#judy and punch (2019)

[crumb]

Damon Herriman in Judy & Punch (2019)

[disabled-dragoon]

Just found out there’s a Punch and Judy film and now I’m reevaluating my childhood

[aziraphales-library]

hello lovely people!

i was wondering if there were any historical fics that specifically look at queer history? it could be just aziraphale or just crowley, them together or not together. it could be as far back as sappho and as recent as legalisation of gay marriage.

thank you!

Hi! We have #queer history, #pride parade, and #queer guardian angel aziraphale tags on which you will find fics of interest. Here are more to add to the queer history collection...

An Angel and a Demon Walk Into a Bar- and there is No Punchline Because this is the 80s and Everyone is Sad, Gay and Repressed by DontOffendTheBees (M)

“So you’re not here to dance.” Crowley ducks his head, his long and impressively voluminous hair tumbling about his face as he nudges his aviators down his nose, peering at Aziraphale with those cunning yellow eyes over the top of them. He smirks like the wily old serpent he is, savouring the next words he speaks. “Now, what else could possibly lure a confirmed bachelor such as yourself to an establishment like this?” In which Aziraphale gravitates to the comfort of a queer space, and winds up in need of further comforting.

and at least in this lifetime (we're sticking together) by vivelegalite (T)

[GOD, NARRATING] People tend to be torn as to which side could be credited with legalisation of gay marriage across all of the United States of America. Most people consider it an act of Good, which it is of course, and attribute it to Heaven. Some, a much less pleasant lot, argue it to be the work of Hell. They tend to back their claims up with improperly translated lines from a book the Almighty had never actually written or even really bothered to read through — I tend to outsource that kind of work — and speak of God’s will and whatnot. Both groups are, however, mistaken. The legalisation of gay marriage across all of the United States of America was brought about not by Heaven, not by Hell, but by a tragically smitten demon with a rather high alcohol concentration and a plan.

Eziraphael's Gifts: A History of Queer Faith and Longing, by Natasha Marie Johnson (Beacon Press, 2019). by actualbat (G)

"If Eziraphael has come to be known--in today's language--as the 'guardian angel of sad queers,' then it makes sense for him to have shown up more regularly in the past once that became a recognizable historical category." Natasha is really glad that she's given this talk enough times to be able to do it on autopilot, because those two funny-looking men in the back just made the most absurdly astonished faces. (Or: Not all historians ignore gay subtext, and not all immortal celestial beings have their shit together. Also, voodoo.)

it's the light (it's the obstacle that casts it) by bibliocratic (T)

It's like having a curtain pulled back on something he wasn't expecting to see. A surprise punch-and-judy at an up-scale restaurant, a lobster thermidor when he's ordered an ale. Crowley's gleefully trying to wrap his head around the fact that Aziraphale is speaking Polari. Because of course he is. Or: The Patron Saint of London's LGBT Community is real, and he lives in Soho.

Under the Blazing Sun, Thy Footsteps Track by Elfgrandfather (T)

Aziraphale and Crowley keep finding themselves mixed up with a rather queer lot, and eventually have to contend with what it might mean, both about their own identities and their relationship to each other.

Surpassing All the Stars by KannaOphelia (M)

There was a faint tracing of scales along the woman's cheekbones, tracing down her thin arms and lean thighs. The nipples on her pale, almost flat breasts were dark as night. Fiery red curls fell over dagger-sharp shoulders sprayed gently with more black scales, and the golden eyes were wide and snake-like. The woman was beautiful, but hardly human. "Crawly," the woman said with disgust. "Was that the best you could do, angel?" "I said I didn't have much imagination." Aziraphale's lips were heavy, and she was almost sure she wasn't forming the words properly. There was some kind of spell over her, holding her almost immobile. The venom must have been paralytic. If she had been human, she supposed she would have been dead. Her corporation didn't like it much either. "What name would you prefer I use for you?" The stranger tipped her head on one side, considering. "Crowley?" Aziraphale almost laughed. The whole situation was simply too irritating. If she was to die now, at the hands of some local deity, the paperwork hardly bore thinking about. And her precious work on Sappho's poetry, gone. "Crowley, then. You're a nymph of some kind, I take it?"

- Mod D

[marble-arble]

Hey, I yap a lot and I engaged in a lot of stuff this year. Let’s talk about 2024.

Things I deemed worth remembering in 2024

Films:

Police Story (1985): Best martial arts movie ever? Probably. I understand why Every Frame A Painting was so disillusioned by Jackie Chan’s US work (though I’m certain Jackie Chan doesn’t mind how well it pays the bills). Really just a masterclass in combining comedy and action. The last 10 minutes of raw action, perfection.

Hundreds Of Beavers (2023): Speaking of comedy, holy shit. This is the biggest love letter to video games and looney tunes I’ve ever seen. I think this is one of the best to ever do it. Perfectly walks the line between cheap and charming to the point where the latter would be lost without the former.

The Lighthouse (2019): Was everything everyone hyped it up to be. Anything I could say would either be lacking or a pale imitation of what’s already been said by people smarter than me.

Sunset Boulevard (1950): I took a film noir class this semester! I didn’t pay attention or care about most of them ahah. But, this one is a banger. Gloria Swanson owns every scene as Norma Desmond. Her performance made this movie. Everyone else was up to snuff of course, and a sharp script coupled with incredible shot composition makes this the best film I saw in that class and one of the best I saw this year.

Eega (2012): Do not look anything up about this movie. Don’t even search for it by its title. Find friends and just watch it. The entire way through. You can get past those first 30 minutes and it will be worth it.

They Live (1988): We gotta aim for anti-capitalist radicalization this fast irl (this is a joke). John Carpenter’s musclebound 80’s extravaganza, anything but subtle, but a good time throughout. Has one of the most dragged out fight scenes I’ve ever seen and I loved every minute of it.

Playtime (1967): Jesus christ. One of those “How did they do this?” movies like Police Story but instead of stunt work it’s the blocking. It’s almost exhausting despite it being nothing but looking at people go about their day. It’s quite good in fact! But you can definitely feel the exhaustion director Jacque Tati had with modern life by the end. A worthy movie to go into financial ruin for.

Shorter Films/TV

Various Works of Jan Svankmajer (1989, 1988, 1982, 1966, 1964):

I was introduced to him last year in a film class with the “Lunch” segment from 1992’s “Food”. Haven’t checked out the rest from that collection but I loved that one segment so much that this year I decided to dive into his other works. Cinemassacre has a great video that gives five great shorts to check out from him as a beginner. I’ll be talking about the ones he recommended, however, out of the chronological order he suggests, but if you’re curious and want a guide, use his.

“Darkness Light Darkness” from 1989 is so charming to me. I think human bodies are just very funny things, watching him construct one in real time reminded me of some of my own strange thoughts about my own body. His 1988 sports (i say that word loosely) comedy “Virile Games” is like a monty python sketch with 90’s nicktoons humor. I don’t have any better way to describe it, that’s just what it is to me. 1982’s “Dimensions In Dialogue” feels at parts Jan flexing his mastery over the stop motion/claymation medium. Impressive claywork in two of the segments and some fascinating materials for stop motion in one. Also his most direct feature with its messaging and subtext.

1966’s puppet show endeavor “Punch and Judy” was kinda a miss for me. Some great moments in the very end but it felt the most aimless. Still enjoyed it but not one I think I’ll revisit very soon. However his first ever feature, 1964’s “The Last Trick” I’ve revisited plenty. Being at the very start of Svankmajer’s career, he’s not messing around with the stop motion, claymation, collage style he became known for. But I think he’s still in top form here. A lot of charming effect work and enjoyably surreal comedy from two magicians who desperately want to one up each other. I think it stands as one of his best even if later on his style became much more daring.

I’ve thoroughly enjoyed my time with Svankmajer. I’ll probably get around to his feature length films “Alice” and “Conspirators of Pleasure” with more of his short films along the way. If you have a love for strange mediums and a somewhat off kilter sense of humor, I really recommend trying out his shorts.

X-Men ‘97 (2024): I’ve never seen the original 90’s cartoon and don’t plan to. ‘97 delivers on every level. Stunningly gorgeous, perfectly structured (remembering you can have a serialized narrative but have episodes that can stand on their own was a welcome holdover from the 90’s), and the best monologues I’ve heard in a minute. Feels like the first revival to understand and embrace the appeal of the original work yet still have the courage and finesse to elevate the material with some great creative decisions. Hope the team and new head writer can keep the momentum going from season two onwards.

Radio TV Solutions “RTVS” (idfk): Preaching to the choir, I love this channel. A friend late last year and early this year got me hooked on Wayne’s selfaware ai half life saga. Other friends upped the ante by getting me into RTVS other works. They’re really fucking funny. I can be watching a stream for a fake console, nosferatu going into the public domain, or even a merch reveal stream for Pizza Tower and they’ll hit me with the most obtuse bits that remind me I’m a very weird person who’s very happy to find equally weird yet incredibly funny people.

Manga (Mostly):

Jujitsu Kaisen (2018-2024): I started reading this last year but with it officially calling wraps, I think now is a good time to say my thoughts on it. It’s s’alright. I really loved how much Gege’s art evolved throughout the series, I especially liked where his style was by Culling Games onward. But, this was a bit of a rush job. I can see why many left the series disillusioned with the conclusion. Can’t say I’m crazy about it myself, buuuut I think I had a good time by the end.

One Piece (1997-): We really are in the final saga. I'm gonna have this mostly be my thoughts on the insane climax of Egghead island cause wow. I had my reservations hearing murmurings that the final saga of One Piece would be only 5 years long. But if Oda plays his cards right (and the multiple decades spent on weekly manga don’t catch up and kill him) he could end it then. Fantastic arc that escalated so much in its climax I get why the anime announced a hiatus. Gonna be great watching all this play out when it’s animated.

Azumanga Daioh (1999-2002): Yeah. It’s peak. Azuma just knows how to make the most insane characters worm their way into your heart. The dynamics and interactions were perfect, art only got better. Beautiful series that does everything it needs to.

Yotsuba&! (2003-): Ofc I had to start what most people consider to be Azuma’s best work still going on today. I can see why so many love this series. Azuma captures the essence of being a child so earnestly without it ever feeling fake or overly-sentimental. The supporting cast is even better than Azumanga Daioh with some really incredible characters throughout (and Yanda). I think I prefer Azumanga Daioh just a bit for how good the interplay with the main cast is in that series, but Yotsuba is a wonderful manga.

Marvel’s New Ultimate Universe (Spider-Man, X-Men, Ultimates 2024): These were the three Ultimate universe titles I chose to follow. Now I’m about 2 months behind on what's been happening with them but I liked what I was reading. Very much a slow and steady start, this is Johnathan Hickman at the helm, the long con is always the end goal. But if you wanna try out a Big 2 comic, these are a great start.

Dungeon Meshi (2014-2023): I’m gonna save most of my thoughts on this when I talk about the anime I saw (and care to remember) this year. But the anime inspired me to read all of the manga and I’m very grateful I did. Ryoko Kui is a master. Probably the best fantasy story I’ve ever read.

Goodnight Punpun (2007-2013): Hey it’s that manga everyone treats like an SCP. Can’t say it's not warranted to some degree. If you have a headspace that’s easily swayed by any form of media, this could worsen depression for anyone going through it or with a history with it. And if not that, it’s not a very pleasant manga regardless of mental wellbeing. Very few punches are pulled, very few lines not crossed. But I do think this is the best manga Asano has made wholesale.

With the benefit of it being his longest work, Punpun feels like the most complete package. Now I’m usually pretty susceptible to any media I read/watch/play affecting my headspace. I think with my knowledge of Punpun’s legacy, I went into this with a ”Voyeur to tragedy” mindset which shielded me and left me shocked but also in awe of Asano’s abilities. Definitely not a manga for everyone or one I find myself able to really recommend. It’s to be read by those genuinely curious about it with or even because of its legacy. If you do, Punpun left me inspired and speechless at the same time.

Solanin: (2005-2006): The second work by Inio Asano I read. In some ways the more depressing one for me. I’m in my mid 20’s and am still figuring out what to do. I think the first half is stronger than the second half. The first chapter's statement that “Freedom without purpose is kinda boring” has stuck with me for a while now. The latter half I wasn’t as into, but it’s an incredibly honest story about the struggles of your mid 20’s and that expecting a grand coda to anything from it is a bit silly.

Dead Dead Demons DEDEDEDE Destruction: (2014-2022): My final Asano work for this trilogy, and wow. This one was a lot! Not even in the ways that Punpun was a lot thematically, DeDeDeDe packs so many ideas and concepts into it’s 100 chapters that somehow it’s climax, (that giving credit looking back Asano managed to elude to it somewhat), but it still feels rushed!!!

DeDeDeDe starts with what I assume was Asano showing two girls friendship (debatable) persevering through a looming disaster, also becomes commentary about social media feeding our worst habits, radicalism, and modern times in general. Sometimes it's incredibly kind and empathetic with characters like Makoto, other times it feels like Asano goes for the lowest hanging fruit for mockery, sometimes someone looks like they came from Doraemon. Intentionally of course, very aware what the Isobyean sections was meant to be a sendup of.

I can’t really get into it without spoiling which even with my mixed feelings towards the ending I don’t wish to spoil. I guess the hook for me was Kadode and Ontan’s bond and the series seems to be focusing on that. But the way everything wraps up felt way too out of left field. A manga that wanted to tackle big ideas through an intimate lens but I think it lost that balance by the end. Probably my second favorite work by Asano. Could’ve been first, oh well.

Shimeji Simulation (2019-2023): By the same author as Girls Last Tour, I probably would not have given this a shot if not for the recommendation of a friend and it’s pretty damn good. Tsukumizu has such an enjoyably loose approach to manga. Alternating between traditional page layout and 4komas that are sometimes 4.5komas, this is a manga that embraces surrealness with the most casual touch. The writing really captures depression in its most genuine sense. It’s not miserable, but it isn’t happy. If you’ve ever had days where it feels like anywhere you go is just a detour from your room, it’s like that. A manga for people who’ve had hazy brains on clear days. I’m slowly chipping through it. Maybe it’ll be 2025 when I finish it. I do recommend it wholeheartedly.

Video Games:

Dragon Quest III HD-2D (2024): Game of the year. I’ve been looking forward to this game for so long and I loved it. I’ve never played DQ3 before but this delivered on every front. The HD-2D style is what it should be (imo) with no mixels getting in the way. The story isn’t mind blowing but charming nonetheless. So many little setpieces and ideas here that feel like you can see the ripples this game would have on many games later. Not perfect of course. The battles don’t really have much strategy beyond how hard and fast you can hit and how much you minimize damage taken from getting hit. And there were some noticeable difficulty spikes with some bosses which made me pretty bitter. But I still loved this game to the very end. Definitely seeing myself replaying this and messing around more with its class system. Absolute beast of a JRPG.

Star Fetchers: Escape from Pork Belly (2024): I loved the pilot, I supported the kickstarter for Episode 1. I loved the demo for episode 1, and I loved this dlc to tide us over until Episode 1 comes out. Everything great about Star Fetchers in a quick one and done Punch Out style adventure, and a great showcase for what tech they’ve been working on for Episode 1. I can’t wait to see what they have in store.

Lunisitice (2022): I’m not crazy into 3D Platformers outside of a select few and this one might have become my favorite. It’s incredibly charming and simple. It's a game I can just pop on whenever I wanna smile a bit. Really loved it.

Celeste (2018): I’m not crazy into ~~3~~ 2D Platformers outside of a select few and this one might have become my- you get it. Really wonderful to finally play this game. I’m no platforming expert, my strawberry count was pitifully low and I’m definitely not enough of a platforming pervert to attempt the B-Sides. But the heart on display here did show me why so many love this game, and I do too.

Enjoy The Diner (2023): What a remarkably chill game. The only thing that I think matches this game's approach to writing and by extension Sci-Fi is Shimeji Simulation. And even then both of them feel a bit too different to really be lumped together. I’ve never felt a game that was so content in letting pieces fall where they may in its writing. There’s rarely a cause for panic, no urgency whatsoever. It’s another series that takes a very casual approach to surreality with sci-fi. This is a vibe, an experience to go through if you’ve ever had conversations with a friend at 3 in the morning.

Webfishing and Atlyss (2024): I will lump these two together as I hope experiences made with furries in mind crop up more and more as we go into another hell world lol. Loved both of em, chose a great year to embrace being a furry and all that brought with it.

Anime:

Dungeon Meshi Season 1 (2024): Fantastic. Trigger knocked it out of the park. I only got into it this year, but this is such a fun take on dungeon crawling. Starts deceptively simple with a fun gimmick that greatly appeals to me and my love of food, then (remember when I said I read the whole manga because of this anime) completely sidewinds you with incredibly deep pathos and some beautiful character moments. Laios and company are just the perfect DnD group. Can’t wait to see how Trigger adapts some of the later chapters and the major surprises and turns within them. Fantastic.

A decent chunk of Dragon Ball Z’s original 90’s dub: I got into Dragon Ball when the Kai re-cut was airing on Nicktoons. That was my exposure to the saga of Dragon Ball Z. So I got to watch a series with no filler and a dub that was made with faithfulness to the original script in mind (and a score that I hesitate to say is great for reasons already known if you ever followed what happened with the composer for Kai).

With friends I watched the original dub with the Faulconer score, all the filler pacing intact, and a dub with as many wisecracks the translators wanted to put in. Honestly, it was fun. I’m very aware of the debates that have been had about changes from sub to dub and had them as well. Do I like this more than Kai? No. But was it fun? Yes.

Dandadan (2024): I never got into Dandadan’s manga, but science saru’s adaptation has left me charmed and impressed multiple times. Not a lot to say, this will definitely put this series on the map for many.

One Piece (1999): Well the anime is still flexing its animation team and budget acquired since Wano Act III. Egghead is still marred by the usual pacing issues sticking with One Piece’s anime since Enies Lobby, but if you’re gonna stretch moments to fill an episode, may as well do it with the most bombastic moments you can. Can’t blame em for the hiatus as so many moments later on are gonna need a lot of tlc if they’re gonna hit. Also that opening, “Assu!” Best opening One Piece has ever had. They really should let Megumi Ishitani do more with One Piece.

One Piece Fan Letter (2024): Well hey, ask and you shall receive. This is so much more than I could ever expect it to be. What could’ve been just a cute segway into the Fishman Island recut is also the biggest love letter to One Piece I’ve ever seen. Ishitani and co. understand the heart of this series, why you love it, why you laugh at it, and all the emotions it carries. Ishitani’s style is as fluid as ever and her skills as a director make her the best thing to happen to any shonen anime ever. I need her to direct a One Piece movie. And I need all of you to experience One Piece, if not just for how good One Piece is, for how amazing this one OVA is. I left this OVA with such a big smile on my face.

Bakemonogatari (2009): I’ve known about Monogatari. I’ve always been curious about Monogatari. I’ve watched plenty of memes that recreated its eccentric editing style in other media, I also knew how much this show was accused of being for anime perverts (derogatory). After a friend's recommendation once again, I watched it.

Y'know what, yea. It’s got lots of pervert shit but it was fucking worth it for me. This was wonderful. The presentation is an acquired taste but you can acquire it as soon as Bakemonogatari ends. I loved its rapid editing style, its soundtrack, and the characters. The presentation is top notch, but I loved so many characters by the end of its 15 episode run.

Initially I pinned the go crazy go nuts girl Suruga as my favorite, though looking back at her arc Suruga Monkey is maybe one of the weaker ones in Bake. Not bad, but feels weaker in comparison. I still quite like Suruga, and both Hitagi and Hachikuji are great with arcs that measure up as well.

I got to Nadeko Snake. Loved it. My feelings on Nadeko herself are positive though I think I gotta give her time to grow on me (She can pat herself on the back for the best opening in Bake). Anyways, I was enjoying myself thoroughly. Thinking it was a good experience but maybe not something I’ll leave much with. Then the final arc Tsubasa Cat bookends ybe season.

Wow. I always liked Tsubasa. Her presence was great in the past arcs, but her arc, god it was so good. I won’t spoil but certain moments and revelations hit me close to home in ways I didn’t expect. Is Tsubasa my favorite character now? Maybe, I still have a ways to go with this series, but that arc, I like that arc a lot. I like Bakemonogatari a lot.

Kizumonogatari Trilogy (2016-17): I liked it so much I immediately jumped into the prequel that the director spent just shy of a decade making. If you want the long and the short of it, all three good, but here’s a rough recollection of my headspace throughout all 3.

Iron Blooded: Wow this movie is pretty. This artstyle is kinda fucking everything, oh the cut ins are french now that’s cool. God this movie is so fucking pretty. Holy shit what an entrance. I can see why it took just shy of a decade to put this out. Phenomenal, next one.

Hot Blooded: God this movie is fucking pretty. This series also has an incredible ost, thank fucking god, holy shit this action. God I love you Hanekawa. Also it’s fascinating watching Araragi be more in line with what is usually expected from a light novel protagonist. Bake has him as a hapless but endearing lead, but here he’s a very adolescent loner who can barely compose himself in Kizu. There’s something very interesting as both in adaptation and original publication Bake starts the entire Monogatari series. The allusions to everything that happened in Kizu were quickly revealed in publication as Kizu is the second monogatari book published. But the anime, being a passion project by the director, continued with every book from Kizu onward. I’m glad I’m watching Kizu when I do, I think having this context going forward will be nothing but helpful. But back on topic, Araragi is a very different guy here. Also cause I didn’t mention her earlier Kiss-Shot is wonderful.

Cold Blooded: God this movie is SO fucking pretty- Oh.

Now, I made a post not too long ago about how this trilogy left me with a lot to chew on. I’ll admit here, a lot of it is Cold-Blooded but the whole package really stunned me. Every praise I've lauded the last two here applies to Cold Blooded as well, even more I think. But it’s final moments cut deep for me. I wish I could elaborate more and how many incredible moments there are in Cold Blooded, but words fail me in that regard. I’ve had to think about how this is the beginning of Monogatari. This is what inspires Araragi to stop being such a loner, and choosing to live and make the incredibly meaningful bonds he develops in Bake. Araragi makes the decision to start growing up.

I wrote, like, five pages on what Kizumonogatari made me feel. And I think all together Kizu was discussed in about 2 pages collectively. The rest was a very personal mess of words. It’s weird, Kizu gave me the ability to write about things I thought I never could, but what I wrote about was a lot. And I’m too much of a coward to post that in confidence without thinking it would be unwelcome. It’s stuff I want to share one day. It’s me admitting a lot of things. If anyone is interested I’ll share. But at the moment I don’t have the confidence to talk about it without it feeling like it’s unwelcome, too much, and lacking finesse. This movie made me reflect on a lot. Mentally and Identity wise. I’ll always thank it for that

2024 was a weird one for me. Lotta good, some bad, a whole lot of introspection this fall. Let’s see what 2025 will bring.

Have a Happy New Year Everyone

Best Movie: Police Story (but also Kizumonogatari)

Best Not A Movie: Jan Svankmajer’s strange works.

Best Manga/Comic: Azumanga Daioh

Best Video Game: Dragon Quest III: HD-2D

Best Anime: Kizumonogatari Trilogy

[lichfucker]

tagged by @tallahasseemp3 ty alma!!

rules: list your top 5 films of all time in a poll and have people vote on which one best matches your vibe

I actually found it really really difficult to pick five— I don't keep a list, and I watch/rewatch tv far more than film— and I had a lot of options with very similar vibes, so let's not consider this a definitive absolute Top Five of All Time, but deffo five of the top like twelve

tagging @jaynovz @domesticatedanimals @puckgoodfaggot @kaphkas and @kallistoi do this if you wanna 💛✨✨

[faeriesgifpacks]

Mia Wasikowska gif hunt [1/?]

Under the cut are 30 textless gifs of Mia Wasikowska as Judy in the movie Judy & Punch (2019). All gifs are made by me and can be used for roleplaying purposes. Please do not repost or claim as your own.

[protestgradedunit]

Childish Things: Exhibition, Edinburgh Fruitmarket Cur. David Hopkins

Susan Hiller, An Entertainment, 1990

Susan Hiller (1940-2019) is a US-born, British conceptual artist who lived in London, United Kingdom. Her practice spanned a range of media including installation, video, photography, painting, sculpture, performance, artist's books and writing. A key figure in British art, she was best known for her innovative large-scale multimedia installations, and for works that took as their subject matter aspects of culture that were overlooked, marginalised, or disregarded.

'An Entertainment' is comprised of a video and sound installation including four synchronised recordings of scenes from ‘Punch and Judy’ puppet shows. The video is purposefully edited to expose the domestic abuse masquerading as children’s entertainment.

Jeff Koons, Bear and Policeman, 1988

Jeff Koons (1955) is an American artist recognized for his work dealing with popular culture and his sculptures depicting everyday objects, including balloon animals produced in stainless steel with mirror-finish surfaces.

In 'Bear and Policeman', an object that might be found in a childs bedroom is enlarged to be life-sized and is no longer confined to a shelf, but now looms over the viewer and his companion - a policeman. 

"The relatively diminutive constable, a symbol of authority, contrasts comically with the bear's monstrous size and relative harmlessness. Looking helplessly up at the bear, the expression on the policeman's face holds the key to enjoying Koons' work: a temporary suspension of adulthood, a return to seeing the world through a child's perspective. Koons seems to hint that the adult world, with its explicit content, greed and shame, is worth staving off." - Angelina Krahn, Art writer 

Robert Gober, Playpen, 1986

Robert Gober (1954) is an American sculptor. His work is often related to domestic and familiar objects such as sinks, doors, and legs. 

In 'Playpen', the work is remade from an object from his childhood. Ironically the playpen contains no toys to play with and does not intrinsically look like an object designed for playing in. Represents both a prison and a safe haven, a historic artefact and an entire world for a child

Louise Bourgeois, Oedipus, 2003

Louise Bourgeois (1911-2010) was a French-American artist best known for her large-scale sculpture and installation art. Bourgeois was also a prolific painter and printmaker.

The work was inspired by a statue in Bourgeois’ school. The artist’s fascination began with her misunderstanding of its meaning ‘i know they thought it portrayed the good daughter helping her blind father. However, whenever I saw the sculpture it looked to me like the incestuous father hitting upon his daughter and therefore an odd choice for a girl’s school’. The artist's rendition in fabric relates to her childhood, growing up with a family who restored tapestries and was drawn to the story of Oedipus and Freud’s theories because of her own family conflicts.

[j4m3s-b4k3r]

the rude roommate

There’s a presence following us everywhere. Insinuating itself into our lives, as we enjoy movies, TV shows and music. This rude roommate not only lives with us, but follows us to school, to work and everywhere else that we go, constantly blathering to wear us down. Posing as an indulgent pal, it offers tasty treats, with “go on, you’re worth it!” encouragements. Then, morphing into the concerned friend, it chides us “you’re getting some love handles there, buddy!” and pushes snake oil for that too. Yes, I’m talking about the shifting personas of ADVERTISING. 

You don’t truly notice the ever-present & manipulative jibber jabber of advertising till it’s not a part of your life. It’s like cigarette smoking in this. I was raised by on-again-off-again smokers, and for many years worked in offices permeated by ever present cigarette smoke. Soaking in it everywhere for my entire life, it was only upon moving to California (where it’d just been banned) that I truly became aware of smoking. After living smoke-free, I couldn’t believe the stench when visiting places that still allowed it in communal spaces. My own hair & clothes reeked of it, even though I didn’t smoke myself. Bleurgh!

Likewise, after soaking in advertising my entire life, I’ve only recently lived in a (relatively) ad-free bubble, enjoying media streaming services at home for the last few years. We just watched a movie in a cinema for the first time since 2019. Tickets were almost 20 dollars each for comfortable reserved seating in a beautiful theatre. Then we had to endure 30 minutes of constant advertising blather before the film. Not movie trailers mind you, but ads for clothes, soft drinks and so on. After living ad-free, this was excruciating, and eye-opening. Absence had not made my heart grow fonder. Quite the opposite.

The deal used to be that we tolerated the buzz of ads - like blowflies at a picnic - in exchange for free movies & music (on radio & TV). Nowadays, I pay extra for the ad-free option with entertainment media. Which is a blackmail shakedown - “Pay us, or you have to watch another incontinence commercial” - but at least I understand the terms of that arrangement. I don’t understand (or accept) any deal where I pay AND get ads too (which is why I didn’t have cable TV for very long). If theatres want us to come back en masse after the stay-at-home-years of covid, then making the experience special is key. For me, paying premium prices to watch Madison Avenue Punch & Judy shows is an absolute no no. 

Advertising is RUDE. The constant interruptions are simply annoying, but the purpose of the messages is insidious. In our real lives we are wary of people who constantly broadcast their own PR, because they’re trying to manipulate our perceptions of them. We must be on extra high alert for those who tell us what we are, because they’re trying to manipulate our own perceptions of ourselves.These are the goals of advertising’s trillion dollar industry. It is a nonstop psyop, fanning our hopes and inflaming our insecurities for profit.

“The spectacle of advertising creates images of false beauty so suave and so impossible to attain that you will hurt inside and never even know where the hurt comes from.” - Robert Montgomery

Ever since humans first gathered around fires and hearths, we’ve related to each other via stories. Stories are ‘lies’, in that many of them are 100% made up, but we know that and sharing them is fun. Besides, there may actually be a truth within the story. A parable. However, the human love of stories makes us vulnerable to manipulation by stories too. This is well known on Madison Avenue. Advertising subverts the parable, where the parable’s ‘moral’ has been substituted with a plug for Brand-X. 

It used to be that everyone was served the exact same ads at the same time, but we now live in the era of micro-targeted advertising. After sneakily looking through our private data, the rude roommate can now identify & hammer on each of our specific ‘problem areas’. Despite my attempts at internet ad-blocking, the rude roommate has a fairly accurate demographic profile of me, and websites I visit now display ads of male middle aged losers, worried about their dicks, bald spots, love handles & baggy eyes. The rude roommate has custom-curated these parables just for moi. If advertising was indeed your roommate, an actual person, they’d be the worst person you know. A passive aggressive, gaslighting master manipulator, and the last person you’d want constantly whispering in your ear. 

“People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. — They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you.” - Banksy

 “Narrative” has become a buzz word, and Hollywood folk (including story artists) now give story seminars to big companies. Wall Street, Langley, & Silicon Valley understand the appeal of storytelling, and Washington & Whitehall both use Spin Doctors to “get ahead of the story" and "control the narrative". The NSA & CIA know a little about narrative manipulation too, and even they are wary of internet advertising propaganda, and use ad-blocking software. Takes one to know one, right? Speaking of that, my own growing allergy to advertising is surely punishment for years of participation in the mass hypnosis. Yes, at one time I enabled the rude roommate, by animating parables that enticed kids to eat sugar bombs for breakfast..

Mea culpa!

Given that advertising so often subverts artforms, artists have been known to return the favour.  B.U.G.A.U.P. was a collective of Sydney graffiti artists active in the 1970s/80s who specifically targeted advertising, very active when I lived in that city. Their special brandalism defaced advertising billboards to subvert the intended message of the ad, revealing the hidden truth of the unhealthy product itself. These wittily-defaced billboards on commuter routes in Sydney were talking points at office coffee pots & tea urns each morning.

Their movement spread to other cities in Australia and even to other countries (I often wondered whether Banksy knew about them) and B.U.G.A.U.P. activism ultimately led to a ban on cigarette advertising in Australia in 1994. Advertising’s corrupted parables RE-made into truth telling parables again. Utterly brilliant.

PS: Full BANKSY QUOTE on advertising (as illustrated by Gavin Aung Than).

From www.James-Baker.com

[debtsunpaid]

DEBTSUNPAID: low activity, iconless, selective multi-muse sideblog, featuring canon characters + oc's based in nbc's c.onstantine show & vertigo's h.ellblazer comics. ( + some additional fandoms. ) all muses & mun are 18+, triggering content & adult themes will be present. everything will be blanket tagged as trigger /. multi-verse, multi-ship, crossover & oc-friendly.

studying themes such as: the sidekick's story, the villain's intentions, the ones left behind; escaping your fate, what was i made for, personal hells, how to hold a grudge, the misguided righteous, the evil by necessity, so you survived: now what?

written by oxly, 25, they/them. follows back from talentforlying but is not directly associated with / does not share canon with interactions on that blog unless plotted beforehand.

GUIDELINES ♙ INTEREST TRACKER ♙ BIOS (tba) ♙ PINTEREST

mobile roster + temp bios under the cut! TESTING: clarice sackville (hellblazer), tali (hellblazer), nat (hellblazer 2019), tommy willowtree (hellblazer 2019)

PRIMARIES

THE DEMON CONSTANTINE (hellblazer comics) — pre-#250 canon only. it/he/they, british, former golem/current demon. created from the worst parts of constantine's personality, even more spiteful and annoying than the regular one, and bloodthirsty as hell to boot. fc: comics + matt ryan.

tags. vibe: us, possessor potential triggers: alcoholism, mentions/descriptions of body horror

MANNY THE ANGEL (nbc constantine + heavy hc influence) — he/him, angelic, supposed guardian angel with secret ties to dark magic and the brujeria. manipulative shithead with a love of mind games and genuine, if sinister, interest in humanity. high tolerance/invulnerability to most weapons, painful to punch, reality manipulation & other angelic powers. fc: harold perrineau.

tags. vibe: constantine (2005), dogma potential triggers: critical discussion of religion, familial trauma, manipulation

CLARICE SACKVILLE / THE CUMAEAN SYBIL (hellblazer + dead in america) — she/her, far older than she ought to be, a horribly wronged ancient greek oracle turned socialite, sorceress, and expert in the mystic arts. a snobby opportunist and shrewd strategist who has her pet revenant, gwendolyn, hunt tourists in order to steal their spiritual essence, de-age herself, and further extend her already-much-extended life. fc: joan collins. / youthful fc: young judi dench.

tags. vibe: breakfast at tiffany's, the silmarillion (galadriel), antigone rewritten potential triggers: sexual assault-centric backstory (not described graphically), classism

KLAVIER LUZ FURCHTBAR / JALLAKUNTILLIOKAN (hellblazer-based oc + hellblazer comics) — over 40 (isn't sure), they/he, spanish-german, ex-astrophysicist, current engine of the fear machine, accidental vessel for the revival of jallakuntilliokan, the animus & fear-domain half of a twin god. a drifting maths tutor who lives their life half-in and half-out of the Dreaming after becoming psychically entangled with the fear god during its banishing, fighting a losing battle to separate their consciousness from its looming eldritch presence before it takes full possession, rips open reality, and assumes its god-form on earth. fc: daniel bruhl.

tags. / appendicular blog. vibe: solaris, the thing (1982), venom, disco elysium (the inner voices), southern reach trilogy: annihilation (the biologist + the crawler) potential triggers: unreality, hallucinations, possession/body manipulation + related body horror, psychological manipulation, backstory references to freezing to death & unwanted experimentation

ANIMA / ONDINE NASIRIAN (both hellblazer-based oc's) — simultaneously 34 and as old as creation, she/they, spanish-iranian, former artist, currently the collaborative consciousness of mortal ondine and atalakuntilliokan, the anima & hope-domain half of a twin god. a wandering wonderer at all that humanity has to offer, searching the earth for her missing half (jallakuntilliokan) in an attempt to return them to the fold and restore the fragmented balance of humanity's collective subconscious before either of them can unravel themselves or the world beyond the point of saving. fc: sarah shahi.

tags. / appendicular blog. vibe: southern reach trilogy: acceptance (ghost bird + the leviathan biologist), venom, bridge to terabithia (jesse + leslie), the skeleton twins, legion (michael) potential triggers: references to suicidal ideation (primarily backstory), possession/body manipulation + related body horror

CHAS CHANDLER (hellblazer comics) — canon-critical. early-50s, he/him, british, taxi driver, closeted bisexual, married but separated, dad. pissy dickhead who likes to pick fights and is secretly in love with his best friend. just a guy. fc: comics + owain yeoman.

tags. vibe: the world's end (andy knightly), peaky blinders potential triggers: past maternal abuse, toxic masculinity, internalized homophobia

CHAS CHANDLER (nbc constantine) — 42, he/him, american, taxi driver, repressed bisexual, divorced dad. 6'6". soft sweater guy and good cook, functionally immortal with 47 extra souls shoved in him like a walking cannoli. limited powers of self-resurrection & speed-healing. fc: charles halford.

tags. vibe: insidious (josh), the world's end (andy knightly) potential triggers: divorce, absent fathers, internalized homophobia

ELLIE (hellblazer comics) — she/her, british, disgraced succubus, ex-denizen of hell, widow of the angel tali. as treacherous as she is pretty, and still kinder than most. bummed about not being allowed home to hell, but has plenty of fun conning people here on earth. fc: comics + maggie q.

tags. vibe: it follows, hotel artemis (nice) potential triggers: backstory references to pregnancy, traumatic birth, loss of a child, stalking/being stalked, mistreatment of a sex worker

FRANK NORTH (hellblazer comics w/ nbc verse) — 43, he/him, american, former/current biker gang guy depending on whether you meet him alive or as a ghost. laid-back veteran who's just here to have a good time. fc: comics + michael trucco with a ponytail.

tags. vibe: the lost boys, ferris bueller's day off potential triggers: references to the vietnam war (?)

CHERYL MASTERS (hellblazer comics w/ nbc verse) — 56, she/her, british, human or ghost (timeline dependent), housewife and stay-at-home mum who is always about five minutes from divorce. john constantine's big sister, fiercely independent, doting mother figure, and always substituting everyone else's problems for her own. fc: comics + andrea riseborough.

tags. vibe: the haunting of hill house (olivia crain), little shop of horrors (audrey) potential triggers: mention of religious cults, unhappy marriage, backstory references to intimate partner violence ending in uxoricide

TALI (hellblazer comics + canon divergent) — he/him, fallen angel, a former guardian at the gate destroyed for falling in love with the demon chantinelle, and later resurrected by the first of the fallen to punish her. running a halfway house for supernatural strays out of the back of a laundromat while he tries to locate his wife & child and recover the powers he still retains. fc: rahul kohli.

tags tba. vibe: legion 2010 (michael), potential triggers: familial trauma, critical discussions of religion, loss of a child

NAT (2019 hellblazer comics) — testing. 27, she/her, glaswegian scottish, bouncer/former bouncer (verse dependent) at the long lugs artisanal microbrewery while doing her literature degree. hot temper and a mean golf swing, and just fucking fine until constantine showed up. fc: comics + evan rachel wood.

tags. vibe: the green room, the magnus archives (melanie king) potential triggers: N/A

TOMMY WILLOWTREE (2019 hellblazer comics) — testing. 32, he/him, southern english, hipster wizard, pun magician, and guardian of the merlintrove for the last 5 years (so he thinks, anyway). an idealist with more enthusiasm than sense, who lives above and works at the grokk & roll occult bookstore + cafe with his partners. fc: comics + matt biedel.

tags. vibe: legends of tomorrow (ray palmer) potential triggers: N/A

SECONDARIES

BENEDICK OF PADUA ( much ado about nothing ) — 36, any pronouns (introduces themself as he/him), scottish-italian, a lord, loyal soldier, class clown, perennial bachelor, and truly loyal friend who wants nothing more than to party his way through high society for the rest of her life. scoffs at the idea of love, but loves to be loved; enjoys flexing their wit, but hates to be outdone. moonlights as a drag queen named nonny nonny. formerly mustnotbeproud. fc: david tennant.

tags. vibe: romeo + juliet (mercutio) potential triggers: incessant drinking, references to recreational drug use, immaturity

RITCHIE SIMPSON (hellblazer comics) — he/it, british, quantum magic pioneer, techno-demon-slash-very-unhappy-siri-substitute. pissy little gremlin who burns sim cards like cigarettes, will correct you on everything and ruin your search algorithms for fun. electronic manipulation & digital astral travel. fc: comics + santiago cabrera.

tags. vibe: videodrome, the x-files (the lone gunmen) potential triggers: unreality, body-snatching

RITCHIE SIMPSON (nbc constantine) — 43, he/him, american, computer genius, quantum magic pioneer, and occultism professor. the georgia equivalent of a shaking chihuahua but lord if he won't bitch you out given the opportunity. fc: jeremy davies.

tags tba vibe: the x-files (the lone gunmen), mission impossible (benji dunn) potential triggers: n/a

JACK VINCENNES (adapted from la confidential + vertigo-based oc) — 48, he/him, american, closeted vice detective and professional tabloid informant. a disillusioned glory hound seeking redemption, a purpose in life, and dirt on one john constantine. fc: simon baker.

tags tba vibe: la confidential, se7en potential triggers: cop/ex-cop (verse dependent)

REVEREND RICK "THE VIC" NILSEN (hellblazer comics) — 46, he/him, british, un-priestly priest with the church of england, collector & dealer of occult paraphernalia. sardonic, sacrilegious, with a shitty little mustache and a happy poly relationship with his girlfriend and his best friend. fc: comics + con o'neill.

tags tba vibe: monty python & the holy grail, the devil all the time potential triggers: religious themes, disrespect for religion

FIONA NANTES (vertigo-based oc) — 200+, she/her, irish, ancestrally cursed to live out the lives of everyone her family has ever killed. serial killer trying to buy her and her son more time while she searches for how to break the curse by any means necessary. fc: carla gugino.

tags. vibe: doctor sleep (rose the hat) potential triggers: murder, generational trauma, references to filicide

DAMIEN WHITE A.K.A "THE PROFESSOR" (hellblazer comics + oc) — 58, he/him, british, former archaeologist and professor of anthropology bouncing between johannesburg and the british museum. paranoid occult specialist who took one look at constantine and noped out of the country. fc: jeffrey wright.

tags tba vibe: it (adult mike), the mummy (1999, dr. chamberlain) potential triggers: the british museum

EMMA KNIGHT (vertigo-based oc) — 34, she/her, scouse, divorced, formerly-possessed seamstress with lingering psychic abilities and, recently, fashion designer to hell. vain, proud, deep-in-denial wannabe-girlboss blaming everyone else in the world for her problems. fc: jodie comer.

tags. vibe: black swan, censor potential triggers: possession, past-body horror, parental abandonment

[brilliancetheory]

He won't be winning any more, because I'm going to kill him.

Judy & Punch (2019) dir. Mirrah Foulkes

[moon-of-desire]

Damon Herriman as Punch

Judy and Punch 2019

[crumb]

🎉 Happy Birthday Damon Herriman — b. March 31st 1970 THE BIG STEAL | 1990 HOUSE OF WAX | 2005 JUSTIFIED | 2010 100 BLOODY ACRES | 2012 QUARRY | 2016 THE NIGHTINGALE | 2018 MR INBETWEEN | 2018 JUDY & PUNCH | 2019 MINDHUNTER | 2019 THE BIKERIDERS | 2023

[sambarvadai]

#18 Judy and Punch (2019) - movie review

This movie reads like a fairytale. Husband and wife are having a great life, husband has a drinking problem, husband kills baby and almost kills wife, wife realises her husband (and her community) is FUBAR and goes on an epic tale of vengeance. What makes it awesome, though, is the inclusion of the familiar elements from the eponymous Punch and Judy show, taking the recurring motif of Punch hitting everyone and everything with his slapstick to make them bend to his whimsy, to its realistic, inevitable conclusion.

Punch, played by Damon Herriman (whom I had to look up because his features are just a touch reminiscent of the puppet’s hooked nose and elongated chin), is the tortured (torturing) artist, who believes he’s the greatest puppeteer of his time. His wife Judy, played by Mia Wasikowska (very awesome and very pretty), is the real star of the show, touching up the puppets, getting the coin, and taking care of the baby. The aspects of her personality that we do not pick up, like her dazzling skill with puppetry, are highlighted with the inclusion of a foil character in the second act, making Judy even more badass.

In true Punch fashion, he uses dizzyingly violent turns of phrase, threatening to bash people’s faces off if they don’t acquiesce to his fancies. He bends to the booze, resulting in the spousal abuse and baby death you see in the trailer. Judy is then found by a bunch of outcasts in the woods, having some of the few wholesome moments in the movie, before giving her husband an ending befitting of his crimes.

It’s a movie appropriate for our era, with modern colloquialisms peppered in, and electro/synth versions of classical pieces used for the soundtrack. The set design is gorgeous, and you can really see the grime and filth that was so present in those days. The movie also feels like it’s in a weird position in terms of timeline, because some of the extras aren’t white but there’s no talk of racism; people of color are present in both the vile town and the gathering of outcasts. It made the movie seem somewhat timeless, like the director had expressed in an interview.

The humor, too, was… interesting. I admit: I didn’t find it as funny as it was intended to be; it felt more satirical grimace-y than genuinely laugh-out-loud funny. Maybe that was intentional as well, showing the audience just how disturbing the original play was. The last scene was very, very nice.

However, I did feel that the gothic of puppetry and gore could have been pushed much further. The movie was nowhere as violent as I expected it to be (to be fair, I was expecting something like Sweeney Todd), with most of the gore being off-screen. This squarely shifts it from horror to comedy/thriller/historical fiction, which wasn’t a bad thing at all. Judy’s puppetry skills are highlighted time and again, but I felt its non-literal, subtle meaning could have been explored much more.

Some of the original elements of the show, like the executioner and the constable, were executed (ha) well. However, elements like the crocodile and the Devil felt like they were shoehorned in just to provide an ‘aha’ moment, making their inclusion feel weak and unsubstantiated. I was also looking for more banter between Punch and Judy, both as a nod to the original show and to show a taste of what their relationship once was before it fragmented and fractured. The plot element of the outcasts also could have been taken much further, with subtle references building up about how the people missing in the community actually harmed their way of life.

Overall, it’s a good movie–considering it’s a debut by Mirrah Foulkes, it’s a damn fine one. The fairytale elements were well and present, and it’s surprisingly satisfying to see Judy actually get back at her husband for 350 years of spousal abuse and negligent parenting. The actors are fine and vile. Special shout-out to the constable, played by Benedict Hardie, who has the most adorable characterisation. Movies like these make me wonder how this is the only film recorded in Wikipedia as being inspired by/portraying the story of Punch and Judy, because of the sheer potential and timelessness of such a narrative and such characters. That’s the way to do it.

anbudan, noon xoxo

[wintercat666]

Mia Wasikowska as Judy

(2)

Judy & Punch (2019)

[fuckyeahwomenfilmdirectors]

Judy & Punch dir. Mirrah Foulkes (2019)

In the anarchic town of Seaside, nowhere near the sea, puppeteers Judy and Punch are trying to resurrect their marionette show. The show is a hit due to Judy’s superior puppeteering but Punch’s driving ambition and penchant for whisky lead to a inevitable tragedy that Judy must avenge.

[fourorfivemovements]