#john logan they/them interview

[dailyrothko]

Hi! I was wondering if you had any opinions on the play Red by John Logan? Really admire the Rothko work you do!

First of all, thank you.

Secondly, I think I maybe in a weird position to critique this. I have read almost everything written about Rothko that I know exists. All the books, all the articles I could find and all the interviews I can put my hands on where people who knew him talk. I actually have you guys to thank for this because until this blog got popular, I didn't know much about his life other than the basics. But, feeling some responsibility to my "Audience" and chosen subject, I tired to educate myself in this niche.

Because of this, one naturally forms a picture of the person in your head based on these collected impressions. I think most people don't really know much about him, at least until recently.

I am thankful that the play was an entrée into the art for a lot of people. Like the Rothko episode of Mad Men, many people are brought to awareness of the Rothko through these other mediums and I think that's really cool.

The thing though is that John Logan wrote the movie Gladiator, and you can tell. I see nothing bad about that kind of drama, it just doesn't jibe with my impression of Rothko, While Rothko was sensitive, upset at times, neurotic and opinionated, careful and studious, but he was not this bellowing pontificator that I feel is represented in the play. Again there's nothing wrong with making a drama of it, it's just something that I divorce from Rothko's actual character. I used to have a job reading movie scripts for an actor and you find a lot of common devices people use to make the drama effective, and I feel Red uses a lot of those to good effect. Every play or movie I have ever seen about an artist takes the task of making a largely internal process, external enough for the audience to become engrossed in.

Rothko was sensitive, well-spoken intellectual man. Many of his friends speak of his great tenderness and generosity towards them. The play seeks to pit him and his assistant as two poles of the art world, the new encroaching on the old. Again, fine as a dramatic device but Rothko painted alone, and he talked about painting to no one, ever. Anyone who knew Rothko says he never discussed his art. So any conversations in the play are entirely fantasy.

So, basically I think the play is entertaining and hopefully gets people interested in the art, but I wouldn't take it like a biography of Rothko! And that's really my main point, not to knock the play but to point out the differences between fact and fiction.

Here's some context:

"When I've seen my father portrayed, I've sort of winced, because it doesn't sound like him or come across like him. He was a very warm, humorous person, I remember him telling me silly stories as a child. - Kate Rothko

"As I see him, he was a very loving, essentially feeling man. He was loving and lovable. He liked to put on a rough show. I mean he liked to talk tough. He presented to me a softness. And I was full of my Oriental, religious view of things. I never attempted to talk to him about it because he didn't respond to it. I took it that it was his concern with the world which was from boyhood because of his parentage and finding the same ugliness and stupidity in the art world as in the world that made him so convinced that life wasn't worth living." -Wallace Putnam

Mark is often presented as off-putting; however, he really was quite warm, nurturing and could be very funny." - Regina Bogat

"(Rothko had) a genuine charitable impulse. It grew out of real sympathy. I don't think it was a put-on in any way, nor for self-aggrandizement...there are numbers of cases in which while he was alive he helped persons and always anonymously. He never wanted it known, nor did he ever talk about it." - Stanley Kunitz

*forgive typos, my brain does not see them until weeks after the fact

[safarigirlsp]

40 LOOKS DAMN GOOD

I saw this on Twitter and thought it'd be fun to do here as a mini celebration. Interaction has been so dead on here for everyone, it'd be fun to liven it back up! Everyone feel free to play along!

Favorite Movie(s)

The Last Duel! I love that movie. Blackkklansman is the runner up.

I actually don't care for most of his other movies at all in terms of the movie itself. 65, The Report, and Logan Lucky were decent, but definitely second tier.

Favorite Character(s)

Jacques, Flip, and Mills

Favorite Co-Star(s)

Ben Affleck blows absolutely everyone else out of the water! "Come In! Take your pants off!"

Bill Murray and John David Washington are runners up, and I loved Jeremy Irons in Gucci.

Favorite Love Interest(s)

None so far! Rey and Hanna are my absolute least favorites. I hate them, honestly. Jodie Cromer was my favorite female lead in one of his movies. Lady Gaga and Marion Cottilard were alright too. I like Scarlett Johannson the best as a stand alone actress, but I hated her character in Marriage Story. I anticipate liking Aubrey Plaza

Favorite Scene(s)

Jousting and kicking ass are hard to beat!

Favorite Sex Scene(s)

All the scenes from Last Duel! I don't care how offensive that is!

This scene from The Man Who Killed Don Quixote.

Girls seasons 5 and 6 were hard to beat. The couch scene in season 5 is pretty nice.

Favorite SNL Skit(s)

Slow for obvious reasons.

Undercover Boss Part 2

Favorite Line(s)

Dream Role(s)

I got a Knight with Jacques and an Action Hero with Mills, both of which were high on my list. I'd love to see him as a Vampire, a Dark Victorian Gentleman, an Old West Gunfighter, an Adventurer, and a John Wick style Hitman or Action Hero.

Oh, and he needs to be his actual age and not have goddamn face prosthetics, altered hairlines, or terrible fucking haircuts!

Dream Co-Star(s)

Love Interests: Angelina Jolie, Kate Winslet, Margot Robbie, Ana De Armas, and Lily Rose Depp for size kink purposes.

Co-Stars: Another hot guy like Goran Visnjic or Gerard Butler. Keanu Reeves would also be a blast.

Directors: Ridley Scott (again), Clint Eastwood, Tim Burton, Robert Eggars, Quentin Tarantino.

Favorite Photoshoot(s)

Favorite Candid(s)

Favorite Red Carpet Appearance(s)

Venice takes the cake!

Favorite Interview(s)

"Fuck you. I don't know."

"I hated this. Goodbye."

Favorite Moment(s) of Your Choice

[evenmyhivemindisempty]

tarot face cards for Boyd’s,?

Steve Murphy: The Tower. Steve goes through the *wringer* in Narcos. Him and Connie uproot themselves from Miami for a country where they don’t know the language or culture. Connie’s cat is immediately cat-napped and cat-murdered. Steve gets kidnapped. His partner is soft-betraying him. Connie leaves him and takes their daughter. People he likes die!! He has to make a lot of unpleasant choices that often don’t turn out great for him! Upheaval, tragedy, violence, and pain is sort of the name of the game for him here!

Donald Pierce: The Moon. Pierce is very insecure! Holbrook says as much in several interviews; Pierce desperately wants to project an image of strength and confidence, and as the film continues that pretense is gradually stripped away. He’s deeply anxious – Rice kind of has to kick him into gear later on, and he’s also pretty damn intuitive – he *did* easily track Logan down, he puts together the nurses’ plan, and he figures out quick that Caliban is stalling them.

Cap Hatfield: The Hierophant. Although Cap might not seem like the classic choice for this, I absolutely think he fits! He’s got an unwavering dedication to his family (and the sort of patriarchal structure therein), and he absolutely shares in a lot of the traditional values of the era… and his family specifically. He’s sweet, but he’s their little foot soldier!

Clement Mansell: The Lovers. Clement is always searching for a connection, whether that’s with Sandy, or Sweetie, or Raylan, or Carolyn. (And he will absolutely make huge, impulsive decisions for the people he likes too.) Clement is *always* attempting to reach out - emotionally, sexually, physically. He’s not very successful, but not for a lack of trying!!

The Corinthian: The Devil. Beyond the obvious, that Corinthian in the waking world indulges his appetites to excess (and he’s absolutely very materialistic), there’s also the fact that his entire character arc is permeated by an extreme sense of hopelessness. He’s trying to claw his way to freedom the entire season, and not ever really gaining much ground. He’s dependent on other people helping him (John, Ethel, Rose), and he’s bound by the knowledge of what will happen when Dream inevitably regains his power and comes after him.

Eli Klaber: The Fool. Despite Klaber being… what he is, there is also an undeniable innocence to him. He’s very trusting, very naive, and very hopeful! He wants to go on a big adventure with his boss! And his trigger-happy nature absolutely plays into this too. He’s ~spontaneous~! I even think he can fit with this card representing a lack of commitments despite his extreme loyalty to Voller - he’s someone that seems adrift in every other aspect of his life, and (accordingly to Holbrook) joined up primarily because he didn’t have anything or anyone else.

Ty Shaw: Death. Ty has to deal with a very sudden loss, and he actually does handle it really adeptly. He vows to get revenge, but he states pretty clearly that he’s not gonna stop trying to enjoy himself and live life. He isn’t in denial about what’s happened - he does let go in a lot of ways, embracing Ben into the family, designating Abby’s room the new guest bedroom. And there’s something in that his story in the movie begins and ends with two different deaths.

Quinn McKenna: Justice. I get the sense that justice as a concept is something that’s very important to Quinn. He tends to be sort of rigid in his sense of right and wrong, and this results in him sticking to his guns even when it screws him over. He doesn’t like lying, he doesn’t like when people lie to him, and there’s something interesting that despite the way the Government involuntarily commits him, he *still* joins back up later. At the end of the day he believes in the rule of law… but it’s also never gonna let that stop him from doing what he thinks is just.

[delineate-creates]

🚨Tentative Inktober Tags🚨

Alrighty y’all, despite having had a full month to ponder my ideas for October, I’m no closer to figuring things out than I was like two weeks ago. Such is life. This is just gonna be a tentative list of fandoms/people/pairings that I’ll be drawing in the coming days…if I don’t end up doing some of them, it’s because my execution was dogshit and I had to quickly pivot. Pls don’t kill me!!!

If you don’t like any of these topics and don’t wish to see them, please mute their corresponding tags :)

Fandom: tags

Harry Potter: hp, harry potter, tom riddle, tomarry, tomarrymort, hermione granger, ron weasley, golden trio

Star Wars: sw, star wars, anakin skywalker, obi wan kenobi, obikin

Black Sails: black sails, james flint, john silver, thomas hamilton, flinthamilton, silverflint

Marvel/X-Men: marvel, x men, charles xavier, erik lehnsherr, cherik, deadpool, wade wilson, wolverine, logan, poolverine, spider man, peter parker, spideypool

Interview with the Vampire (tv): iwtv, louis du pointe du lac

Supernatural: supernatural, dean winchester, castiel, destiel

Pride & Prejudice: pride and prejudice, mr darcy, fitzwilliam darcy

BTS: bts, park jimin, jeon jungkook, jikook

(Sry for being all over the place with the fandoms, the exploration theme this year is kicking my ass bad and it was really hard to think of stuff lmao)

[tibby]

hey tibby, i got two questions about saw for you. firstly, when do you think the saw movies take place? like what specific year/s? i know theres a few writing errors when it comes to years in the franchise (the tag on jigsaw’s foot at the autopsy, for example) so i’m just trying to see what would make sense despite these errors.

also. what would the spiral killers role be in Jigsaw the family sitcom (more important than the other question)

i am a firm "saw the first movie takes place in 2004" believer. yeah yeah the idea of it happening the day before 9/11 is funny but it doesn't work with the few established dates we do have (gideon night takes place in late october of 2006, hoffman's sister is murdered in 1997 and baxter is released from prison after five years which makes hoffman's revenge kill and recruitment from john in 2002 at the EARLIEST, trying to include a coherent timeline of events by including jigsaw is impossible but fwiw logan was in the iraq war. i think. i don't remember the movie). also the idea that amanda and john manually set up the phone to that date just to fuck with them is also very funny to me. and my research suggests that the motorola used was released in q4 of 2001, which means it came out in october at the earliest. but nothing is conclusive and i respect all walks of life etc etc.

generally though from the time amanda is recruited (april 2004, because i do believe bathroom trap takes place in september regardless of the year and lawrence mentions being interviewed by police five months prior) through to the end of the final chapter (late 2006) it's like a 2.5 year time frame. nerve gas house takes place at least a year after bathroom trap, gideon night is six months after nerve gas house, and the events of v/vi/vii shortly follow. again, no canon confirmation, but given strahm's throat is still bandaged in v we can assume his tracheotomy wasn't that long ago and he dies like the day after being discharged from the hospital. and then hoffman's vi/vii clownery is like two nights back to back. so that's that. early to mid 2000s over a three year time period.

unfortunately the spiral killers don't really play a big role in jigsaw the sitcom simply because it takes place like 15-20 years later. which is a tragedy because i think jigsaw fanboy william emmerson/schenk having the worst "don't meet your heroes" experience of all time only to not learn from it is hilarious to me. i did vaguely conceptualise an episode where he starts his silly little copycat killings and they have to come out of retirement to trap his ass because oh now we gotta be responsible for this clown. and william really does think it's an honour that a bunch of middle aged retired murderers have reunited just to torture him.

my beloved dizzy did write a fic about this concept (not sitcom nonsense but adam/amanda/hoffman live and william loves team maim and kill). unfortunately my concept of retired-but-still-completely-off-their-rockers hoffstrahm (they're NOT dating and they're absolutely NOT married and strahm is still trying to prove hoffman is guilty and hoffman still plans on killing him one day but they do live together and have weird gay sex and are trying to figure out how to get married for tax benefits without actually getting married) having a honey where IS my supersuit moment from the incredibles about the glass coffin didn't make the cut. but we can imagine it <3

they also all try to impart "queer elder wisdom" (see: absolutely horrendous dating tips) onto william to help him with zeke. unfortunately he takes their word as gospel. hence the whole "torturing you and sending you body parts" stage of the flirting process. it's dawning on me that this message is completely incomprehensible i'm sorry. missed saying absolute nonsense about these movies to a public audience.

[giallofever2]

R.I.P. Giovanni Lombardo Radice (23 September 1954 – 27 April 2023)

… was an Italian film actor, also known as John Morghen.

Lombardo Radice began his career in theater before he starred in Ruggero Deodato's The House on the Edge of the Park (1980). Throughout the 1980s, Radice appeared in many Italian cult films such as Cannibal Apocalypse (1980), City of the Living Dead (1980), Stage Fright (1987) and The Church (1989). Radice is best known for his villainous roles in Italian horror films, and notably for the spectacular and gruesome death scenes his characters semi-regularly fall victim to.

In several interviews, he reportedly stated that he wished he had never portrayed Mike Logan in Cannibal Ferox, criticizing the movie for being both fascist and racist and abusive towards animals. Radice created his stage name, John Morghen, by taking the anglicized form of his first name (Giovanni becomes John) and using his grandmother's maiden name as his last name (Morghen). His family practically disowned him when they discovered he was using his family name to create incredibly violent films.

Lombardo Radice's uncle is Pietro Ingrao, the first member of the Italian Communist Party to be Head of Parliament in the 1970s. His father was the mathematician Lucio Lombardo Radice. The writer Marco Lombardo Radice was his elder brother.

Radice often posted texts criticizing social injustice, capitalism and corruption in Italy.

Lombardo Radice wrote about having a cocaine addiction when younger.

Lombardo Radice died on 27 April 2023, at the age of 68,the same day as his Cannibal Apocalypse co-star Ramiro Oliveros.

Selected filmography

Cannibal Apocalypse (1980, a.k.a. Apocalypse Domani)

City of the Living Dead (1980, a.k.a. The Gates of Hell)

The House on the Edge of the Park (1980)

Cannibal Ferox (1981, a.k.a. Make Them Die Slowly)

Deadly Impact (1984)

Stage Fright (1987, a.k.a. Deliria)

Eleven Days, Eleven Nights (1987)

Phantom of Death (1988, a.k.a. Un delitto poco comune)

The Church (1989, a.k.a. La Chiesa)

The Devil's Daughter (1991, a.k.a. La Setta)

Body Puzzle (1992)

Ricky & Barabba (1992)

Padre Pio: Between Heaven and Earth (2000)

The Soul Keeper (2002)

Gangs of New York (2002)

The Omen (2006)

The Hideout (2007)

A Day of Violence (2010)

The Reverend (2011)

Violent Shit: The Movie (2015)

[scotianostra]

Happy 75th Birthday the Scottish writer. Poet and Playwright Liz Lochhead

Born Elizabeth Anne Lochhead in Motherwell, Lanarkshire on 26th December 1947; her parents , John Lochhead and Margaret Forrest, had both served in the army during the war and married in 1944. Her father was a local government clerk. In 1952 the family moved into a new council house in the mining village of Newarthill, where her sister was born in 1957.

The primary school in Newarthill is vividly conjured in Lochhead’s poem ‘A Protestant Girlhood’. She moved on to Dalziel High School in Motherwell, and by the time she was 15 had decided to go to art school, although teachers were encouraging her to study English at university.

She wrote her first poem, ‘The Visit’, after she entered the Glasgow School of Art in 1965, and attended an informal creative writing group there run by Stephen Mulrine. After graduating from GSA in 1970, she went a few times to the extra-mural writers’ workshop run by Philip Hobsbaum, who had a gift for identifying and encouraging talent. In 1971 she won a Radio Scotland poetry competition, in 1972 she read with Norman MacCaig at a poetry festival in Edinburgh, and her first collection, Memo for Spring, was published in 1972 by Gordon Wright. She met Alasdair Gray, Jim Kelman and Tom Leonard in this period, and later in the decade Tom McGrath and Alan Spence; in this group of talented young Scottish writers, she stands out as a rare female presence and this has been enabling and inspiring for the generation that followed.

Lochhead earned her living at this time by teaching art in secondary schools in Bristol, Glasgow and Cumbernauld. In 1978 her second collection, Islands, was published and she wrote and performed in Sugar and Spite at the Traverse, Edinburgh. She was awarded the first Scottish/Canadian Writers’ Exchange Fellowship the same year, and went to Toronto, then lived in the USA after the fellowship ended, and over the next couple of years returned to New York for lengthy periods.

The 1980s was an immensely productive decade in both work for the theatre and poetry; Lochhead also married the architect Tom Logan in 1986, and they made their home in Glasgow. Notable successes included her adaptation of Molière’s Tartuffe for the Lyceum and Mary Queen of Scots Got Her Head Chopped Off, performed by Communicado. These two plays derive much of their energy from  the way Lochhead uses Scots, admiringly characterised by Robert Crawford in Identifying Poets as  ‘a diction of kaleidoscopic pace and liveliness, a Scots which manages to bring Tartuffe in touch with Holy Willie while preserving an alertness to the polyphonies of [her] contemporary Scottish homeland’ .

The elements of voice and performance are vital to both genres, but Lochhead considers them to be quite different, and marked this visually by publishing Dreaming Frankenstein & Collected Poems (1984) with a white cover, while her monologues and performance pieces True Confessions and New Clichés (1985) had a black cover.  While she allowed, in a 1992 interview for Verse, that ‘certain speeches in, say, Mary Queen of Scots…, felt like writing poems to me while I was doing them’, there was nevertheless a basic distinction to be made:

A play is something that doesn’t exist when you have written it. It only exists when it begins to be performed. Whereas a poem is something that even before you’ve tightened it up properly, once you’ve got it finished, even if it’s lying under the bed, there it is: it’s a thing. So I think that’s what satisfies me the most about poetry, that it is not for anything whatsoever and that you don’t really do it to order.

This was before her laureateships, which inevitably involve poems commissioned for occasions, but the distinction probably stands as such poems often involve a degree of performance.

Lochhead’s sixth collection, The Colour of Black and White – poems 1984-2003, includes ‘Kidspoem/Bairnsang’, which has become one of her signature poems and a touchstone for the decade. It is cleverly but also appealingly bilingual, perfect for illustrating to those who don’t know Scots how the language marches beside English; and for those who do know Scots, it serves as a reminder of its riches and legitimacy in the public sphere. Many generations had Scots bred out of them at school, and that this is changing is in no small part driven by Scotland’s writers. Moreover, Lochhead articulates more than her generation’s worth of weary anger over the literature accepted into the canon: ‘the way it had to be said / was as if you were posh, grown-up, male, English and dead.’

While the blurb for this collection quotes The Scotsman as saying ‘Her pulse [is] the racing, faltering pulse of a nation obsessed with identity and self-analysis. For 25 years, Lochhead has been the distinctive female voice of Scotland. Gallus, inquisitive, accusing and playful. Angry and tender by turns’ – this description is of limited truth. Her voice is not always that of a woman, or always that of a Scot. Following her friend Edwin Morgan, first as Poet Laureate of Glasgow (2005) and then as Scots Makar (2011-16), she strove to be confined by neither her gender nor her nationality, and went on to be awarded the Queen’s Gold Medal for Poetry in 2015.

Nevertheless, the female voices that Lochhead has deployed in her monologues and many of her poems undoubtedly draw on a Scottish oral tradition that is subverted by the music-hall, and takes pleasure in a distinctive West of Scotland tradition of gossipy storytelling and humour.  If the latter has been – on stage at least – a predominantly male preserve, she has been instrumental in making space for women. Lochhead has spoken of the difficulty for female poets in particular of the long shadow cast by Hugh MacDiarmid, and of the liberation provided by American examples – again typical of many West of Scotland writers’ experience. In Lochhead’s case, this was not only the lure of William Carlos Williams and Robert Creeley, but also of the sophisticated lyrics of Broadway, to which she pays affectionate homage in ‘Ira and George’. The poem is dedicated to her friend and co-performer Michael Marra, and reminds us that Lochhead’s love of music and the visual arts is an essential part of her work.

The radio as much as the theatre has been an impetus to creation for Lochhead, and it is her ability to speak with conversational intimacy within a public space that is one of the hallmarks of her work. The sound of her own voice is immediately engaging. Her relish of a whole variety of language registers and rhythms, her sensuality and humour, her loving descriptions – ‘the decency of good coats roundshouldered’ – and her outspokenness have made Lochhead an enormously popular poet.

View of Scotland/Love Poem

Down on her hands and knees at ten at night on Hogmanay, my mother still giving it elbowgrease jiffywaxing the vinolay. (This is too ordinary to be nostalgia.) On the kitchen table a newly opened tin of sockeye salmon. Though we do not expect anyone, the slab of black bun, petticoat-tails fanned out on bone china. ‘Last year it was very quiet…’

Mum’s got her rollers in with waveset and her well-pressed good dress slack across the candlewick upstairs. Nearly half-ten already and her not shifted! If we’re to even hope to prosper this midnight must find us how we would like to be. A new view of Scotland with a dangling calendar is propped under last year’s, ready to take its place.

Darling, it’s thirty years since anybody was able to trick me, December thirty-first, into ‘looking into a mirror to see a lassie wi as minny heids as days in the year’ – and two already since, familiar strangers at a party, we did not know that we were the happiness we wished each other when the Bells went, did we?

All over the city off-licenses pull down their shutters, people make for where they want to be to bring the new year in. In highrises and tenements sunburst clocks tick on dusted mantelshelves. Everyone puts on their best spread of plenty (for to even hope to prosper this midnight must find us how we would like to be). So there’s a bottle of sickly liqueur among the booze in the alcove, golden crusts on steak pies like quilts on a double bed. And this is where we live. There is no time like the present for a kiss.

[obsessivelollipoplalala]

Sondheim defending the film adaptation of Sweeney Todd will always make me extremely satisfied. The following is from a later interview in the final edition of Sondheim On Music (picture of the text from the book is under the cut):

MH: But then you didn't feel "The Ballad of Sweeney Todd" was necessary for the film?

SS: Ah, no, but for a very good reason: it interrupts the action. And what [Tim] Burton had chosen to do, which is very smart, is to not have any of the chorus people singing, what I call "peasants on the green"--like the Pirelli crowed or "God, That's Good!" Because that's acceptable (though not very acceptable to my taste, as you know), but it is somewhat acceptable on the stage to have everybody sing "Oklahoma!" But not if it's going to be on the screen and you're going to try to involve an audience in the story, as opposed to say, "Oh, isn't this a fun musical?" Then you don't have that kind of thing. We actually had rehearsed the number and John Logan [the screenwriter] had a wonderful idea, which was start the piece with blood spreading on a floor, and then the camera would pull back and suddenly we cut to, in this case, Christopher Lee, who would be dressed as a general, and he would sing, "Attend the tale of Sweeney Todd..." (off-pitch, but he would sing it anyway, "Attend the Tale of Sweeney Todd/His skin was pale/And his eye was odd...." Then you would cut to a student, then you'd cut to a peddler, et cetera. And they would sing this, and you don't know why they're singing it to you. Then, during the course of the movie, they would reappear in odd places, passing Sweeney on the street, and he would see them out of the corner of his eye. And there would be a little gash here...and over the course of the film you realize these are the people he killed. So they became a chorus of his victims, interspersed, like the "Ballad," throughout the movie.

And just before shooting, Tim called and said, "I think it's not a good idea; I think it's going to interrupt the story." I said, "Cut it. I understand exactly what you're saying." The whole idea of the movie is so different from a stage piece. And he wanted to tell the story as intensely as he could, knowing that the audience had to suspend a huge amount of disbelief--to have people singing a melodrama, as opposed to singing songs....I think cutting "The Ballad" was absolutely the right choice.

[the-unspeakable-tsar]

X-Manson Chapter 4 by Benway - Annotated by Tsar

Here we meet this universe's favorite lads, the Proudstars. Along with this au's version of Storm.

[Shot: Two young men of obvious Native American ancestry. They are huge.]

*huge is an understatement

[Caption: John & James Proudstar, The Hearth Social Services Centre, Salem Centre NY]

*Thunderbird and Warpath of the X-Men and X-Force.

James: Did she tell you how we're all Morlocks, named after the characters in HG Wells' novel the Time Machine?

*Finally, someone points it out.

John: A great many of the people in this community had very rough lives. There's a lot of serious headcases living here. I wish you'd come to us first.

James: You're lucky. Last camera crew, she said her thing but said War of the Worlds instead of The Time Machine and when they corrected her she beat the crap out of them.

Int: Really.

John: She's superhumanly good at hand-to-hand combat. Used to be a Marine until her first psychotic episode.

*Callisto was never a marine, but John was.

Int: You were both graduates of the Massachusetts Academy.

James. Yeah. Great place.

John: James graduated the year before they closed it down. Fuckers.

Int: Who finances this centre?

James: Doug Ramsey gives us most of our funds.

*interesting.

Int: How long has the centre been open?

John: Since they closed that hellhole down.

James: We were here before that, though. Keeping an eye on the place. We're resistant.

John: We kind of settled here, just in case.

Int: Did Emma Frost encourage you?

James: Hell no. She freaked when we told her.

*another instance of the interviewer being skeptical of Emma Frost.

John: It was James' idea. If someone tried to get out, we'd be there. Kind of like the Underground Railroad. We got jobs here. I worked in the Family Services office, and James worked in the Parks and Recreation Department.

James: He got to look at the inside, I got to see the outside of the real ugliness that's here. Hard to tell which was harder to bear.

John: People were on best behaviour when they came to see me.

James: I had to see all the fights in the street, had to mow the lawn in the park in front of the School. Had to wear a gas mask when I did that for most of the summer.

Int: Why?

James: Place stank. Any time the wind came past the house into town in summer, it cleared the streets. Guess we now know why.

Int: Didn't you try to summon the authorities?

James: Yeah. Fuck all happened though.

John: We made complaints and nothing ever happened.

James: We think they were in some heads up in Albany and in White Plains. Either that or the Feds were holding them off.

John: We couldn't complain too much, or else it would have attracted too much attention.

James: Still think we should have made more noise.

John: Being in the bottom of that lake would not have been a good death.

James: Says you.

Int: But you must have known what the smell was.

John: We knew what most of it was, because we didn't have toilets in some of the places where we grew up.

James: Guess we just didn't want to think about what the rest of it was.

John: We knew that from the rez too. We saw our main job as watching, keeping track of things, being there in case anybody would want to get out.

Int: Did you think that there were any government operations that you didn't know about?

John: Oh yeah. There were at least four attempts to put an observation post in here. Logan and Rasputin took care of all of them.

Int: Didn't the agents have any protection against psis?

John: Yeah, but that didn't protect them against the neighbours.

Int: The psis in the School were watching the neighbours?

John: Maybe, but they didn't have to.

James: A lot of people came here because it was relatively safe for the mutants who couldn't hide, but some came because of the rumours about the School.

Int: What sort of rumours?

John: That it was the place that the revolution would come from. A revolution that would put mutants in charge. There were all these rumours about a mutant messiah, who would come and deliver them all.

*Sounds an awful lot like propaganda from regular x-men comics

Int: Did these people come and go from the School?

James: Hardly anyone came and went from the School who didn't live there. Sometimes people went, but didn't come back. No, the believers went to our competition.

John: The Xavier Centre. They changed the sign to Liberation Centre, but everyone still calls it the Xavier Centre.

Int: Was it run by Xavier?

James: They always denied it, saying he just put up the money, but that bitch who runs it always used to be down at the School.

John: She was one of the few of them who didn't live there.

Int: What did the centre do?

James: Same things we do. Give food to the hungry, arrange clinic visits, talk people out of killing themselves. Only difference is they have the church services there.

John: The church of the mutant messiahs. The twins. Little Rachel and Nathan.

*Our Nate count is up to 3

*Nate (scott and Maddie's son)

*Nathanial (?) Cable.

*Little Nate.

Int: The names of the children from the house? The ones with the crowns?

James: You got it.

[Shot of a haughty, regal woman of African descent with dark skin but pure white hair.]

*you saw her in the gif, you know her, you love her, It's Storm!

[Caption: Ororo Munroe, Director of the Liberation Centre, Salem Centre NY]

OM: I would prefer to be addressed as Your Highness, as I am a princess.

Int: From Africa?

*and she's an asshole.

OM: Please.

Int: Your highness.

OM: Yes. My lineage can be traced back to the dawn of time.

Int: Are you also a mutant, your highness?

OM: I am. I can control the elements, the winds and the waves.

Int: What services do you offer at the centre? Your highness.

OM: We offer counseling for the lost, as well as elementary medical care. Unlike the other so-called assistance centres, we offer our aid with no strings attached.

Int: What about the Drop-In Centre, your highness?

OM: It is associated with the pederast Frost. It is a well-known front for her slavery operations.

Int: Is there a religious dimension to your centre? Your highness?

OM: Our centre is non-denominational.

*bullshit.

Int: I've been told, your highness, that you hold worship services here, associated with the children who were found in the School after the raid.

OM: Many of our clients are religious, and often pray for the souls of all the children found there.

Int: Your highness, was the centre financed by Charles Xavier?

OM: He was among our many backers. We had not heard from him for many years at the time of the raid.

Int: What do you think of Charles Xavier, you highness?

OM: I believe that he was a brilliant man who was misled, and manipulated by others. His dream remains alive within us.

*Oh you have no idea, sister.

Int: What dream is that? Your highness.

OM: That mutants and humans might live together in harmony.

Int: Does the centre encourage this, your highness?

OM: It does.

Int: Your highness, are there any non-mutant volunteers or employees of this centre?

OM: Some.

Int: Could I speak with them, your highness?

OM: Our volunteer and client lists are strictly confidential.

[Shot of J&J Proudstar]

James: She made you call her Your Highness, didn't she?

John: Funny thing is, she really is a princess. She used to work for the dictator of Zanzibar in his secret police, but she had to leave after the coup in '76. She ended up in their embassy in Washington, but, after the coup in '78, they booted her out into the street.

*I don't know what this is a reference to, if anybody knows, please reblog.

Int: How did she get hooked up with Xavier?

John: No idea.

James: We do know what she did in between, though.

[Shot of the cover of a glossy magazine called Dark Chocolate. The African woman on its cover is bereft of clothing, but is fascinatingly scarred. A teaser on the cover promises pictures of a princess within.]

Int: She claimed that the centre was non-denominational.

James: Yeah, just like the Vatican is.

John: They have services there, for Xavier's religion.

Int: Have you ever been?

James: We didn't dare. Too close to Xavier. John hears all about it, though.

John: It's got a kind of bastardized Christian theology. Lots of elements of things I read about in The Golden Bough. They're waiting for a messiah who will save the world from the chaos-bringer and Apocalypse.

Int: Apocalypse being Secretary-General Nur?

James. You got it. They're kind of vague about who the chaos-bringer is.

John: Sometimes they said it was supposed to be Doug, sometimes it was supposed to be Erich Lehnsherr.

*Doug Ramsey, the lord of chaos!

Int: I though Lehnsherr was supposed to be one of the Horsemen?

James: Kind of depends on the day of the week. They're pretty consistent on the Whore of Babylon, though.

John: Takes a lot of strength not to react to some of the things they say against Ms. Frost.

Int: Who runs the church?

John: Munroe, we think. Worthington's involved, but we're not sure how.

Int: Is he involved with New Salem Holdings?

*I think that's a definite "Yes"

John: Never been able to trace it back that far.

Int: Was the church involved in the escape?

James: Shit, yeah.

John: We'll never forgive her for that. Never.

Int: Were you here then?

James: Happened six months before we came.

John: I heard all about it, though. Lots of people here saw what happened.

Int: Was Callisto involved?

James: Yeah. She was a lot more together then.

Int: How many of the students at the School were involved?

John: Can't really say. We know that the Guthries and three others made it this far.

Int: Sam Guthrie, his sister, Psyche and Ariel?

James: Can we answer that?

John: Long as you keep away from real names. Yeah, those four. Which ones you talking to?

Int: Psyche. She's the only one we could find who would talk.

James: Doesn't surprise me Ariel wouldn't talk. She was there the longest.

Int: Who planned it?

John: Don't think we should say anything about that.

Int: Were there any people on the outside?

James: Some. You'll have to talk to Callisto about that.

John: We can tell you that Nathaniel Essex was involved.

Our nathan count is now up to four:

Maddie and Scott's kid, Nathan

Cable (?) Nathaniel.

Little Nate

and Lastly Nathaniel Essex, Mister Sinister.

[imaginationisallihave]

Characters/people I want to write for - Updated

Okay, I have a list of characters and people I want to write fanfiction for so I'll just put them in categories of what fandoms they are from.

~Marvel~

Bucky Barnes (The White Wolf)

Frank Castle (The Punisher)

Eddie Brock

Venom

Steven Grant

Marc Spector

Khonshu

~X-Men~

Erik Lehnsherr (Magneto)

Charles Xavier (Professor X)

Logan (Wolverine)

~Harry Potter/FBAWTFT~

Sirius Black

Remus Lupin

Original! Percival Graves

Credence Barebone

~Shadow and Bone~

Kaz Brekker

Inej Ghafa

The Darkling

~Death Note~

Ryuk

L/Ryuzaki

Light Yagami

~The Boys~

Billy Butcher

Black Noir

Soldier Boy

~The Hobbit~

Thranduil

Thorin Oakenshield

~Call of Duty~

Captain John Price

Simon "Ghost" Riley

John “Soap” Mactavish

Farah Karim

Alex

Kyle “Gaz” Garrick

Alejandro Vargas

~Interview With A Vampire~

Louis de Pointe du Lac (movie/tv show)

Lestat de Lioncourt (movie/tv show)

Armand (movie)

~Last Of Us~

Joel Miller

Tommy Miller

Owen Moore

Jesse

~YouTubers~

Inotorious (Matt) - The Misfits

ElasticDroid (Jaime)

Grizzy (Nelson)

BigPuffer (Chris)

Pezzy (Maxwell/Max)

Isaacwhy (Isaac)

~Miscellaneous~

Diego Hargreeves - The Umbrella Academy

Rafal Mistral - A school for good and evil (movie)

Shane Walsh - The Walking Dead

Elijah Mikaelson - The Originals

Tommy Shelby - Peaky Blinders

Saul Silva - Fate: The Winx Saga

Raymond Leon - In Time

I'm not sure what to write but I know that I'll write some oneshots or something.

[jcmarchi]

WWE 2K24's Full Launch Roster Revealed

New Post has been published on https://thedigitalinsider.com/wwe-2k24s-full-launch-roster-revealed/

WWE 2K24's Full Launch Roster Revealed

WWE 2K24’s full roster has been revealed. This year offers a staggering line-up of Superstars hailing from Raw, Smackdown and NXT, as well as numerous Legends. 

Over 200 playable superstars will be available at launch, along with 8 managers. Check them out below. 

Raw

Akira Tozawa

Alexa Bliss

Becky Lynch

Bianca Belair

Big E

Braun Strowman

Bronson Reed

Candice LeRae

Carmella

Cedric Alexander

Chad Gable

Chelsea Green

Cody Rhodes

Damian Priest

Dexter Lumis

Dominik Mysterio

Drew McIntyre

Erik

Finn Bálor

Giovanni Vinci

Gunther

Indi Hartwell

Ivar

JD McDonagh

Jey Uso

Johnny Gargano

Kofi Kingston

Liv Morgan

Ludwig Kaiser

Maxxine Dupri

Natalya

Nikki Cross

Otis

Piper Niven

Raquel Rodriguez

Rhea Ripley

Ricochet

R-Truth

Sami Zayn

Seth “Freakin” Rollins

Shayna Baszler

Shinsuke Nakamura

Sonya Deville

Tegan Nox

The Miz

Tommaso Ciampa

Valhalla

Xavier Woods

Zoey Stark

Smackdown

AJ Styles

Alba Fyre

Angelo Dawkins

Ashante “Thee” Adonis

Asuka

Austin Theory

Bayley

Bobby Lashley

Butch

Cameron Grimes

Charlotte Flair

Cruz Del Toro

Dakota Kai

Elton Prince

Grayson Waller

Isla Dawn

Iyo Sky

Jimmy Uso

Joaquin Wilde

Karl Anderson

Karrion Kross

Katana Chance

Kayden Carter

Kevin Owens

Kit Wilson

LA Knight

Logan Paul

Luke Gallows

Michin Mia Yim

Montez Ford

MVP

Omos

Randy Orton

Rey Mysterio

Ridge Holland

Robert Roode

Roman Reigns

Santos Escobar

Scarlett

Sheamus

Shotzi

Solo Sikoa

Tamina

Xia Li

Zelina Vega

NXT

Andre Chase

Angel Garza

Apollo Crews

Axiom

Baron Corbin

Blair Davenport

Bron Breakker

Brooks Jensen

Brutus Creed

Carmelo Hayes

Channing “Stacks” Lorenzo

Cora Jade

Damon Kemp

Dijak

Drew Gulak

Duke Hudson

Fallon Henley

Gigi Dolin

Humberto

Ilja Dragunov

Ivy Nile

Jacy Jayne

Jinder Mahal

Joe Coffey

Joe Gacy

Josh Briggs

Julius Creed

Nathan Frazer

Nikkita Lyons

Noam Dar

Roxanne Perez

Sanga

Scrypts

Thea Hail

Tiffany Stratton

Tony D’Angelo

Trick Williams

Tyler Bate

Veer Mahaan

Wendy Choo

Wes Lee

Wolfgang

Legends/Alumni

Andre The Giant

Bad Bunny

Batista

Beth Phoenix

Big Boss Man

Boogeyman

Booker T

Bray Wyatt

Bret “Hitman” Hart

British Bulldog

Bruno Sammartino

Cactus Jack

Chyna

Diesel

Doink The Clown

Dude Love

Dusty Rhodes (Part of the Nightmare Family Pack)

Eddie Guerrero

Eric Bischoff

Eve Torres

Faarooq

The Fiend

George “The Animal” Steele

Harley Race

Hollywood Hogan

Hulk Hogan

The Hurricane

Jake “The Snake” Roberts

JBL

Jerry “The King” Lawler

Jim “The Anvil” Neidhart

John Cena

Kane

Ken Shamrock

Kevin Nash

Kurt Angle

Lita

“Macho Man” Randy Savage

Mankind

Maryse

Mighty Molly

Molly Holly

Muhammad Ali

“Ravishing” Rick Rude

Rick Steiner

Ricky “The Dragon” Steamboat

Rikishi

Rob Van Dam

The Rock

Ronda Rousey

“Rowdy” Roddy Piper

Scott Hall

Scott Steiner

Shane McMahon

Shawn Michaels

Stacy Keibler

Stephanie McMahon

Stardust (Part of the Nightmare Family Pack)

“Stone Cold” Steve Austin

“Superstar” Billy Graham (Part of the Nightmare Family Pack)

Syxx

Ted DiBiase

Triple H

Trish Stratus

Tyler Breeze

Ultimate Warrior

Umaga

Uncle Howdy

The Undertaker

Vader

Wade Barrett

William Regal

X-Pac

Yokozuna

Managers

B-Fab

Bobby “The Brain” Heenan

Cathy Kelley

Mick Foley

Miss Elizabeth

Paul Bearer

Paul Heyman

Theodore Long

WWE 2K24 launches on March 8 for PlayStation 5, Xbox Series X/S, PlayStation 4, Xbox One, and PC. You can read our in-deph hands-on preview here, watch us play a few matches in this episode of New Gameplay Today, or check out our gaming-focused interview with one of 2K24’s cover stars, Cody Rhodes. 

[sloshed-cinema]

Small Axe: Red, White, and Blue (2020)

How much change can any one person accomplish in the face of a massive, powerful institution? Leroy Logan finds himself stuck in an impossible situation in Red, White, and Blue when he decides to join the police force. The institutional racism of the Metropolitan Police is well-known by all, and even Leroy has suffered first-hand as a result: when we first meet him as a schoolboy, he is stopped and frisked by two beat policemen for no legitimate reason. Many years later when he is mulling this decision, his father is beaten severely for an “issue” that would only have been a problem since the “criminal” was black. Still he decides to go ahead with it and graduates at the top of his class. As a cop, he is almost universally reviled: members of his local community view him as a traitor and his peers on the force despise his existence. Theirs is a cowardly racism, carried out in silence and absence of support, a tight-lipped, smirking bigotry. And it’s possible also to see why Leroy’s choice could be viewed as a betrayal by some. Crimes committed against black people go unreported or unsolved because the community doesn’t trust a police force that is not only apathetic to their existence but also actively seeks to harm these people through stop-and-frisks which can quickly turn into brutal beatings. This is a paradigm that Leroy wants to end through community policing and mutual trust. Perhaps such a thing could be possible, as we see in one instance when Leroy’s colleague PC Asif Kamali interviewing a Pakistani shop owner about the vandalism committed against them in their native tongue, Urdu. This sort of small gesture builds bridges, as Leroy so yearns to do. But the problem is the police force have no interest in building that bridge. Asif’s white colleague pulls him aside to admonish him, telling him to speak English. This ties the sense of being British or belonging to English, cutting out large swaths of the community as “Other.” Silence is expected from these minority officers, and anything otherwise is met with revenge.

Leroy’s trials and tribulations are masterfully portrayed by John Boyega, who suffuses his performance with an extraordinary stillness. Is this the right call? At points, the camera lingers on him as he stares at the officer’s uniform hanging on his door, all of the context and implications of the outfit presented free of the individual wearing it, who could then either wield that implication to harm others or actually fulfill his oath to protect and serve. Remarkable too is Leroy’s father. He loathes the police force for good reason, but is generally a quiet, internal person. Music is hard for him, and we are properly introduced to him around a game of Scrabble when he purposefully throws away a victory by refusing to add his last ‘Y’ tile to the S-E-X that has just been laid down. This relationship becomes the most important and conflicted one of the film, even more so than the larger designs. Ken Logan rages at his son’s choice to throw away a career in research science, but finds it in himself to hug Leroy when dropping him off at the police academy. The film concludes not with some grand statement about Leroy’s decisions or a change in his career but rather a quiet conversation between the two men.

THE RULES

SIP

Someone says 'police' or 'uniform'.

Leroy runs track.

Someone names a country.

BIG DRINK

Research science is pooh-poohed.

A scene involves someone driving somewhere.

[lil-tachyon]

Who are some of your biggest influences in your art?

I’ve answered this question or something like it a couple times (1 2 3 4 + archive of interviews I’ve done with people)  so I’ll hit the main points and then talk about some different stuff I’ve been into recently. 

Favorite artists who have influenced me the most in no particular order:

Wayne Barlowe

Moebius

Mark Schultz

Simon Roy

Cosimo Galluzi

CM Kosemen

John Howe

James Gurney

Katsuya Terada

Hayao Miyazaki

I could name more, but those are the main people that I come back to, year after year.

Picture above by John Howe

General art movements/styles that have influenced me

19th century academic art, especially Orientalist painters (to be clear, I don’t endorse any of the harmful racial attitudes behind many of them, it’s just stuff that I saw as a kid that I thought looked cool and different and mysterious)

Ukiyo-e, Shin Hanga, Japanese woodcuts generally

Late 80s to 90s anime

Most comic art

Online spec bio art communities

Video game character/creature designs: Sonic, Pokemon, Legend of Zelda, Shining Force, etc

Art Nouveau

Fuck it, basically all Gilded Age, Fin de siècle, Belle Époque, late 19th/early 20th century European art movements that were more or less representational or illustrative

Picture above by Ludwig Deutsch. I had a bookmark of this painting for many years and I would often get distracted while reading and just stare at it.

I think I’ve talked about all that stuff before but if you want more details or specifics just ask!

For the last couple years, my really big influences have all been other artists I’ve met online. I mean I made a whole book with @ordheist and @bagb0ss. There’s a sort of loose cloud of (mostly) SFF artists that I’ve been really lucky to work and speak with and we all kinda know or know of each other or end up in the same Discord servers, or working on the same RPGs, etc. I’m not gonna link everybody but if you go through the interviews I’ve conducted for my newsletter or check out my side blog you’ll start to figure out who I mean (seriously a lot of these people are coming to tumblr now from twitter and I’ve been reblogging the hell out of them.) Seeing all the stuff my peers are putting out and talking with them is the source of like 90% of the ideas for my personal illustrations these days. It’s cool to be part of a community. I wish there were more opportunities to meet in person, but it’s still cool.

The other stuff that’s really been in my head lately is art that’s less illustrative, more abstract and graphical. Not pure abstraction mind you, but I’ve really been digging stuff that’s more about communicating a concept, feeling, piece of information, or idea than a narrative. More about design and composition than rendering. I recently read Philip Meggs’ History of Graphic Design and that’s turned me on to so new many artists and styles. In particular I’ve fallen in love with all the Vienna Secession guys, the Glasgow Style artists, and all the graphic and bookmaking ideas that came out of the Arts and Crafts movement. I don’t know how I want to work these ideas into my drawings yet and I haven’t had a lot of time to experiment lately but they're definitely bouncing around in my head.

Above from top to bottom: two pieces by Koloman Moser, two posters by Frances Macdonald, and two pages from The Glittering Plain, written and designed by William Morris.

There’s a whole lot of art that I really love but it rarely gets reflected in my drawings- American Regionalist paintings, gig posters, childrens’ storybooks, Eastern European Mosaics, Native American art, outsider art, colonial Americana …. One day I’ll find a way to synthesize it all.

Anyway, hope this is interesting/fun/informative and if you have any follow up questions don’t hesitate to ask!

-Logan

[tetranocular]

annoyed by whats on my dash so im gonna say, im actually VERY excited for they/them and i think u guys should wait until u actually watch it to judge it lmao

“but what if lgbt ppl DIE in that movie?” its a horror movie about lgbt ppl, if some die, i dont think thats necessarily the same as when the only gay person in an overwhelmingly straight movie dies. do u seriously only want lgbt horror movies where the gay people are always 100% miraculously okay?? u guys genuinely piss me off. and that’s not even getting into the fact that we dont know for a fact that lgbt ppl will even die in it

like... if u want soft gay media where nothing bad happens ever, maybe horror movies in general just arent for u, and that’s absolutely fine, but if yall get this movie boycotted before it can even come out, im gonna start swinging

stop getting mad at lgbt media bc it doesnt fit into ur narrow worldview 2k22, ESPECIALLY since none of us have seen it yet 

also, take an interview excerpt bc it actually means a lot to me as a queer kid who loves horror. this might honestly assuage some of ur fears 

“They/Them has been germinating within me my whole life. I’ve loved horror movies as long as I can remember, I think because monsters represent ‘the other’ and as gay kid I felt a powerful sense of kinship with those characters who were different, outlawed, or forbidden,” said writer and director, John Logan. “I wanted to make a movie that celebrates queerness, with characters that I never saw when I was growing up. When people walk away from the movie, I hope they’re going to remember the incredible love that these kids have for each other and how that love needs to be protected and celebrated.”   

[classic80sand90smovieloves2]

Masterlist

A list of my old writing that you can request I revise

Song Prompts

Meeting and Dating Headcanons~

Pretty in Pink

Andie Walsh

Duckie Dale

Blane McDonagh

Steff McKee

Sixteen Candles 

Jake Ryan

The Lost Boys

Paul

Dwayne

Poly Lost Boys

Edgar Frog

The Breakfast Club

Brian Johnson

John Bender

Andrew Clark

The Outsiders

Sodapop Curtis

Dallas Winston

Two-Bit Mathews

Rumblefish

Steve Hays

Ferris Buellers Day Off

Cameron Frye

Karate Kid

Daniel Larusso

Johnny Lawrence

Dutch

Heathers

Veronica Sawyer

Jason Dean

Fast Times at Ridgemont High

Jeff Spicoli

Brad Hamilton

Better Off Dead 

Lane Meyer

Weird Science

Gary Wallace

Wyatt Donnelly

Dream A Little Dream

Dinger Holfield

Bill and Teds Excellent Adventure

Bill S. Preston Esquire

Ted Logan 

Dating Poly Bill and Ted 

The Princess Bride

Inigo Montoya

Interview with the Vampire

Louis de Pointe du Lac

Children of the Corn

Malachai Boardman

National Lampoons 

Rusty Griswold (European Vacation)

Cant Buy Me Love

Kenneth Wurman

The Chocolate War

Jerry Renault

Archie Costello

The Mighty Ducks

Fulton Reed

Dean Portman

Adam Banks

Les Averman

Porkys

Brian Schwartz

Anthony ‘Meat’ Tuperello

Tommy Turner

Tim Cavanaugh

Mickey Jarvis

Just One of the Guys

Terry Griffith

Greg Tolan

Dead Poets Society 

Neil Perry

Todd Anderson

Charlie Dalton

Knox Overstreet

Steven Meeks

Earth Girls are Easy

Mac

Combat Academy 

Perry Barnett

Waynes World

Garth Algar

Austin Powers

Austin Powers

Toy Soldiers

Ricardo Montoya

Good Will Hunting

Chuckie Sullivan

10 Things I Hate About You

Joey Donner

My Bodyguard

Ricky Linderman

Melvin Moody

Stand and Deliver

Angel Guzman

Something Wild 

Ray Sinclair

Three O’Clock High 

Buddy Revell

Intruder

Randy

Young Guns

Jose Chavez y Chavez

Billy the Kid

Doc Scurlock

Dazed and Confused

Benny O’Donnell

Don Dawson

Kevin Pickford

Randall “Pink” Floyd

Fred O’Bannion

Mitch Kramer

Ron Slater

Shavonne Wright

Dogfight

Eddie Birdlace

Ladybugs

Matthew

Goosebumps

Sticks

Freddy Renfield

Twister

Robert ‘Rabbit’ Nurick

Stand by me 

Ace Merrill

School Ties

Rip Van Kelt 

Chris Reece

The Untouchables

Eliot Ness

The Godfather

Tom Hagen

(Young) Vito Corleone

(Old) Vito Corleone

Goodfellas

Henry Hill

Little Shop of Horrors

Seymour Krelborn

Newsies

Specs

Near Dark

Severen

Friday the 13th

Jason Voorhees

Scream

Billy Loomis 

Poly Billy and  Stu

Stu Macher

The Craft

Nancy Downs

Hocus Pocus

Max Dennison

Thackery Binx

Beetlejuice

Lydia Deetz

Adam Maitland

The Crow

Eric Draven

Ghostbusters

Ray Stantz

Aliens

Bishop

An American Werewolf in London

Jack Goodman

Sleepaway Camp

Ricky Thomas

Re-animator

Herbert West

Silence of the Lambs

Clarice Starling

Fright Night

Jerry Dandridge

Candyman

Daniel Robitaille

The Evil Dead

Ash Williams

Sabrina the Teenage Witch

Harvey Kinkle

Buffy the Vampire Slayer

Spike

Full Metal Jacket

Sgt. Hartman

Joker

Animal Mother

Pyle

Preference~ the boys with an s/o whose ex stalks them

Grease

Kenickie

Labyrinth

Jareth

Total Recall

Douglas Quaid

Requested “Would Includes” and Imagines/Fics~

Darry falling for Johnny’s sister

Allison Reynolds dating a shy nerdy girl

Starting a family with Cameron Frye

Making out with Cameron Frye

Cameron Frye comforting you when you’re upset

Getting drunk with the Ferris Bueller crew

Gary Wallace dating a tall girl

George Mcfly with a dominant flirty s/o

Comforting and being comforted by Will Hunting

Will Hunting having a crush on you

Being apart of the good will hunting gang

Armand with a virgin s/o (including nsfw)

Lestat and Louis dating a girl who loves horror movies

Making out with Duckie Dale

Duckie Dale cheering you up

Cliff having a crush on you

Making out with Cliff

Making out with Bryce

Bryce having a crush on you

The Lost Boys with an s/o having an anxiety attack + fighting depression

The Lost Boys with a sweet and innocent s/o

The Lost Boys with a curvy mate

The Lost Boys fighting with their mates

The Lost Boys dating a shy short girl

The Lost Boys taking care of you when you’re hurt

Getting drunk with the Lost Boys would include

David x Laddies older sister

Making out with Edgar Frog

Being Married to Archie Costello

Going to the beach with Archie Costello

Making out with Archie Costello

Darrys girlfriend landing a job at a local cafe as a singer

Making out with Kenneth Wurman

Being Cindys friend and Ronalds crush

Harold Sherbico having a crush

Kim Kelly dating her polar opposite

Neil Perry dating an artist

Making out with Charlie Dalton

Jealous Charlie Dalton

Jealous Knox Overstreet

A study date with Steven Meeks

Spending the winter season with Neil Perry

Comforting Charlie Dalton after he gets expelled 

The dead poets walking in on Charlie and his secret, shy girlfriend 

Simon Boggs having a crush on Laneys friend

Faking It-Cindy Mancini falling for the girl who paid her to be her friend

Spike having a crush on you

Steff McKee having a crush on you

Marko having a crush on you

David having a crush on you 

Paul having a crush on you

Dwayne having a crush on you

Dwayne x vampire reader who dresses like Stevie Nicks

Making out with Keith Nelson

Meat having a crush on Peewees sister

Admit it- Mickey Jarvis and his future s/o having crushes on each other

Being a part of team USA and meeting Adam and Charlie

Dwayne Robertson having a crush on you

Sleepover with Bill and Ted (including nsfw)

Being pregnant with Ted Logans child

Starring in the schools Romeo and Juliet with Ted Logan

Ted Logan asking you to be his valentine

Spending Valentines day with Steff McKee

Spending Valentines day with Steven Meeks

Spending Valentines day with Keith Nelson

Spending your first Valentines day with Bryce

Wishing I Was Her (Nick Andopolis)

If You Want Out Just Say It (Ace Merrill)

Going on the Ferris adventure

Going on your own adventure with Cameron Frye

Making out with Randall ‘Pink’ Floyd

Travelling back in time with Marty McFly

Tommy Devito dating a chubby artist

Years Gone By (Michael Corleone)

Sonny Corleone dating his opposite

Phillipe Gaston x reader~ Fairy Tale 

Being Fulton's sister and Dating Dean Portman

Comforting Todd when he’s upset

Being married to Bill S. Preston Esquire

Being married to Ted Logan

Spending Halloween/October with Knox Overstreet

Making out with Knox

A will they, won’t they relationship with Seth Brundle

Falling in love with Edward Scissorhands

Dwayne Hicks with an Android!Technician s/o

Private Joker dating an artist 

Jareth falling in love with you

Being married to Matt Hooper and going to Amity

The way you make me feel~ John Bender

Being in a long term relationship with JD

J.D. with a chronically ill s/o

Archie with a chronically ill s/o

Making out with Ted Logan

Archibald Craven falling in love

Andy Dufresne falling in love

Nsfw Headcanons~ 

Group sex with the lost boys

Sam Emerson

Threesome with Obie and Archie

Armand

Archie Costello

(sub) Archie Costello

Obie

Johnny Cade

Cameron Frye

Duckie Dale

Blane

John Bender

Randy (Intruder)

Joey Donner

Kenneth Wurman

Keith Nelson

The Dead Poets Kinks

Knox Overstreet

Charlie Dalton

Steven Meeks

Todd Anderson

Neil Perry

Gerard Pitts

John Bender taking your virginity

Louis de Pointe du Lac

Dinger Holfield

The Lost Boys

JD

Randall ‘Pink’ Floyd

Benny O’donnell

Fred O’Bannion

Cliff

Bryce

Johnny Walker

George Mcfly

Brian Moreland

(sub) Perry Barnett 

Bill S. Preston Esquire

Ted Logan

Randy Meeks

Michael Emerson

Nancy Downs

Ray Stantz

Egon Spengler

Spike

Angel Guzman

Sgt. Hartman

Brad Hamilton

Douglas Quaid

Chris (night of the creeps)

Sonny Corleone with a shy, virgin s/o

George Mcfly getting jealous and being dominant

Grease Monkey (Keith Nelson smut)

Sins of the flesh and matters of the heart (David x reader + Dwayne smut)

[giallofever2]

R.I.P. Giovanni Lombardo Radice (23 September 1954 – 27 April 2023)

… was an Italian film actor, also known as John Morghen.

Lombardo Radice began his career in theater before he starred in Ruggero Deodato's The House on the Edge of the Park (1980). Throughout the 1980s, Radice appeared in many Italian cult films such as Cannibal Apocalypse (1980), City of the Living Dead (1980), Stage Fright (1987) and The Church (1989). Radice is best known for his villainous roles in Italian horror films, and notably for the spectacular and gruesome death scenes his characters semi-regularly fall victim to.

In several interviews, he reportedly stated that he wished he had never portrayed Mike Logan in Cannibal Ferox, criticizing the movie for being both fascist and racist and abusive towards animals. Radice created his stage name, John Morghen, by taking the anglicized form of his first name (Giovanni becomes John) and using his grandmother's maiden name as his last name (Morghen). His family practically disowned him when they discovered he was using his family name to create incredibly violent films.

Lombardo Radice's uncle is Pietro Ingrao, the first member of the Italian Communist Party to be Head of Parliament in the 1970s. His father was the mathematician Lucio Lombardo Radice. The writer Marco Lombardo Radice was his elder brother.

Radice often posted texts criticizing social injustice, capitalism and corruption in Italy.

Lombardo Radice wrote about having a cocaine addiction when younger.

Lombardo Radice died on 27 April 2023, at the age of 68,the same day as his Cannibal Apocalypse co-star Ramiro Oliveros.

Selected filmography

Cannibal Apocalypse (1980, a.k.a. Apocalypse Domani)

City of the Living Dead (1980, a.k.a. The Gates of Hell)

The House on the Edge of the Park (1980)

Cannibal Ferox (1981, a.k.a. Make Them Die Slowly)

Deadly Impact (1984)

Stage Fright (1987, a.k.a. Deliria)

Eleven Days, Eleven Nights (1987)

Phantom of Death (1988, a.k.a. Un delitto poco comune)

The Church (1989, a.k.a. La Chiesa)

The Devil's Daughter (1991, a.k.a. La Setta)

Body Puzzle (1992)

Ricky & Barabba (1992)

Padre Pio: Between Heaven and Earth (2000)

The Soul Keeper (2002)

Gangs of New York (2002)

The Omen (2006)

The Hideout (2007)

A Day of Violence (2010)

The Reverend (2011)

Violent Shit: The Movie (2015)