is represented in mechanics by them getting bonus investigation points for the duration that they are digesting their latest victim. If the victim knew anything about the current case they are investigating, that means even more investigation points.

Here’s a fan comic about that, if you’d like to see it in action.

And here’s a post about the themes of monstrousness in Eureka if you’re interested.

You can play as all of these things and more in Eureka: Investigative Urban Fantasy, which is in its final week of kickstarting right now! Crowdfunding closes at 2:00 PM CST on Friday May 10th, so lock in your copy now while you still can!

If you’re interested in a more updated and improved version of Eureka: Investigative Urban Fantasy than the free demo you got from our website, subscribe to our Patreon where we frequently roll our new updates for the prerelease version!

You can also support us on Ko-fi, or by checking out our merchandise!

Join our TTRPG Book Club At the time of writng this, Eureka: Investigative Urban Fantasy is the current game being played in the book club, and anyone who wants to participate in discussion, but can’t afford to make a contribution, will be given the most updated prerelease version for free! Plus it’s just a great place to discuss and play new TTRPGs you might not be able to otherwise!

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

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okay as a drag performer i need to establish some things first.

i don’t mean who would be best at dressing up w good makeup and pretty clothes. I mean who has the wit the wherewithal and the VISION to bring a concept to life despite limitations.

who would spend 9 hours bedazzling a cod piece while playing video essays for background ambience.

who would hot glue a corset into a gown using scraps of leftover fabric.

who would use their phone to edit a mix together on garageband using youtube2mp3 illegal downloads and remix quotes from camp 90s movies with niche hyperpop songs and lady gaga classics. or mix 1930s monologues from hollywood starlets with experimental post punk.

who would construct a narrative through line to connect their concept to the show theme and make the transitions from song to song align with storyline for their act.

who would teach themselves how to 3D model so they could 3D print cyberpunk cat ears.

etc etc etc

CAVEAT these examples are based of things i and my fellow drag performers have done so they may not align w the type of drag certain homestuck characters would do but i hope you understand what i mean.

feel free to elaborate on your answer and describe what kind of drag you think characters would do.

(repost bc i set the time limit to a day and not a week last time)

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Lots of VC questions recently. Someone emailed about what they should be engaging with to develop their artistic voice. Here's my answer:

In terms of guidance, Werner Herzog, who is admittedly a weirdo, said that the best thing a film student can do is go backpacking cross country, which I would never do. But the point he was ultimately making is that life experience is more important than anything a film school can teach you. Your artistic voice develops more sharply the more intune you are with the world; all the film stuff is superfluous really. So that would be my major advice. Live life! Be open to all sorts of experiences.

Outside of that I would say to read and watch anything and everything you can get your hands on. Especially stuff that has nothing to do with film. Be curious, which is to say non-judgemental. Sitting through stuff that you have no interest in or actively hate is good! It develops your taste in ways that seeking out only what you like can never do. It also expands your horizons and teaches you how much you actually don't know about anything. Keeps you humble. You'll be surprised 5 years on how something that you had no interest in is super relevant to what you're trying to do.

I'll drop some recommendations later but something you are going to run into is paywalls and exorbitant costs. Scihub, Libgen, and PaywallReader can be your friends in this regard. The more niche something is, the less mirrors there are. Investing in an internet audio/video ripper is essential. Rip often and indiscriminately. Nothing is safe unless you triplicate it. And if you can't afford hard drives, dummy alphabet accounts are the next best thing. Also, footnotes and reference lists are treasure troves of breadcrumbs.

The standard VC reading list includes: Reel to Real, The Devil Finds Work, Playing in the Dark, Young British & Black, Ways of Seeing (also a documentary), Orientalism, Film Manifestos and Global Cinema Culture, Questions of Third Cinema, Hollywood & Counter Cinema, Figures Traced in Light, Parallel Tracks, and Basho: The Complete Haiku

Hundreds of films can be found on Solidarity Cinema. Cinema of the World has a deep archive but you need to have space and a nitrofile account to download most films, but you can snipe a few films here and there (or look for them elsewhere). Rarefilmm updates semi-regularly and you can stream the films; they are now more active on twitter and are even taking requests. Some state-sponsored film industries have robust presences on youtube with english subs: Russia's Mosfilm/FUSE Mosfilm, Canada's NFB, the Korean Film Archive, Native People's Media. There's UbuWeb for all your avant-garde needs. There's FIlmmaker's Co-Op (pay-per-view), Paper Tiger Television, and Deep Dish Television for NYC indie stuff. AfroMarxist has a fair amount of political documentaries. NMAHC has an archive that houses the work of Chamba Productions and some of Pearl Bowser's stuff. And of course there's the legendary MikeD of ReelBlack. It's a crap shoot but some filmmakers and/or their estates make work available free online (Leo Hurwitz and Julie Dash come to mind). I'd recommend a Kweli TV subscription for black film, and never be surprised by what you can find on youtube or tubi!

This is probably super overwhelming but the joy of being an autodidact is the thrill of discovery so peruse at your leisurely interest. The internet is your oyster if you know how to use it! Back in my day hardly any of these sites existed and the ones that did weren't as robust as they are now. I've had to frankenstein whole movies from various clips posted in 144p on youtube 😩

I used to do a couple of themed months a year where I'd read and watch as much as possible about a filmmaker, genre, or movement that interested me. I'd spin a globe to learn a little about a random country's cinema. Best of lists/canons don't really mean much but they are good sources of stuff to at least be aware of.

[kaccvcate]

Atanarjuat: The Fast Runner (2001) is based on Inuit oral history, and is the first movie filmed in Inuktitut. A period piece set roughly 1000-2000 years ago, everything about this movie is phenomenal - the costumes, props, sets, acting, music, cinematography - even the sex scenes are hot. You can tell the care and passion that went into every detail of the production, from start to finish.

The best thing about this movie is how un-American it feels (or maybe I should say un-Canadian.) There's no hesitation to break the colonialist, puritanical taboos that Hollywood industry control has normalized throughout mainstream cinema. We get plenty of animal violence, we see women processing carcasses to be eaten, there's full frontal male nudity, even tits. There's no catering to a colonial audience whatsoever. I wish there were a thousand movies like this.