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victoriadallonfan · 6 months ago

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Lets Talk: The Predator Franchise

About two months ago, I put my thoughts into my feelings on the Alien Franchise, and why I felt that they've been faltering so much.

It felt only fitting that I do the same for the Predator franchise, but I ran into a very curious thing... there's only one bad Predator movie.

A shocking statement, I know, but I'm not counting the AVP movie series (that's it's own separate thing). The Predator (film) is easily the only bad film in the entire series, but I'll get to that later.

First things first: lets talk about Predator (1987).

It's an all time classic, a great deconstruction of the 80's action film, with insanely quotable dialogue and memorable characters - not just the Predator itself, but all the human characters are easily recognizable.

Unlike the Alien (1979) and Aliens (1986), Predator is not predominantly a horror film, nor is it emphasizing a tough topic such as sexual assault. It does HAVE horror aspects (the first time they find the skinned corpses is intensely unnerving, especially when they realize that this group of marines apparently lost all self-control and fired in all directions), and it does touch a bit on how the US government is using its own soldiers as cannon fodder to destabilize third-world countries.

But it's not really built to scare the viewer so much as to present a simple idea: what if these action heroes met a bigger, stronger, more advanced version of themselves? And the result is a near total party wipe.

Watching the original film, you realize that the Predator is depicted as incredibly unfair. The majority of its kills are it sniping someone from afar, rushing them when they aren't even looking (while cloaked), and doing a combination of the above. It would have killed Arnold while his back was turned, if the net trap hadn't been set in place.

Hell, it even kills a wounded soldier that Arnold is carrying, after Billy's "last stand" (that lasted mere moments at best, implying the Predator didn't give him the time of day).

(Also, speaking of Billy... he's psychic? Apparently?)

But yeah, the Predator depicted is not the honor clad warrior that some fans may stan (and some writers believe) but more like the equivalent of Counter-Strike hacker. The fact that it takes Arnold untold amounts of traps, ingenuity, and willpower for the Predator to finally face him man to man, no tech, no weapons is meant to be a testament to how impressive Arnold is.

Likewise, the Predator decides to blow himself the fuck up while cackling manically like a supervillain as he tries to finally kill Dutch, also opens him to showing that as alien as it is, it's remarkably human. A spite filled asshole of a human, but humanish nonetheless (amplified by him copying human speech on prior occasions).

It's a really great film about how alien life, if more advanced than our own, might see us as lesser people or outright livestock to hunt (keep a pin in that).

Predator 2 (1990) is often divided amongst fans.

Some hate the fact that it takes place in the "modern day" LA, instead of sticking to the blazing heat of the jungle (as the lore of the first movie implies that the Predator or a Predator visits at the hottest time of the season to create the local bogeyman figure), but this film does a fine job justifying the LA heatwave and honestly... the idea of keeping the Predator to one type of biome is pretty limiting. So I don't mind that.

As one can tell already, I don't think this movie is bad. As good as the first? No, it rehashes a bit too much for that. But it's still a fun and good movie.

And, notably, scarier.

But for context, Predator 2 is set in the far future of... uh, 1997 LA, where there has been open warfare between the LAPD and the Jamaican and Colombian Cartels. Like, not drug busts or stings, but actual warfare with armies of gangs and shit.

The late 80's and early 90's loved to depict LA as a dystopian hellscape where "law and order" was the only defense from total anarchy (as anyone who has ever lived in LA can tell you, racial tensions, especially between the public and police have not been good to say the least).

This entire setup is like a D.A.R.E nightmare or wet dream depending on who's asking.

(Also the Jamaican drug leader, King Willy, might also be psychic? This is the last time it's brought up, but man, I sort of wish we could see future plot lines where people are randomly psychic in these films.)

Anyways, the situation is certainly perfect for this Predator (named City Hunter to differentiate between Jungle Hunter), who takes to the city with a gusto. The difference in how the Predator is portrayed is fascinating, because the bare bones remain the same: he hunts people who are deemed as sport with alien technology.

Fitting with the ultra-violent theme of this film however, this Predator feels like a legitimately horror movie monster. Unlike the Jungle Hunter, City Hunter doesn't prefer to attack from afar, but rather ripping and tearing in close quarters combat, and when he does use ranged weaponry, it's stuff like spears, bladed discs, and nets that shred people into bloody messes.

And he's 110% a bigger asshole that Jungle Hunter: when the City Hunter decides to focus on our lead man, Danny Glover, he doesn't just hunt the man but psychologically torture him. He murders his partner - who is probably the least threatening human in the entire series - just so he can taunt Glover with his necklace at his own grave. He then copies the innocent words of a child just so he can use it as a creepy catchphrase when he decides to hunt Glover's other partners.

The iconic subway massacre perfectly exemplifies both aspects of the City Hunter. He interrupts a massive stand-off between armed civilians, gang members, and the police, just wading in and killing everyone indiscriminately as people frantically scream and claw over each other trying to escape.

(Speaking of, this film does have a LOT of fun having the Predator on modern sets. The above subway scene, City Hunter investigating a meat locker, and him performing emergency surgery in an apartment bathroom are all really cool).

Also, for being so divisive, this film creates a lot of Predator lore: the Predator won't kill (unarmed) children, he won't kill pregnant women, and he WILL kill the elderly if they are packing heat.

And this includes the trophy wall (with xenomorph skull - actually funny because we never see a Predator collect a xenomorph skull in the AVP films) and that the Predator tribe will honor and respect those who defeat their kind with a reward.

It does include that the government is aware of the Predator existence and tries to capture them, but this won't be a major plot line again until The Predator (2018) though it gets some tongue in cheek reference in Predators (2010).

Anyways solid film, lots of cheesey scenes and very tropey stuff that hasn't aged well (or aged in a way that makes it amusing). It's also that last movie that actually tries to be true horror, in my opinion. The rest of the films stick to Action with Gore, but Predator 2 is truly the last film where you feel like this was written to be a horror film.

Also, this film will be the last to really play into the world as being an overly dramatic action movie earth. It's all realism from here.

And then the film franchise will go quiet until 2004 and 2008 for the AVP films (that I won't cover here).

Finally, we get to Predators (2010), and obvious title call back to Aliens (1986) and I have to say, a pretty good trio of ideas: The human targets are actually kidnapped and dropped on a safari planet, there are multiple Predators with their own unique designs and gimmicks, and there is a internal war between the Bad Bloods (aka the Predators who break the "honor code") and the 'normal' Predator clans.

(It should be noted that Bad Bloods have been a thing for years in comics and books, but not really in the mainstream until this film introduced it to movie audiences)

I have to say, despite having a fondness for the film and loving the new ideas, this film is not as enjoyable as Predator or Predator 2. It unfortunately suffers from what I call 2010ism, where there's a lot of CGI blood/gore, a lot of lighting/shadows aren't natural in a horror sense, and the dialogue isn't memorable because it wanted to ditch the action movie dialogue.

The last part isn't necessarily too bad, and it even works with how Adrian Brody is portrayed as a cynical asshole who is purposely meant to be the opposite of Arnold in every way. But the most memorable dialogue is definitely from Walter Goggins (including his highly disturbing "bitch raping time" speech).

Also, it really wastes Topher Grace, Laurence Fishbourne, and Danny Trejo, along with the whole idea of a gang of multinational killers/soldiers/enforcers forced to work together. Not nearly enough time is given to them to bond as a team and have a moment where they show off how cool they are like Predator and Predator 2 did.

Coupled with the safari world being just... a jungle, it feels like a lot of good ideas with "safe" execution.

I don't mean to rag on the film, it's still very fun, and a lot of that is due to the Bad Bloods.

The idea of a particular group of Predators being so evil that they are even warring with their (smaller) counterparts is a great idea, imo, and these Bad Bloods are memorable for their gimmicks.

You had one who used drones as "falcons" to scan and scout out large tracks of terrain, another who employed alien "hounds" to harass humans like a fox hunt, and the leader who had a rapid-fire plasma caster that was overpowered as hell. They also employed other tech like alien bear traps, net traps, and voice decoys.

This movie definitely had the most advanced Predator tech seen on film at the time, making the Jungle Hunter and City Hunter look low tech by comparison, and I think also served to try and force the idea of the Bad Bloods being really "unfair" compared to others.

And of course, we get our first Predator vs Predator fight, which was suitably graphic and badass. Also, I liked that one Predator died by a human pulling a suicide vest attack. Idk, I thought it was pretty ironic considering that's what predators do when they are about to lose, and thought it was neat.

Ultimately, there isn't much else to say about Predators (2010), even though the film ends on a cliffhanger with more people (and aliens) being dropped on the planet. I enjoyed it, it had a lot of cool ideas, cool tech, and cool lore... but if the prior films could be compared to novels, this one felt more like a guidebook.

And now... eight years pass and we get The Predator (2018)

Where do I begin with this movie.

I guess I start with the obvious: it's bad. It's a genuinely awful movie with few redeeming qualities. I'd say it's on the tier of Alien: Resurrection, except this movie is actually offensive because of autism ableism (turns out that autism is actually the next step of human evolution and makes you naturally predisposed to using Predator technology).

And don't get me started on the sex offender controversy.

Sorry, I'm getting ahead of myself. It's just that this movie... jesus christ, I rewatched it for this post, and it feels like a fever dream.

The Predator (2018) ultimately, is a film that looked at everything that came before it and said, "What if we did it all on a grander scale? And make it bad?" The plot is that a Predator is being hunted by an even larger, more powerful Predator, because it plans on harvesting humanity. You see, in this movie, some Predators use the genes of animals they hunt to improve themselves. The Super Predator as he is called, is a massive 10 foot tall monster that has turned his body into a super weapon, with technology built directly into his biology.

The Good Predator arrives on Earth to warn humanity and deliver a "Predator Killer" suit of Iron Man armor that will help humanity defend the Earth from the oncoming invasion force. The Super Predator wants humanity harvested because... autism makes them super geniuses.... and he declares that a 12 year old boy with autism to be the greatest Predator he's ever met... just because he has autism...

Look, I don't know how the fuck I'm supposed to describe the plot of this movie. It's just bad. It's stupid. At one point they turn a Predator hound good by giving it a bullet lobotomy.

It feels like this movie hates everyone. It hates the Predators, literally killing off the Good Predator not even halfway through the film. It hates the cast, because all of them are forgettable except for Olivia Munn and Super Predator, and it kills the mystique of the Predators because it has Super Predator monologue like an actual supervillain.

The dialogue is genuinely awful, the actors have no chemistry, and the comedy (oh yes, this film acts like a comedy on several occasions) is the definition of cringe. I would call it "ChatGPT writes Predator" but honestly, ChatGPT could do it better.

Let it be known that my words do not do how awful this movie is justice. You can only understand how bad it is by watching it, but it's absolutely NOT worth the time.

Is there anything good about this movie? Besides the Holiday Special on home release?

The effects are pretty good. We see a lot of high tech Predator stuff and that's always cool. I think this had the highest budget of any of the films and it shows.

There's an action set-piece where Good Predator escapes from a government facility and uses an M4-Assault Rifle which is badass. One of the best action scenes in the movie and a neat tie-back to the government investigating them.

The Super Predator is a cool concept and I actually enjoyed him for a large part of the film. I liked that he could just pick up a human like a toy and gut him like a fish before tossing him aside. I love the idea of a Predator that isn't a hunter, but rather a soldier sent in to fuck shit up, showing off the different tech. Really gives the impression that their society has different roles and tech for Predators beyond hunting.

I wish they gave him a helmet and didn't let him monologue like a supervillain.

And that's it. That's the good stuff. Nothing else matters. It says a lot that I don't think Super Predator or the autism plot has been accepted into lore in comics or books.

It's even been argued that this film was deemed non-canon because of how abysmal the reception was.

Suffice to say, after this awful film, fans were pretty low spirit. Which made it all the more surprising when Prey (2022) was released 4 years later.

There was a lot of drama about this film: the franchise is dead, why is the film so woke for including woman and minorities, how can any human expect to beat a Predator with a bow?

This drama is stupid and should rightfully be mocked.

Prey (2022) was a breath of fresh air for the franchise and I'd argue the best film in terms of quality.

It quite literally goes back to the roots of the series and does something that really elevated the film: it made the Predator symbolise something!

This film takes place in the 18th century on the Great Plains, following Naru the Commanche healer who dreams of being a hunter. Meanwhile, a young Predator - known as the Feral Predator for his aggression - is dropped on the planet for his first ever hunt.

Obviously, you can see the parallels between the two as Naru learns to use tricks and tools to handle her weaknesses, while Feral uses brute-force and high tech equipment to slaughter the animals and humans of the planet. The Bear hunt scene, where Naru is forced to flee from a bear and helplessly watch Feral kill the creature with it's bare hands (haha), thus condemning her in his eyes as not a threat is perfect character foil.

Also, he's such a piece of shit, cheating the moment he feels like his prey has the better of him. But in a good way that makes sense for his character.

But on the grander scale, the Predator represents colonialism. A secondary antagonist of the film are the French fur trappers, who have been skinning wild buffalo and depriving the commanche of their food source, openly compared to the Predator skinning animals/humans for trophies instead of resources.

It's actually a lesson Naru has to learn from her brother and mother, that to become a true hunter is about doing so to support a community, not just for ego and idolization.

Its no accident that the Fur Trapper leader dies when Naru sabotages his gun and Feral dies when Naru does the same to his gun as well, with both of them trapped and crippled without any means of escaping their demise.

This film finally moves to make the Predators feel like evil villains who are supremely selfish, much like the first 2 films emphasized (and the third film did to a lesser extent).

But talk of how amazing Naru is as a protagonist and how great the Feral predator is as an antagonist, the film is just good. The cinematography is gorgeous, the actors are great, the Predator effects and costume are terrifying, and lore wise, it does a lot to show that the Predator society is not stagnant.

They evolve over the years and it shows.

And my god are the action scenes incredible. The Predator vs Fur Trapper fight is probably one of the most iconic scenes in the entire franchise now, and for good reason.

Or Naru's knife fight massacre

All in all, this film really shows that the Predator films can be more that action films and... whatever the fuck The Predator (2018) was trying to be.

These films can be used to explore the history of humanity and symbolize concepts that deal with oppression, bigotry, and dehumanization.

The title of Prey - the focus on making the protagonists human - versus the Predator title is incredibly fitting.

While a sequel is left up in the air, we do have confirmation that a new standalone film - titled merely Badlands - is set to come out soon.

I can only hope they learned the right lessons from Prey and we can leave the horrid past of The Predator (2018) behind us for good.

#Predator #Predator franchise #avp #aliens vs predator #yaujta #Predator 2 #Predators #predators 2010 #The Predator #The Predator 2018 #Prey #predator prey #Prey 2022 #film #film analysis #movie #movie analysis #predator seris

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brw · 3 months ago

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Asking for a Re-Animator re-make without the misogyny is like. a little ridiculous to be frank. The misogyny is the point. Herbert and Dan's relationship is the way it is because they are both very misogynistic people (albeit in very different ways). Because they are, objectively speaking, two white men in the 80s in a slasher(adjacent) horror film. Of course they're misogynists.

The whole narrative surrounding Meg, the grander reason why she dies, is due to misogyny. Not a single man in that film sees Meg as a whole person. Not a single man cares truly about her, her thoughts and her feelings and her decisions. She is dismissed by Dan, she is dismissed by her father, and obviously Herbert and Hill couldn't give a fuck what she thinks or feels. She dies because never once was she anything other than an object to the men around her, never once was she afforded agency and that isn't a mistake, that is a narrative theme in the movie. She is objectified time and time again. There is more than one scene where she tells Dan no, that she doesn't like something, and he continues it anyway. When she rejects his attempts at sexual intimacy, his response is to act annoyed, or huffy. And you can say these scenes are meant to be playful... but when she is raped later on, the seeds of this idea that her consent does not matter to the men around her, regardless of her relationship with them is sown. She never asked for anything that happens to her in the film, but because what she wants isn't held in high regard by any of the men around her, it happens anyway, and that's the tragedy of Meg's character.

I'm not gonna sit here and say that the gratuitous shots of her being sexually assaulted are good, or necessary... but Re-Animator is a mid-80s gory horror flick. Part of why Re-Animator has endured so much as a film is because of its presence as a cult classic in horror comedy. And misogyny was part and parcel of that era and of those movies. I know Tumblr has latched onto Re-Animator because of the queerness of the two main leads and the strength of it's styling and cinematic sense, but to remove the misogyny from Re-Animator is to deny what Re-Animator captured, and to deny why the narrative goes the way it goes, and frankly to deny it's queerness. You can't separate Re-Animator's queerness from its misogyny. Herbert West comes across as gay because his contempt towards Meg is that extreme. Dan comes across as infatuated with Herbert because he repeatedly chooses Herbert's experiments over her. And ultimately I think it is far more useful to try and have meaningful discussions about the period-typical misogyny in the film, rather than hope for a version that has all those nasty bits removed.

#brieuc.txt #re-animator #meg halsey #Sorry if the op of that post finds this I'm not like. mad I just think too much about misogyny in media.#rape #sexaul assault #ask to tag

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thefingerfuckingfemalefury · 2 months ago

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Thirty One Days of Horror Movies! Day Seven :D

Return of the Living Dead!

When an experimental chemical called Trioxin causes the dead to rise as brain hungry ghouls, a group of hapless punks and two mortuary workers have to try to survive a night of undead horrors in this sort of kind of sequel to Night of the Living Dead :D

Time for some fun 80's horror comedy campyness here, with this wonderfully tongue in cheek zombie movie

While definitely not as scary as the Romero films, this movie is still a lot of fun with its Troma-like energy and cast of fuck ups who end up stuck in a full on zombie apocalypse situation

The cast don't have much depth but they certainly are fun to watch here...people who have seen this will not be at all surprised that perpetually horny and frequently naked punk redhead girl Trash is a fave of mine here

The effects for the zombies are really neat and still hold up well in my opinion and interesting fact, I am pretty sure that the pop culture concept of zombies as being hungry for human brains comes directly from this films take on the living dead here

If your in the mood for some over the top eighties horror comedy goodness this Halloween, this movie is a fun watch :D

#Halloween #Sfw

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intothedysphoria · 4 months ago

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He practically lived in the laundromat.

Steve saw him frequently. Not in like a creepy way. In a sad and lonely way. Because that’s what Steve was. Sad and lonely.

He wore denim and leather and drove an electric blue Camaro and an ornate cross hung from his neck and he was very obviously gay.

The surname was something Steve couldn’t pronounce. Irish. Not anglicised. It had used to be Hargrove apparently. It wasn’t anymore.

The first name was so ordinary though. William. Billy.

Steve sometimes said hello to him, in between watching Rick and Morty on Netflix. Billy would say hello back. Fairly uninterested but polite.

The conversations were usually limited to complaining about professors or the industrial washing machines.

“Alright man?”

“Yeah I’m ok. That new history assignment is a bitch to complete.”

“Damn. See you in next weeks seminar.”

If Steve had half the balls he had in high school, he’d ask him out for a drink. Beer, coffee, hot chocolate. Anything really.

Instead, he gave an awkward thumbs up as that perfectly tanned back walked into the distance.

The next time they met, Billy’s bag split.

There was a significant hole, books struggling to escape as Billy stood, looking crestfallen. And Steve had an idea.

“I could fix it for you. If you want.”

The look on Billy’s face said that Steve could have personally hung each and every star.

The benefits of being a drag queen.

It wasn’t a hard fix at the end of the day but it really was a charming satchel. Pins of the Teenage Mutant Ninja Turtles and Pokémon sat proudly at the top. He really was a fucking nerd.

Billy hugged him when Steve handed the bag back. It felt soft and warm and genuinely affectionate. None of those things were about to be complained about.

He turned up at Steve’s next drag show. A gay bar Billy never frequented. He was usually at the one which was full to the brim of guys who really liked leather. Not Steve’s one with its terrible 80s night and constant inter club bickering.

Billy told him he liked the show afterwards. The one where Steve had done a cheer routine to Teenagers by My Chemical Romance. He’d make sure to visit again with what Steve thought might have been a wink.

Maybe. He wasn’t 100 sure. Maybe he just had a severe squint.

Billy would now come to sit right next to Steve in seminars. Notebook filled with calligraphy and tiny doodles. Steve’s hopelessly dyslexic handwriting felt exceedingly ugly in comparison. Billy just told him it was unique.

That was one way of putting it. Billy was very kind. And probably went after guys like McKinney or Munson or Tommy. Not Steve.

It didn’t stop Steve from giggling like a schoolgirl whenever Billy gave him a compliment. Which hopefully Billy had chosen to ignore.

Robin set him up on a date after Steve came over with an entire pint of strawberry milkshake and cried on her sofa. Given the amount of time Steve had been on testosterone, he could not just blame it on his period. His period had ended for good like last year.

Jonathan was funny. He was a bit of a nerd, loved old horror films and in any other circumstance, Steve would be enamoured. This was not any other circumstance.

Not when Steve was thinking about Billy being on a date with any other guy. Someone who wasn’t him.

Steve ditched the date halfway through then spent the rest of the evening thinking about how he was a horrible person. Surprisingly, that didn’t help his situation.

Billy asked if he was ok. Of course Steve was ok. Why wouldn’t he be. Nothing wrong here.

Carol asked if he wanted a live laugh love mug and a pink sweater. Steve took the hint.

Telling Billy in theory was easy. Telling Billy in practice was fairly difficult.

He told Billy in the laundromat. Painfully unromantic. Just asked him out for drinks. But Billy was grinning like a six year old.

“Sure. It’s a date.”

Was Billy bouncing on his feet?

When Billy immediately started signing off their texts with hearts and kisses, Steve thought it was.

It is pretty much my two year fandom anniversary give or take a few days and this fic is for @shieldofiron @dragonflylady77 @thatgirlwithasquid @oopsiedaisiesbaby @robthegoodfellow @bigdumbbambieyes @thissortofsorcery and @harringroveobsessed for putting up with the incessant messaging and asks and random brainworms I get at like 5AM

#billy hargrove #steve harrington #harringrove #harringrove ficlet #how have I almost been here for two years now

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bitter69uk · 5 months ago

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Recently watched: MaXXXine (2024). Tagline: “She’s gonna be a star no matter what it takes!” MaXXXine, of course, represents the hotly anticipated concluding chapter of the juicy elevated horror trilogy beginning with X (2022) and the prequel Pearl (2022) by director Ti West and leading lady Mia Goth. I’ve been yearning to see this one for what felt like an eternity. Its trailer (soundtracked by the Laura Branigan classic “Self-Control”) was so tantalizing it tormented me! We watched MaXXXine last weekend and it was - OK! I felt like I was willing it to be better. Of the three films, MaXXXine is definitely the slightest and flimsiest entry. Maybe my expectations were unrealistically high and the remarkable Pearl (which I consider a modern masterwork) set an impossibly high bar for this follow-up. Anyway, there is still much to enjoy. Set in 1985 Los Angeles, MaXXXine unfolds against a backdrop of satanic panic paranoia, the rise of Tipper Gore’s censorious Parents Music Resource Centre, Ronald Reagan’s presidency and the Night Stalker’s reign of terror. Goth returns as driven, burning-with-ambition porn starlet Maxine Minx. Now 33, she knows it’s now or never if she’s ever going to transition from skin flicks into legit cinema (well, a low-budget slasher movie entitled Puritan II in this case). “In this industry, women age like bread not wine” she laments. But just as stardom finally seems within Maxine’s grasp, her friends start getting gruesomely picked-off one by one by a serial killer … MaXXXine boasts an authentically scuzzy, grungy discount bin VHS vibe. The soundtrack pumps with 80s tunes (ZZ Top. Frankie Goes to Hollywood. “Obsession” by Animotion. Kim Carnes’ “Bette Davis Eyes.” John Parr’s theme tune to St Elmo’s Fire. And yes, Laura Branigan). Aficionados of 1980s trash cinema will revel in West’s references to the likes of Savage Streets (1984), Brian De Palma’s Body Double (1984), Vice Academy (1989), Angel (1984) and Avenging Angel (1985). Goth is a riveting, singular presence and one of THE great actresses currently working (The Guardian’s Peter Bradshaw aptly called her the Judy Garland of horror). MaXXXine is a pulpy, grisly down-and-dirty summer thriller – just don’t expect another Pearl!

#maxxxine #x #ti west #x movie #maxine minx #mia goth #pearl #lobotomy room #slasher movies #horror movies #vintage sleaze #cult cinema #elevated horror #retro

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red-might-be-dead · 8 months ago

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hello hi here to force strange thoughts into your brain once again, this time about jrwi (wow who could’ve guessed)

been thinking about this for a little but it’s basically what i think some campaigns would be if not podcasts, i haven’t listened to some of the older ones so i’m sorry they’re not on here :(( if you have any ideas feel free to add them btw :DD

RIPTIDE!!!!! - really long animated series

not an anime though, no matter how much grizzly wants it, it would be an animation style where the characters could have very clearly different nose, face and body shapes, really pushing my riptide nose agenda here sorry, each episode would be like 20-40 minutes long and instead of coming out in seasons there would be massive gaps in between episodes, from 2-6 months long, to leave time for writers and animators to get stuff done (massive team of animators btw, i feel like it would be pretty successful)

PRIME DEFENDERS!! - comics

literally nothing else they could be, just really well made, well performing comics (i’ve already talked about this before you can stalk my talk tag if you really want to find it lmao), the comic company making them would be keeping well away from movies n shit btw

APOTHEOSIS!!! - i wasn’t really sure about this one to be honest

i had to ask my friend and she said anime which i don’t agree with but i can see it, i think maybe a short book series where each book is 150 - 300 pages and is about a different god they have to kill/a different episode, i think that works but if anyone has any better ideas please tell me :D!!

BLOOD IN THE BAYOU!!! - i hate to say it, i really do…

bitb would be a really long really good 80s horror book with strong homoerotic undertones, a satisfied fanbase and lots of active members in the community making fan comics, films, writing, theories and art ect… until well after the book came out……….. and then it would be made into the most egregious and awful live action movie you have ever seen, the most awful casting (like chris pratt as officer dudes….. throws up) and even worse sfx, oh yeah and the characters would be ruined and the story would become so butchered it wouldn’t make sense, they would do some shit like cut out becky so kian just kisses some random lady (removing both a really good and well written character and a layer of kian’s character that i think is super important) and make rolan really be an evil bug spy the whole time so rand has to kill him to save the town also add in a whole new sub plot that never existed like the rand family is secretly a long line of bug alien hunters or something fucking stupid like that and the entire fanbase would murder whoever thought re-writing the story was a good idea (ahaha can you tell ive been through something like this before ahahaha, character morals and motives being removed and whatnot ahahahhahahaha.)

anyways………

THE SUCKENING!!! - live action series

it would be well made though, unlike the bitb movie it would be its own original thing, have great makeup and effects also be well casted and well shot, well written, ect ect, it would bloody and gory and not suitable for people who can’t handle showing bones and organs all over everywhere, lots of shitty rip off merch would be made though and the fandom would be 99% gay little freaks (normal suckening enjoyers) and 1% homophobic straight white men who get mad whenever they see soda and emizel having gay sex on screen or whatever fag shit that biting thing was

again feel free to add your thoughts and ideas and shit in the reblogs it would be nice to read them :DD!!

#red rambles relentlessly #jrwi show #jrwi pd #the suckening #jrwi riptide #jrwi apotheosis #jrwi bitb #jrwi spoilers #jrwi the suckening #jrwi prime defenders #bitb spoilers #suckening spoilers #i think i wrote some shit that could be considered spoilers in those two sections #definitely the bitb one #which i definitely didn’t base around a certain netflix adaptation of one of my old favourite books cough cough #I HATE THAT FILM SO MUCH WHY DID YOU DO THAT TO SOPHIES CHARACTER SHE IS SUPPOSED TO BE A BITCH STOP TRYING TO MAKE HER NICE #anyways like maybe one person who sees this post will know what that’s referencing #and i will admit the books weren’t perfect but at least the characterisation made sense #red hall of fame

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rippleberries · 1 month ago

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(Jeffrey teased this at Star Trek San Francisco)

Jeffrey Combs, Barbara Crampton, Anna Lore, Nikki Hahn, and Anna Camp behind the scenes of HYSTERIA! (Photo courtesy Barbara Crampton)

[x]

HYSTERIA! Reunites RE-ANIMATOR Duo Barbara Crampton and Jeffrey Combs

Surprise! The legendary genre pair turn up to add some ’80s cred to Peacock’s new Satanic Panic series.

PHIL NOBILE JR.

OCTOBER 18, 2024 6:00 AM

By now you’re aware of Peacock’s Hysteria!, and that it features Bruce Campbell, who’s been promoted heavily in the marketing of the new show (which dropped today). But turns out he’s not the only genre icon appearing on the series.

Early viewers of Hysteria! have been excited to spot among its ensemble cast none other than Barbara Crampton and Jeffrey Combs, playing a bit against type as suburban parents. Speaking to FANGORIA, Crampton says that “showrunner/creator Matthew Scott Kane is a big Re-Animator fan, and it was his idea to reunite Jeff and myself for the first time since 1995!”

The duo have of course appeared in various unassailable horror classics over the years, beginning with Stuart Gordon’s aforementioned Re-Animator and its follow-up, From Beyond. Placing the pair in an ’80s-set, moral panic horror comedy made all the sense in the world to Kane.

“I'm a very devoted genre fan. All of Barbara and Jeff’s work with Stuart Gordon is so near and dear to my heart that, when these two roles came up, they were the first people that came to mind,” Kane says. “It was kind of a pipe dream. It was like, ‘Wouldn't it be nice if?’ I never thought they would pick up the phone.” To his surprise, the pair agreed, and their devotion to their relatively brief appearance surprised the showrunner.

“We all got dinner with each other, and Barbara and Jeffrey were asking me, ‘What's my motivation here?’ and ‘Here's what I'm thinking for this guy.’ Keep in mind, they’re in one scene — a pivotal scene, one which sets up the entire series — but they're really drilling it into me in ways that no other member of our cast did,” Kane shares. “The night before we were shooting the scene, I got a text from Barbara that could have easily filled a column in your magazine,” he laughs. “It was enormous, and it was brilliant. She was bringing so much — not just to the character, but she was so intelligent in terms of checking out the entire script, understanding what the themes of the show are, and understanding how she could fit into that.”

The series focuses on a struggling teen band called Dethkrunch who, in the wake of their high school quarterback’s disappearance, rebrand themselves as “Satanic” to ride the wave of moral panic sweeping their town. It works until it doesn’t, and they soon find themselves the target of a literal witch hunt. The project, which also boasts Julie Bowen, Anna Camp, Garret Dillahunt, Emjay Anthony and Milly Shapiro among its cast, was instantly alluring to Crampton. “I read the first three scripts of Hysteria! when I was cast and they were all fantastic,” Crampton says. “Fun, spooky, dark and thrilling.” For Crampton, the gig offered other pleasures. “We were giddy with excitement for our parts… and costumes!” (Anyone who’s seen the sartorial choices in Jakob’s Wife or The Last Stop in Yuma County knows Crampton loves a bold wardrobe choice.)

Her co-star Combs was also easily sold, calling the project “a lovely experience… short but sweet.” Like Crampton, Combs was drawn to the quality of the material. “Matthew is a very gifted writer,” he says. “I was thrilled to be part of this, and it would be a delight to work with him again.”

Though the pair both appeared in last year’s Onyx the Fortuitous and the Talisman of Souls, Crampton and Combs shared no scenes together in that film, making this their first onscreen appearance together since 1995’s Castle Freak (where they also played a married couple). “It was an absolute joy to work on screen with Jeffrey again,” Crampton exclaims. “We play the parents to an important character on this show (you’ll have to watch to see which one!) and this lady is amazing. I just adore her!”

Casting the iconic performers, even for just one episode, meant a lot to Kane. “We wanted Barbara and Jeff there for a reason. We wanted them there because we're all huge fans, but also because we know they're great actors and that they can come in and deliver something awesome so that, if we get a second season, they can come into the fold and be more regular characters. If there's a reason to get us a season two, it's to get Jeff Combs and Barbara Crampton back on the screen together for more than just five minutes.”

As to what happens over the course of the series, Crampton is as excited to find out as we are. “I’ve viewed the first episode and it’s a blast,” she shares. “I’ll be watching and posting about all the episodes and enjoying the show along with you all!”

All episodes of Hysteria! are now streaming on Peacock.

#Jeffrey combs #Barbara Crampton #hysteria #hysteria!#Matt Scott Kane

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skylarsblue · 2 months ago

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»zenless zone zero«

Details of Belle's room, because I like her a lot and she deserves more attention.

[Desc: Belle's wooden desk. Featuring an industrial style lamp, a metal lock box under a standard black file box. There's a pair of white headphones with green detailing, and a clear plus(+) and minus(-) symbol for volume. A pencil holder that looks a bit like film, though it has numbers & letters. It holds a pair of scissors, a graphite pencil, an exacto blade/box cutter, a marker, and a mechanical pencils/pen. There's a scrap/sketch book in the center, brown and seemingly leather. There's a latch and band to keep it closed and it's covered in stamps, most notably one with a four leaf clover. On the wall are two post it notes, both with little doodles. This hints that she's creative. Either collecting stamps and stickers, which would align with the stickers all over her room and her pension for memory keeping (see the memory board the player can edit), and that she at least does small doodles, if not draw as a hobby.]

[Desc: Beside her orange box tv; which is inspired by vintage 70s/80s tube televisions with knobs/dials; is a game console on top of a VHS player. It's seemingly inspired by the Super Nintendo Entertainment System, based on it's shape. There are three game cartridges, one in the machine. The one in the console is half visible, but what we can see has a blue smiley face. The second cartridge with a visible sticker seems to be either a horror or "biohazard" type shooter game. Though that's my interpretation.]

[Desc: Beside her desk is a wall with pipes. On the lower pipe there are more post it notes with more small doodles, stuck to the pipe with small magnets. One features a small yellow star and three big question marks. Two features a figure running with their hands over their head, carrying a heart. Three has some illegible writing and an emoticon face. On the pipe above this one are VHS tape boxes. Most are in kanji I cannot read, but the ones I can are- (1) The Silence of the Butterflies (2) I'M NOT A BANGBOO (3) The Sixteenth Split. I like to imagine the first movie is maybe a reference to Silence of the Lambs, based on the title alone. Which, if it is, might mean Belle likes horror/psychological horror movies.]

[Desc: On the table beside her mini fridge is a hybrid music player. It plays records via a slit in the front, almost like a CD player. And there's a space for walkman tapes above that. The volume knob is notably loud, there are tiny numbers and Belle's set it to the second-to-last setting. There's a box of records beside it with two semi visible packages. The first one is in kanji I, again, cannot read. But my guess, based on the art, is some kind of alt style music. The one behind it has a barely visible animal mascot with vibrant blues & greens, and the sharp art style makes me think of electric rock or pop. Behind this is her night stand. On the nightstand is a blue "GameBoy" and a yellow mug that says 'LENMAN', which is also seen on a soda can in her room. Lemon soda, I would guess.]

[Desc: The wall beside Belle's (unmade) bed. There are five posters. One features art of a woman's face above the movie title; 'REVERSAL'. There is some silhouette art that vaguely looks like some ethereal monsters, followed by the movie tag line underneathe - "Night of the Ethereal Reversal". Might be a Night of the Living Dead reference. Which further makes me believe Belle likes horror movies. The second poster is covered by One & Three, which makes it pretty hard to know what it shows. What I can see is an unfinished title - "---- Slayer". There's eyes on some of the visible artwork and it looks vaguely like a record with scenes on it. The third poster features various Bangboos climbing away from a large, glowing, orange, Bangboo that seems to be "exploding" with energy, exposing its skeleton & heart. There's kanji I can't read, but under the kanji title is the word "THUNDER". And the words "BANGBOO POWER" are behind the artwork at the top. The fourth poster is one also seen downstairs in the Random Play store. The title is 'Coffee Mate'. Based on the style & energy of the artwork, my personal guess is that it's a romantic, slow paced anime film. The fifth & last poster is titles Ports Peak. The art is blue with a red chainsaw blade shape cutting through the middle, in the blade shape is the vague image of a man's side profile. Based on the blood splatter pattern & the chainsaw, this is likely a horror movie. The art makes me think of Evil Dead & Texas Chainsaw Massacre, personally.]

{Desc: Beside Belle's leather couch is a red electric guitar & an orange amp. On the couch is also one of her console controllers...which has no joy sticks, only a d pad, buttons, and bumpers. Also, she has stickers on her leather couch, clearly showing she gives no fucks.]

[Desc: On the floor, in a divot in the wall beside the small stairs that go up to her bed's raised platform is a skateboard & a framed poster. The skateboard features a green dinosaur/monster with it's mouth open. The bottom says FATE, likely the brand. The framed poster features two smiling tigers on the top & bottom of a logo, on a red & black striped background. Since she also has snowboard goggles in her room, I'm guessing she uses the skateboard when the weather is too warm for snow.]

[Desc: Next to Eous's charging station is a yellow dresser. On top of it is a boombox radio that has two mixtape spots. There's a small display with random colors that currently displays a pause symbol. It also has an antenna, which means it could be used as a standard FM/AM radio. Beside the boombox is a rabbit statue that Belle is using to hold a pair of black, green & blue snowboarding goggles. Small note, on Eous' coat is the words "Random Play - Staff", and his scarf has their name in small text.]

[Desc: At the end of Belle's bed is a pair of red shelves, and a pair of industrial metal & wood shelves. On the red shelves are three record sleeves. The small text on the albums is gibberish, but they're all made by 5AM Studios. The first and top one is black with white graffiti-bubble letters that say "3Z". R'n'B maybe? I've seen art like this for some R'N'B albums. Below it, the second album features some art of a Bangboo riding a cat through a ring of fire. Above the art is the word ZENLESS. The font & style give me, personally, some rock vibes. What subgenre of rock, I'm not sure. The last album is a art of a spider on a black & red ombre background, contrasting the spider, which features the same gradient in the opposite direction. The spider seems to feature the name of the band or album, but I can't tell what it says. I do know that this shit has to be a metal album. I'm like, 90% sure. On the industrial style shelves are some VHS tapes & a box. These tapes look like the type you buy for your own recordings, rather than ones with movies. Underneath that level is a technicolor piece of artwork in a frame. There's an illegible signature in the right bottom corner, meaning it's an autograph.]

#zenless zone zero #zzzero #hoyoverse #hoyo games #belle #zenless zone zero belle #zzzero belle #zzz belle #zzz #zzz fanart #I really like Belle she's super cute #analysis #skylarspeaks

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lubdubu · 2 months ago

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Tenten from Naruto as Tenten from Hello Dracula/幽幻道士 !!

The left pic is taken from naruto sd episode 43!! I always thought her outfit looked familiar but i could never pinpoint it until now LDMFSKAN

It seems like a reference to 幽幻道士, which is a Taiwanese horror/comedy film from the 80s!! It's pretty obscure in the west (i dont even think it has English subs) but it's something i watched growing up!! The movie is also pretty popular in japan, so i don't think its crazy to assume this was a direct reference. Both of the characters have the same name too, テンテン (Tenten) in japanese and 天天/恬恬 (Tiantian) in chinese!!

Here are a few more pics of 恬恬 !!

Like wow thats the exact same outfit lol

#naruto #naruto sd #rock lee's springtime of youth #tenten #team gai #theyre also both known for being super cute sooo

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trash-heron · 9 months ago

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Red Dragons; Or, the problems of adaptation and the early serial killer procedural

Red Dragon (1981) has the distinction of being the most frequently adapted Thomas Harris novel in the Hannibal Lecter "quartet." Despite the universal recognition of Jonathan Demme's Silence of the Lambs (1991), with iconic performances from Jodie Foster and Anthony Hopkins, and the more recent cult status of the series Hannibal (2013), which draws from all four books, it's Red Dragon, in some ways the most "obscure" Thomas Harris novel, that has lived three, arguably four, different lives onscreen over three decades.

Manhunter, visually, is an 80s noir feast set to atmospheric synths, but works within the newly established slasher genre as it attempts to make its own mark. The 1980s were truly the decade of the slasher flick, or the first wave thereof, and Red Dragon had to contend with expectations set up by the likes of Freddy Krueger and Michael Myers. Although this isn't a write-up about the history of slasher films, the basic premise I am going with is that the early slasher serial killer was portrayed as monstrous and, compared to our favorite killers today, one-dimensional antagonists. When I think about the origins of the slasher genre, I always think about the way the ineffectual psychologist in Halloween (1978) describes his former patient's "devil's eyes," behind which lived something "purely, simply evil." Dr. Loomis is dogged in his determination to impress upon the local authorities that Michael Myers is a force of nature who is unreachable by psychology, the study of the human mind. Furthermore, the slasher flick was unconcerned with the elements of the procedural: like in other horror subgenres, law enforcement are disposable foils that demonstrate the danger of the "monster" and the vulnerability of his targets and/or come in at the end to mark the conclusion of the spectacle (until the sequel, that is).In many ways this just seems like a quirk of history. I've been operating under the assumption that when Red Dragon came out in 1981, Thomas Harris introduced a type of story to a media landscape that had scant precedent for the serial killer mystery or procedural, distinct from the related nascent slasher horror subgenre, unlike today when a plethora of "murder shows" benefit from the success of this formula. Hannibal "the Cannibal" Lecter, the ur-murderer of the Thomas Harris fictional universe, became a cultural archetype that looms over modern crime television and film as he does over the investigations of beleaguered law enforcement officials in both Red Dragon (1981) and Silence of the Lambs (1988). When Michael Mann brought this first "Hannibal" novel to the screen in 1986, he too was breaking ground, to mixed reactions. Manhunter (1986), which lamentably lost its "Red Dragon" title due to studio publicity decisions, is both ahead of and a product of its time.

Manhunter, and Red Dragon generally, is not a slasher flick. In fact, beyond the deliberately provocative reporter Freddy Lounds and a few men with barely any screen time who are killed off in brief fight scenes, the Great Red Dragon doesn't kill anyone at all. At the very least, no one is murdered in his signature serial killer style. The ritualistic murders occur before the film (and novel) begins, and the narrative revolves around understanding the mind of the serial killer and preventing him from killing again. At the same time, the conventions of the slasher film seem to limit the directions the film can go. Both Francis Dolarhyde and Hannibal Lecter (or "Lecktor") in the film have fairly opaque inner lives and limited screen time, while Thomas Harris notably does delve into the mindset and motivations of the "psychopath," positioning the killer as a subject of psychology, rather than an exception to it.

Furthermore, Manhunter's revised ending reframes one of two major female characters as a recognizable "final girl," and relegates the other to only existing in Will Graham's "happy ending," out of reach for the killer. This is the opposite outcome of the actual ending in the novel, and always seemed a bit tacked on to me, and not for artistic reasons. Will Graham can't actually end up broken and haunted because there has to be a clear demarcation between the serial killer "monster" and the "real" people who survive him. Blurring that distinction is, arguably, the "point" of Red Dragon. Michael Mann, perhaps, couldn't adapt the novel's conclusion "faithfully" because the conventions of this kind of psychological thriller weren't established, and did the best he could, introducing new building blocks for the "serial killer" archetype but not successfully pitching them to the wider public. Manhunter was not a financial or critical success upon its release, and refining the Thomas Harris "blueprint" was left to Jonathan Demme's Silence of the Lambs (1991), which made the strategic and hugely significant choice of allowing Hannibal Lecter to become a breakout character.

The next adaptation of the novel Red Dragon has seemed to me, frankly, like a bit of a cash grab. The 2002 Brett Ratner film, starring Edward Norton and Anthony Hopkins, capitalized off of the success of Silence of the Lambs and the release of a new Thomas Harris Hannibal Lecter novel. This film was for those who missed Manhunter in the 1980s, which many did, and those who considered a prominent Hannibal Lecter played by Anthony Hopkins essential to an adaptation, which many also did. The most recent adaptation of Red Dragon is the cult hit drama Hannibal (2013), which focuses on the main characters of the novel, Hannibal Lecter and FBI profiler special agent Will Graham, and can arguably be seen as two different adaptations of the novel. Both of these more recent adaptations are more coherent and recognizable as exemplars and/or subversions of the serial killer procedural, playing off of the tropes introduced to the genre by the source material itself, like a particularly grizzly and morbid ouroboros.

So, we have many points of data to consider if we wanted to determine what makes a good adaptation of the novel Red Dragon.

Ironically, for a story that laid important groundwork for a whole subgenre of film and TV, Red Dragon is hard to adapt and definitely hard to update. (So is Silence of the Lambs for that matter, but that is a whole other kettle of fish.) To my mind, the main two difficulties stem from both a strength and a "weakness" of the original novel.

A strength: Harris takes advantage of contemporary technology to create a clever mystery at the center of the novel. The problem: this particular bit of technology was only truly at home in its first 1986 adaptation, Manhunter. Both Red Dragon (2002) and Hannibal (2013) had to make compromises to adapt the central plot device. Red Dragon (2002) avoids the issue by simply setting the film in the 1980s, relying on the audience's knowledge of VHS technology of that time, which, since it was 2002, was more or less assured for an R-rated movie. Hannibal (2013) sidesteps the issue more or less entirely by making the "mystery-solving" pieces functionally irrelevant. (At one point, Hannibal Lecter makes a dismissive reference to the killer using "social media" the way the original story used VHS and the matter never comes up again.) To date, this central plot twist has never been successfully adapted for contemporary audiences in the 2010s - or 2020s for that matter. The 2010s show itself, in its choices, implicitly makes the argument that the technical "mystery" elements of novel weren't really all that important to its overall message. Depending on your point of view, this argument is successful. However, this argument also depends on the irony that the creators of the show can dispense with the set pieces of the serial killer procedural and take artistic license because the source material introduced those expectations into the genre to begin with. Tradeoffs all around.

Another challenge to adaptation is sometimes considered a "weakness" of the book: after the real "plot" of the novel vis a vis Will Graham's hunt for the "Tooth Fairy" begins, Harris makes the bold choice of adding the point of view of the serial killer du jour himself, diving into the eponymous Red Dragon's motivations and experience, which almost takes place in a parallel universe apart from that of Will Graham, Lecter, and the BSU/BAU until both narrative threads collide in the climax. The problem: this choice "derails" the suspense of the whodunit and adds character development for a relative stranger to the reader. Every adaptation of Red Dragon changes the structure of the plot so that the parallel storyline of Francis Dolarhyde, the Red Dragon, is pared down and interspersed with the main narrative (usually) earlier on. Every adaptation has decided that Thomas Harris's precise plot structure isn't actually essential. This judgment call is also ironic: Thomas Harris apparently "flubs" the standard conventions of the serial killer procedural that did not yet exist because he was in the middle of inventing them.

But, we may ask, isn't this the nature of adaptation? The answer: of course it is. Adjusting plot mechanics based on the period of the adaptation and restructuring the pacing for film/television are some of the most basic changes one can make when adapting a book for the screen. However, that does open up interesting questions of theme and intent. What is essential to the Red Dragon story? What is it, in the end, all about?

Leaving aside all caveats about the subjective nature of interpretation or the possibility of a work being "definitively" about anything, I believe there are two broad interpretations of the novel and all existing adaptations favor one or the other.

Red Dragon is a novel about how much monster there is in a, well, man and vice versa: the fate of the soul is at stake. This is a clear theme of Will Graham and Hannibal Lecter relationships in every iteration: to catch a particularly "monstrous" killer requires understanding said killer, but if you understand them too well, what does that say about you? And, more importantly, where does that leave you? (In the original Will Graham's case, nowhere good, with a broken marriage and an existential crisis, or, when we catch up with him in the sequel, in the Florida Keys, now a miserable drunk. For the modern Will Graham of the 2010s series, TBD.) Empathy itself instills horror, which is a fairly complex idea to explore in the late 1970s when Thomas Harris was writing the novel. (In fact, I will always find it remarkable that Thomas Harris had the foresight to research the methods of criminal profilers at the FBI at the beginning of the discipline and the BSU itself, getting in on "the ground floor" for better or worse for horror fiction and actual forensic psychology.) It's also very cross-media, as identification with violence on screen (and the "male gaze" itself) were emerging as key features and problems of film available to critique. The focus on "video" and boundaries between self and other in the novel seem very prescient.

Alternatively: Red Dragon is a novel about the limits of personal transformation. Thomas Harris seems preoccupied with the idea of ritual murder as an alchemical process motivated by the desire to become something "transcendent." (While one can see the mystical whimsy in a man thinking he's becoming a dragon, a figment of William Blake's imagination, "Buffalo Bill's" or Jame Gumb's desire to transform "into a woman" in a somehow "not-trans" way in Silence of the Lambs falls egregiously short and reflects more on a failure of imagination on the part of Thomas Harris and his readership than anything else.) I find the metaphysical aims of these serial killers interesting for two reasons. First, sexual sadism is de-emphasized as a motive, which is not typical of the serial killer archetype of the time: the most prominent serial killers in fiction (such as in early slasher films) kill because of some perverse urge, as an extension of the "evil" men they are or were made to be. Their murders aren't about anything. Both Francis Dolarhyde and Jame Gumb , in contrast, think they are setting out to accomplish something and that the brutality of their actions is beside the point. This is what constitutes their insanity, as this is clearly not true.

The actual nature of their murders and the ugly psychoanalytical implications of their compulsions are the ultimate limitation on their aspirations to "becoming." No matter what they think is going on their heads, they direct their violence toward women, and it is women who ultimately put an end to their reigns of terror. (Molly Graham and Reba McClane in Red Dragon and Clarice Starling, among others, in Silence of the Lambs.) The female characters serve as a "reality check" for the dreamy, bloody men of the books, which is earnestly ham-fisted on the part of Thomas Harris but also significant for the genre. Arguably none of the women in the first two Hannibal novels play the role of "final girl," that is, an "innocent" woman who acts as audience surrogate and restores socially acceptable norms at the end of the film. (The focus on such a "good girl's" experience means you can take a comfortable distance from the murderer and put yourself in the position of "victim." You are also anticipating that she will be spared in some way, which restores a sort of moral balance to the universe: the other victims in some way "had it coming.") In Red Dragon, the active female characters are not sorted into the "virgin/whore" dichotomy: in fact, even the actual sex worker character (Freddy's girlfriend) remains unscathed, and her feelings are more relevant to the other characters than her occupation, humanizing Freddy postmortem. The victims and potential victims, almost all of them mothers, clearly did nothing "wrong" and their sexual objectification is placed squarely on the shoulders of the men watching them. The women left standing at the end of the novels don't just "escape" the killers: they're the ones who put the killers down despite the male characters' inadequacies, and they, unlike a Jason or a Michael Myers, stay down.

Of course, I think both broad themes are very present and active in Red Dragon, and, probably unsurprisingly, Hannibal Lecter is something of a cipher for both threads. If our main concern is coming to terms with our empathy and capacity for violence (or "men's," I suppose), Hannibal Lecter nimbly eludes being a subject of empathy, instead setting himself up as the observer and interpreter of other killers. His insight into other people is certifiably superior: he's literally a renowned psychiatrist. The possibility of a Hannibal Lecter raises the stakes enormously for our own navel-gazing, as we are not just wondering, along with Will Graham, whether the wicked deeds of others might appeal to us, but are actually facing up to the reality that the killer has been beside us as a peer all along, not the subject of scrutiny. If our main concern is the limitations of personal transformation, Hannibal Lecter is a very sharp foil for our doomed killers because while he can easily identify the signs of a transmutation complex, it isn't especially relevant to him personally. Hannibal Lecter doesn't kill and eat people because he's turning into anything. As he famously tells Clarice Starling as she attempts to interview him, "Nothing happened to me. I happened." He already is what he is, rooted in sensual reality - like the women in the books - and he is merely indulging his appetites and aesthetics. This, I think, is why he prevails and why he can make himself at home on the side of our woebegone detective protagonists when he feels like it. Hannibal Lecter is never doomed: he can always happen to you.

Manhunter favors the first tendency, and is not particularly interested in Francis Dolarhyde's "Becoming" as the Great Red Dragon. This allows for a very intense and nuanced meditation on identification and the role of empathy that artistic representations of violence invoke. The focus on "seeing" gains a whole other dimension in the context of film, as there are many interesting things going on with perspective and scene composition. 2002's Red Dragon favors the second tendency, if I had to make the judgment call. Although the film is probably the most "faithful" adaptation of the events of the novel, I do think you can come away from the film not remembering that Will Graham has any particular problem/gift of heightened empathy or that losing himself by identifying with Hannibal Lecter or Francis Dolarhyde was ever a serious possibility. (Even at the climax, when Graham to a "violent" place he ends up taking on the persona of Dolarhyde's abuser, not Dolarhyde himself, which is entirely an invention of the film.) What the film does emphasize is the quixotic journey of Francis Dolarhyde, giving quite a lot of room to his backstory as well as his inner conflict between his deadly, "spiritual" inclinations and his romance with Reba. Also, and most importantly, this is the one adaptation of Red Dragon that actually allows Molly Graham to kill Francis Dolarhyde when he tries to make the Graham family another ritual sacrifice. There's an intentional symmetry in the novel between the murders and Dolarhyde's ultimate demise at the hand of the desirable "mother," which really underlines the juxtaposition between the story Dolarhyde is telling himself and what he's actually been doing.

Perhaps this is me tying a bow on it all by claiming that Bryan Fuller's Hannibal (2013) manages to incorporate both major themes, but I do think it's very interesting to at least think of the series as two different adaptations of Red Dragon. The first adaptation is obvious: the second half of season 3 "does" Red Dragon, and honestly gives fantastic depth to Francis Dolarhyde's inner world and his quest for transformation through death. However, I also think you can view the entire series as a whole as an adaptation of Red Dragon. I say this because the main bulk of the existing seasons of Hannibal cover the period of Will Graham and Hannibal Lecter's relationship prior to Lecter's capture, which is only depicted (in exposition) in the novel. Aside from the incorporation of various plot points and characters from the novels Hannibal (1999) and Hannibal Rising (2006) in season 2 and season 3, one could place the (first) three seasons of Hannibal entirely in the world of Red Dragon. I think this is especially suggested in the first episode, which opens with Will Graham doing a visionary walk-through of a family annihilation that pretty much exactly hearkens back to his first major scene in the novels and the films: later in the episode, Graham's inner monologue about imagination and taste - the first substantive insight we get into the character - is rewritten as dialogue between Graham, Jack Crawford, and Hannibal Lecter. So, even while the plot of the series begins at a different point in time, stylistically, we're back at the beginning of Red Dragon anyway. This interpretation allows for a lot more flexibility if we're looking for major themes coming from the source material. Identification and empathic intimacy are the animating features of the central Will-Hannibal dyad: at the same time, the psychic landscapes Will Graham (and to a lesser extent characters like Alana Bloom or Bedelia du Maurier) explore alongside Hannibal Lecter are tied up in questions of transformation and limitation.

In the series, Lecter not only pinpoints the urges to "become" in other killers but also becomes deeply invested in Will Graham's capacity for metamorphosis as an expression of identification and intimacy. If, as I've suggested previously, Hannibal Lecter exists as a grounded corrective to the soulful longings of murderers who wish to change through the deaths of others, this seems like a contradiction on its face. However, if we take this interpretation of Hannibal Lecter in the novels into our viewing of the series, the tension between Hannibal and Will sharpens into a very intimate exchange of knowing and refusing to know one another. Hannibal Lecter seems to have no interest in Will Graham becoming something or someone else via the alembic of murder. When he tempts Will, he is not (ultimately) encouraging the profiler to look away from the world to some impossible dream that would mark him for death like the other murderers they hunt together. Hannibal Lecter is very interested in Will Graham becoming a killer, that is, embracing all of who he already is with clarity and insight, which is a transformation rooted in psychology and is also entirely possible. Will then resists self-knowledge, or bringing his self-knowledge into the material world. Hannibal resists his own identification with another human being, and realizes (a bit too late) that there may be a way to bring Will down to Earth (and closer to him) without destroying him, as he inevitably does - gleefully - to his other proteges and projects.

No adaptations of Red Dragon have embraced the novel's ending. In the end of the original novel, Will Graham is left in the hospital, resigned to the fact that he's lost his wife and stepson, and drifts into a drug-induced dream state, where he doesn't dream of "Molly leaving" or Dolarhyde, but rather visits a memory from the time shortly after he'd killed Garret Jacob Hobbs. He remembers visiting Shiloh, the site of a particularly bloody battle in the American Civil War, and has an epiphany. At the time, he'd considered the battlefield "haunted," but now realizes that it is, in fact, "indifferent." In the natural world, there is no mercy, "we make mercy": "There is no murder. We make murder, and it matters only to us." Graham accepts that he has the capacity to "make murder; perhaps mercy too." Murder, however, is what he understands. He wonders if "vicious urges" in humanity and the "dark instinctive knowledge" of those urges could act as a vaccine against the "virus" of violence, allowing for the possibility of civilization that has "overgrown the basic reptile brain." He doesn't settle on an answer, but does believe he was wrong about Shiloh. "Shiloh isn't haunted - men are haunted. Shiloh doesn't care."

Granted, this would be hard portray on screen. A filmmaker would have to resort to voice over, perhaps, or merely suggest where Thomas Harris declares. Another option would have Will's epiphany take the form a letter to Hannibal Lecter, an answer to a message Graham never receives. In this letter, which Jack Crawford destroyed, Lecter says we live in a "primitive time," "neither savage nor wise. Half measures are the curse of it. Any rational society would either kill me or give me my books." He wishes Graham a "speedy convalescence," and hopes "he will not be too ugly" after recovering from the wounds the Great Red Dragon gave him. "I think of you often," he writes, and then writes his name. Lecter believes "half measures" are the true poison: Graham, if he knew his dream was a reply to his counterpart, would perhaps take the position that "half measures" are the antidote, a strategic ambivalence that, perhaps, makes mercy as possible as murder. Such a reply, however, would lack conviction. It would, however, betray that in the end this is a conversation vulnerable to distance and time and that there is no appeal to a higher power or state of enlightenment, just to one another. Perhaps the last scene of "The Wrath of the Lamb," the final episode of season 3 of Hannibal, is the closest we'll come to seeing a cinematic portrayal of this conclusion. The profiler taking the serial killer into his arms, where they hold each other like lovers, and then throwing both of them off a cliff and into the sea. Not a half measure at all.

In the meantime, all of these versions of Red Dragon are worth a look.

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