#lon chaney junior

[frankendavis]

This is the second of my parodies of the Norman Rockwell classic that I trot out every November. I “hand tinted” this in Photoshop. This was done “pre-AI”.

[contentabnormal]

Lon Chaney Jr. in Tales Of Tomorrow's Frankenstein

Watercolors on Paper, 8.5" x 11", 2023

By Josh Ryals

[spilladabalia]

the Stems - Lon Chaney Junior's Daughter

[forthegothicheroine]

I am impressed that in Benicio del Toro, they were able to find a guy whose face vaguely resembled Lon Chaney Junior but much better.

[ancientphantom]

Here comes a great month for new Phantom stuff!

Horrified by Lauren DeLuca is a comedy revolving around a frazzled theater manager being harassed by mysterious accidents and disappearing performers. DeLuca's done straight Phantom adaptations before, so this one is likely to be more than a little bit the same story, this time with a humorous twist.

Erik's Tale by Jessica Mason is a prequel to her adaptation of the original story, focusing largely on Erik's childhood and adolescence and specifically his time being exhibited in the traveling carnival, in the Shah's court in Persia, and various new European adventures in between.

Phantom by K.M. Mixon is a modern-day version of the story, revolving around a young woman writer who tries to retreat to work on a book only to have to deal with both a frightening stalker obsessed with her talent and a sexy landlord who may be her only hope.

The Phantom of Netherfield by Abbey North is exactly what you might be expecting - a Phantom and Pride & Prejudice crossover, in which Lizzie inherits a theater and tries to keep it afloat while a Fitzwilliam Phantom moons over her from below the stage. (For those wondering, Raoul has been cast as Wickham, so this is not a particularly pro-Raoul adaptation, I suspect.)

Phantom: The Musical is a professionally shot version of the 1991 Yeston/Kopit musical, which is extremely popular in Asia and often sees lush adaptations. This is the newest one from South Korea, featuring k-pop idol Kyuhyun from the group Super Junior in the lead role.

Phantom Fun-World is an amusement-park slasher featuring a masked Phantom who menaces Fun World and its employees, apparently due to some past trauma or betrayal. (Fun to wonder if it owes anything to the 1979 KISS film, or the Wonder Woman episode!)

Synthwave: The Phantom of the Opera is one of those neat projects putting a new spin on the 1925 Lon Chaney film, with new custom color and music to change its vibes. (These are always cool because they come close to the original theatrical experience - the movie would have been accompanied by a live organ- or piano-player and thus would have had different soundtracks at different performances!)

[iamprchung]

Dancing in the Moonlight 4/? - The Lush Life

Synopsis:

As Mulder alienates county officials and looks forward to reveling in FBI-funded luxury (much to Scully's internal groaning), their investigation into the mysterious mountain lion attacks takes a surprising turn. Will they uncover a hidden truth beneath the gloss of Aspen's elite, or will Mulder's werewolf theory land them in hot water with Assistant Director Skinner?

Notes:

I appreciate the recent comment that Mulder is alienating everyone and not reading the room… Because that’s exactly what he’s doing!

Also, taking some “artistic liberties” when it comes to Aspen, Colorado and the fall music festival that occurs there, and the resort where our fearless agents will be staying on the government’s dime in this tale…

And I apologize, this didn't get the treatment I hoped for. But let's look to the future... like when Skinner shows up.

Dancing in the Moonlight 4/? - The Lush Life

By PR Chung

Scully continued to try calling Edward Kessler, her cell phone pressed to her ear as she left another voice mail, ���Officer Kessler, it’s… it’s Agent Scully,” she glanced at Mulder walking beside her, “again. I need to get our bags from your vehicle… if you could call me back, I’d… greatly appreciate that. Thank you.”

They walked out of the municipal complex, finding Kessler’s SUV parked in the same space as when they arrived.

“Well, he’s still here,” Mulder said, looking in through the back windows, “and so’s our stuff.”

Mulder tried the doors on the passenger’s side, while Scully tried the driver’s side. They exchanged looks through the windows. Both sides were locked.

“You know, Mulder, I can’t help but think you’re becoming obsessed with this werewolf theory,” Scully admonished as they both walked to the back of the SUV.

“Obsessed,” he distractedly repeated as he tried the rear hatch, finding it also locked. “that’s harsh, Scully.”

"Mulder, I'm serious," Scully said, her voice firm. "You… you’ve possibly alienated key people in this investigation. Sheriff Lopez could easily throw us out of here, and he'd be well within his jurisdictional rights."  She watched him return to the passenger side; his brow furrowed as he peered through the window once more. "And I don’t have a change of clothes or my computer."

He straightened, looking at her. “All right,” he defended himself, “We’ve stumbled onto something here is more than what local authorities realize. Maybe they weren’t open to the theory—”

“Maybe?” She exclaimed. “Mulder, there’s definitely something odd about these deaths, but it is not due to a mythical beast. We need to focus on who is responsible.”

Mulder opened his mouth to speak. “Don’t.” She warned him, fully expecting the defense of his theory. Before either of them could say another word, her phone trilled in her hand.

She pointed a cautioning finger at her partner and answered the call. Listening to her speak to the person on the other end of the line, Mulder studied the complex, noting that city hall housed their offices there as well.

“That was Kessler,” Scully announced as she ended the call. “He’s coming out to meet us so we can get our things.”

“Great, you wait for him,” Mulder told her and turned back toward the entrance. “And see if you can get the rental car delivered…”

“Where are you going?” she called after him.

“City hall. Our first victim, Shannon Mitchell,” he explained, hesitating at the doors, “he worked here, maybe I can find someone who worked with him to talk with.”

“Mulder don’t…” Scully started, and he smiled back at her.

“Don’t what?”

She came up to him, mindful of the people wandering the parking lot, coming and going in the complex. Closer to him, she quietly cautioned, “keep the Lon Chaney to a minimum, will you?”

“That’s Lon Chaney Junior to you.” And with that he was gone, through the door and into the depths of the municipal complex.

-------------------------------xXx-----------------------------------

“Shannon Mitchell was a breath of fresh air in Aspen.”

The 28-year-old accountant had just arrived from Chicago, his youthful enthusiasm a stark contrast to the mountain town's seasoned residents. His new position in Aspen offered him not only a grand career opportunity, but also the very thing missing from Chicago's flat cityscape - the sprawling trails that he could conquer on his beloved trail bike.

Every chance given, Shannon would rave about the area's biking paths, a constant reminder of his escape from the urban jungle. New to town and eager to explore, Shannon remained somewhat of an enigma to his colleagues at city hall. They knew his passion for the outdoors, but little else besides. Sadly, his chance to fully embrace the mountain life was cut short by a tragic mountain lion attack, leaving his new life and adventures untold.

Jen Fitzgerald sat behind an orderly desk, her heavyset frame dwarfing the office chair, her warm brown eyes, currently brimming with tears as she spoke of Shannon, her late employee.

The office manager was maybe in her late forties or early fifties, time etched in the laugh lines around her eyes, softened by the kind smile that played on her lips. A full head of blonde hair, the color of sun-bleached wheat, was pulled back in a no-nonsense fashion with a floral hairband, adding a touch of whimsy to her professional attire. A beige suit, impeccably tailored but straining at the buttons, spoke of practicality, while a large silver man-in-the-moon brooch on her lapel hinted at a hidden sense of wonder.

With a sniffle, Jen removed her large round glasses to dab at her eyes before continuing. “He was very dedicated, and I could just tell… he was going to really excel.”

“I understand this is difficult,” Mulder afforded the woman, “but do you know if he had made friends outside of the office, or maybe met up with anyone afterwork, at a local watering hole perhaps?”

“Watering hole?” she laughed humorlessly, “This isn’t Dodge City, Mr. Mulder. We have some very fine restaurants and clubs here.”

Mulder nodded, resigned to her schooling in the local sophistication. “Right, well, maybe one of the clubs then.”

“Oh no, he was far too health conscious to drink, and if he wasn’t working late here or helping the mayor, he was at home.”

“Helping the mayor? Like working late here with the mayor?”

“Oh no, Shannon was doing some tax work or something for the mayor’s businesses. He’d go to this house straight from here a few nights a week.”

“What type of businesses does the mayor have?”

Fitzgerald studied him for a moment. “Real Estate, I believe.”

“Real estate.” Mulder repeated.

“Or something like that.” She amended, adding pointedly, “I think.”

“Would it be possible for me to speak with the mayor…” Mulder hesitated, “I apologize, I don’t recall his name—”

“Mayor James W. Gunderson.” She declared as if offended by Mulder’s ignorance of the man’s name.

-------------------------------xXx-----------------------------------

“Agent Scully,” Kessler called as he emerged from the municipal building, a frown creasing his brow. He eyed her sitting on a concrete tire stop next to his SUV in the parking lot. As he approached, she began to rise. He offered her a hand up, saying, “I’m sorry about the wait.”

“It’s fine. I’m waiting for our rental to be delivered,” she dismissed his concerns.

“I was on a call with the AG and waiting for this to come over the fax.” He held up a sheet of paper.

“The salivary DNA results?” she asked, brushing at the backside of her clothes.

“Not quite. DNA testing wasn’t viable, but they found something unexpected.”

Scully took the paper from him, reading it over for a second before her eyes widened in surprise. “Whoa,” she exclaimed.

Kessler grinned. “Yeah, I thought you’d get a kick out of that.”

“Has the Sheriff seen this yet?”

“It’s been sent to his office.”

Scully shook her head, perplexed as she looked at the report again. “Cocaine,” she read aloud, then looked at Kessler. “Why was the AG testing for this?”

“They weren’t,” he answered, sounding almost delighted. “This was a complete fluke. The agent I talked to said one of their interns found the results when they used the sample by mistake for a baseline.”

“These results are… off the charts,” Scully said, squinting at the report. “If I recall correctly, a positive test for surface traces of cocaine is around fifty nanograms. But, wow, this found over sixty-three thousand on Jeffery Raven’s clothing.”

“If I recall right,” Kessler added, “his toxicology results were clean.”

“Right,” she replied thoughtfully, “so were Mitchell’s. Alice Steinman was the only victim with drugs in her system. Does the AG still have samples of Mitchell and Steinman’s clothing?”

“I’ve already requested they check and retest,” Kessler assured her.

“And they re-verified these results?”

“Twice,” Kessler confirmed, gesturing to the top of the report. “The agent’s name and number are there if you want to check. Hope you can read my writing.”

Scully nodded. “Unless this is some kind of equipment contamination…” she drifted into thought, then continued, “these deaths could be drug related.”

“A deal gone bad,” Kessler suggested. “Maybe they saw or knew something they weren’t supposed to.”

“And this certainly wouldn’t be the first time an animal was used in a crime,” Scully furthered the theory.

“No, it wouldn’t.” Kessler agreed, glancing toward the SUV as if remembering something. “Hey, we need to discuss this more, but I’ve got to head out, there’s another report of illegal dirt bikes on the trails just a ways from here that I need to check on.”

“Of course.” She understood his other duties. “One thing though, what info do you know about  Raven’s last location before his death?” Scully asked as he opened the back door and began to get her and Mulder’s bags out.

“Well, he was leaving work. Took a short cut through a wooded area that led to employee parking for the Silver Stone resort.”

“Silver Stone,” she recognized the name, “that’s where we’ll be staying.”

“Impressive. The FBI really treats their agents a lot better than I thought, it being the government and all.”

“Excuse me?”

“The Silver Stone Ridge is one of the premiere resort hotels in the area. You’re going to be hobnobbing with the who’s-who of who’s-who up there.”

“Well, I don’t know if I’ll have a lot of time to… hobnob.”

“Well in that case,” Kessler set the last bag on the ground and straightened, looking at her, the corner of his mouth curling up a bit. “Would you be able to take time for dinner with me?”

Scully offered a tight-lipped smile. “Uh…” she uttered, thinking on her feet. She certainly wasn't new to this sort of invitation from men, and while a part of her found his awkwardness endearing, it wasn't a part she had time for on this trip. “Actually, I was interested in whether or not you or Mr. Goodman could take me and my partner out to the attack sites at some point?”

“Uh… sure, certainly, of course,” he agreed, sounding awkward. “Just, um, just as soon as I take care of the bikers, I’ll, uh, be in touch with you or agent Mulder.”

 “Thank you, officer Kessler.”

He began to say something, and hesitated, as if trying to figure out what it was he was about to say. Then, “Can I ask you something?”

Scully’s eyes widened infinitesimally. What now… she thought. Was he going to ask if he offended her or if she was unattracted to him, or if he was too old, or… “Of course.”

“Is… is he serious, agent Mulder that is,” he said, looking even more uncomfortable now. “About that business with werewolves?”

Scully was almost relieved by his line of questioning about her partner’s sanity. At least she didn’t have to shore up the man’s pride with platitudes and a diatribe about professional respectabilities.

“Agent Mulder’s methods may seem a little odd, but I assure you he is a thorough and experienced investigator. We're here to explore all possibilities.”

A sedan slowly rolled up in front of them in the parking lot. The window rolled down and a young woman looked between the two of them. “Lariat rental, for agent Scully?”

“I’m Scully, thank you…” She called out to the driver with a low-key level of desperation in her voice.

“Uh, all right, so I’ll call you…” Kessler called to Scully, “or agent Mulder.. when, uh, I’m done.”

“Sounds great, thank you,” Scully replied, purposeful in taking possession of the rental.

No sooner had the Lariat rental agent departed with her ride, than Kessler started to pull out of the parking lot, leaving Scully gratefully alone to deal with loading both her and Mulder’s bags into the trunk.

“Hey, Scully,” Mulder called as he existed the building and jogged toward the rental.

Seeing Mulder, Kessler waved from the window of his SUV as he pulled away. “I’ll be in touch this afternoon…” he called back to them.

“Where’s he off to?” Mulder asked and took over from Scully to load their bags into the trunk of the rental.

“He said something about illegal dirt biking on some trails.” she answered and held up the report. “And he got us the results from the USDA salivary surface testing of Jeffrey Raven’s clothes.”

Mulder turned his head, giving her an expectant look. “And?”

“No werewolf saliva, Mulder, I’m sorry to disappoint you,” she explained, maybe having a little more fun at his expense than she should have. “But due to a laboratory mishap by an intern, a ridiculously high trace amount of cocaine was found on the clothing.”

“What?” he laughed in disbelief, taking the report from her to read.

“USDA retested twice to verify. Kessler’s requested the other two victim’s samples be retested. He’s also agreed to take us out to the attack sites as soon as he’s done with the bikers. However, we have easy access to the Raven attack site. He worked at the Silver Stone.”

He looked up at her, “the toxicology didn’t show any drugs in Raven’s system though.”

“Or Shannon Mitchell’s. Only Alice Steinman had drugs in her system. Those results must be from transfer.”

“Yeah, like he was rolling around in it.” Mulder declared as he read the results again.

“Kessler and Goodman’s suspicions about this being a dog attack could be valid if these killings are drug related.”

“We need to see what comes back from Mitchell’s samples.” Mulder said, moving around the rental to get in, “he apparently wasn’t just an avid trail cyclist and dedicated municipal employee, but also doing side work for one Mayor James W. Gunderson.”

“What kind of side work?” Scully asked and climbed behind the wheel of the rental.

“Real estate… or something like that,” he quoted the office manager. “So says his manager, or I should say ex-manager, one Jen Fitzgerald, who is definitely a champion of the mayor.”

“She’s protecting the mayor?”

“In general, very loyal.”

“We need to speak with him?”

Mulder looked at her, “He’s a very busy man.” And added for emphasis, pointing toward town ahead, “Very. Busy.”

The highway narrowed into the main street of Aspen ahead of them. Scully tapped the brakes as they entered the town limits. Traffic came to a crawl in observation of crews in neon orange vests swarmed the streets, erecting metal barricades that snaked down the main thoroughfare. Banners emblazoned with "Aspen Labor Day Music Festival" flapped over the street, streaming from storefront to storefront.

Mulder sat forward in this seat, a flicker of curiosity sparking in his eyes. "Looks like Aspen trades its hiking boots for guitars come September," he remarked, his voice laced with a hint of amusement.

“I see why the Sheriff and Mayor are so busy.” Scully commented.

Driving through town, they came up against closed streets and detours where tents and stages were going up. Meandering their way to the resort they could see why the Sheriff and Mayor were preoccupied.

The resort loomed in the distance like some bucolic monolith from a Stephen King novel. Scully took one look and knew there was no way in hell they were going to get this expense approved at the bureau.

“Mulder,” she began in cautionary voice as she found herself pulling their Ford Taurus up among luxury cars that cost more than she’d make in a lifetime.

“We are here to investigate, and that’s the valet to the left…”

Scully stared; her mouth gone slack, “we’re going to get called on the carpet for this.”

“Called on the carpet? Oooh I’d love to be a fly on the wall when you use your beguiling ways on Skinner to explain this stay.” Mulder teased her, raising his brows suggestively.

“Beguiling—?”

The valet interrupted her, smiling and waving he through, motioning for her to park the car in the circular drive. “Welcome to the Silver Stone Ridge,” he greeted her as she opened the door, “your claim card.” He handed her an opaque business card with a series of numbers on it, which she realized was the license plate number on the rental.

“How--?”

“If you should misplace this, the concierge can assist you to replace it or simply have your vehicle brought immediately to the front.”

“Now that’s what I call service,” Mulder declared with a wry smirk. “Pop the trunk, Scully.”

“We’ll take your bags,” the valet said, politely ushering her from the car and on her way.

“Come on, Scully, this is the life I’ve been hearing about…”

-------------------------------xXx-----------------------------------

To be Continued…

[turnips-dont-grow-on-trees]

Some more Jack Russell headcanons:

Jack gets really sweaty palms when he’s nervous (canines only have merocrine sweat glands on the pads of their paws)

He doesn’t have much of a sweet tooth but is really into salty foods. Because blood, lol. *points to sushi as evidence*

In his family, they shorten Lon Chaney Junior to LCJ. Not because they talk about Universal monster movies a lot, but because whenever someone else tries to be clever and make a werewolf reference, it’s always LCJ, and the Russell family likes to complain about people’s lack of originality. Why not mix it up a little with a Paul Naschy reference once in a while?

Head scritches are the fastest way to melt Jack into a puddle.

Jack can juggle. Kind of a comes-from-left-field headcanon, but: in a WIP I originally had it that Jack couldn’t juggle, but then I saw Gael juggle for a moment in Mozart in the Jungle so I just had to go back and tweak my fic.

I love the idea that Jack’s sense of smell as a human waxes and wanes with the moon, but even at its strongest I put his senses more on par with Wolverine’s than with Daredevil’s (based on movie!Logan bc I’m not familiar enough with his comics capabilities and I’m sure they vary wildly). If he had Matt Murdock’s bloodhound nose, he would have been able to smell his way directly to Ted and would not have been caught by surprise - Ted’s smell is very, very distinctive.

People who know him as a laid-back, genial guy are surprised by how riled up he gets about his fútbol team. Even amongst normal humans, being a sports fan normalizes and encourages ingroup vs outgroup dynamics and other pack behaviors; Jack isn’t really a standout here, even with his wolfish instincts. He howls cheers in triumph at his team’s victories and hurls invective at the Enemy Teams.

[thorntonkrell-blog-blog]

As mentioned ad nauseum, the story of Dr. Jekyll and Mr. Hyde has had an enormous impact on my life, particularly the concept of "turning." After Dr. J, the next huge turn character was Lawrence Talbot, played by Lon Chaney Junior, who transformed into the Wolfman through no fault of his own. Whereas Dr. J can be seen as a study in addiction and the duality of human nature, Larry Talbot was an innocent victim infected by the bite of a werewolf and turning primal.

When Talbot transforms into the Wolfman, he appears as a humanoid creature with fur covering his body. He stands upright on two legs, but his posture is more hunched and animalistic than a human's. His arms are also covered in fur and end in clawed hands. The Wolfman’s face is one of the most distinctive features of his character. He has a broad, wolf-like snout with sharp teeth and a fur-covered nose. His eyes are angry and piercing, and his eyebrows are thick and furrowed. His ears are pointed and slightly raised on top of his head, his hair is shaggy and unkempt, and yes, Warren Zevon, his hair does look good in the back.

He even becomes a hero of sorts when he battles with the Frankenstein monster in Frankenstein Meets the Wolfman.

The next great werewolf of my youth was Tony Rivers, the character played by Michael Landon of all people in I Was a Teenage Werewolf, which I saw just prior to becoming a teenager and may well be a factor in my growing a beard. He too had great hair in the back and I wanted a jacket like his. Rivers also was innocent and became a werewolf under the hypnosis of an evil doctor. Cool that we had the same last name.

When Tony transforms into a werewolf, his appearance changes gradually over the course of several scenes. At first, his face contorts into an animalistic snarl, with his eyes becoming more intense and his teeth appearing longer and sharper. His hands and feet elongate, and his fingers and toes become clawed. I always wondered what happened to his shoes. Finally, Tony’s entire body begins to sprout hair, with fur covering his arms and legs, and his clothing tearing apart as he grows in size. His face becomes completely wolf-like, with a snout, pointed ears, and yellow eyes. Somehow his jacket survives. All the transformations seemed painless. The struggle was more external than internal. The change kind of looked like fun.

The next great "turn" occurred in An American Werewolf in London (1981)—when another innocent tourist is attacked by a werewolf in the moors. David Kessler, played by David Naughton, painfully transforms into a werewolf, with his bones cracking and twisting, and his skin stretching and tearing. This transformation is excruciating as David experiences intense pain and feeling as if his body is being torn limb from limb, and his mind is ripped open with horrendous flashbacks while David’s sense of aggression and hunger multiplies inexorably against his will while he is tormented by the ghost of his decomposing friend/victim even as Van Morrison plays "Moondance" in the background of a not-so-glorious night. Definitely not fun.

Werewolf movies have disappeared of late, and I miss them, although they've already had their impact on my psyche, and it remains true that more hospital visits take place when the moon is full. Whoops, that bit about hospital visits on the full moon is baloney, although my sister-in-law, who is a nurse, insists that it's true.

Mountain wolves themselves have gotten a bad name and have been hunted to near extinction. In reality, wolves are shy creatures and avoid contact with humans unless they are cornered. They have been known to chew a leg off when the leg is ensnared in a wolf trap. Some wolves seem to take delight in soiling a wolf trap when they detect one.

So how did all this fun begin? Werewolf legends have been a part of European folklore for centuries. In French folklore, werewolves were believed to be humans who had made a deal with the devil or who had been cursed by a witch. They would transform into wolves on the nights of the full moon and roam the countryside in search of prey.

During the Middle Ages, werewolf trials and executions were carried out in several parts of Europe. In the 16th century, a notorious werewolf panic broke out in the town of Dole in eastern France, where several people were accused of being werewolves and were put on trial and executed. The werewolf legends and stories continue to be a part of French folklore and popular culture, and they have inspired numerous books, movies, and television shows including those mentioned above. The werewolf panic began in 1573 when a number of people began reporting sightings of a large, wolf-like creature that was attacking livestock and even people. The rumors quickly spread, and many people in the town began to believe that the creature was actually a werewolf.

Several of the accused were eventually convicted and were burned at the stake, while others were imprisoned or banished from the town. The werewolf panic in Dole continued for several years, and dozens of people were accused and punished for their alleged involvement in witchcraft and werewolfism. Wolves were vigorously hunted down and slaughtered. As a result, wolves nearly became extinct in France. Nobody missed them. Today, the werewolf panic is seen as a tragic example of mass hysteria. The episode is also an important reminder of the importance of skepticism and critical thinking in the face of rumors and sensationalized stories.

We picked up on the idea in America in a town called Salem when our skepticism faded in the midst of gossip and bias. Oh well. We’re a lot smarter now. Aren’t we? Nobody cries wolf anymore. Do we?

So, as we wrap up our howling journey through the annals of werewolf lore and cinematic transformations, let’s pause to reflect on the curious ways these furry fiends have crept into our collective psyche. From the dapper, almost dandy Wolfman of yesteryear to the agonizingly grotesque metamorphoses of modern films, we’ve seen our lupine legends evolve from charmingly quaint to unsettlingly realistic.

And what have we learned from this exploration of hairy horror? Perhaps that, despite the Hollywood special effects and blood-curdling screams, the real terror lies not in the full moon’s glow but in the inescapable reality that, much like our werewolf heroes, we all have our own internal struggles and transformations. After all, if we can find something to laugh about in a werewolf’s wardrobe malfunctions or the misadventures of Tony Rivers, it might just be a sign that we’re handling our own monstrous changes with a bit more grace—or at least a sense of humor.

It’s amusing to think that while we’re busy chasing down myths and legends, we might be overlooking the very real, albeit less glamorous, transformations happening in our everyday lives. Maybe the real horror isn’t the fearsome fur but the mundane reality of transforming from an idealistic youth into a slightly cynical adult who, despite everything, still occasionally dreams of battling a werewolf in a back alley.

So let’s raise a glass to the werewolf, the creature of folklore and film, and to the quirks of our own transformations. Because if we can laugh at the absurdity of a Wolfman’s stylish back hair or ponder the practicality of Tony Rivers’ surviving jacket, then surely we can find some solace in the notion that we’re all just a bit of folklore and a dash of cinema away from understanding ourselves a little better.

And as for those hospital visits during a full moon? Well, they might just be as true as the werewolves themselves—or as true as the next urban legend. Here’s to the myths that entertain us, the folklore that fascinates us, and the transformations that remind us we’re all in this bizarre and whimsical story together.

[bryancroidragon]

You know it is kind of weird that the 1920 film adaptation of “The Last of the Mohicans” is the only adaptation of any Leatherstocking Tale to feature Chingachgook with his hairstyle from the novel: a tuft on his bald head.

Did Lon Chaney Junior go for that look in the television show “Hawkeye and the Lost of the Mohicans”, which for its time was the most accurate portrayal in 1750′s North America?

No, he had the braided look.

Did the 1967 film adaptation of “The Deerslayer” retitled “Chingachgook the Great Serpent” that thoroughly researched the setting?

No, goes for the flowing hair look.

Did the most faithful adaptation of “The Last of the Mohicans” from 1971?

No, still flowing. 

Did Russel Means, the first American Indian to play the character, have that in the 1992 remake of the 1936 adaptation of “The Last of the Mohicans?”

No, braided again.

How about Rodney A. Grant, the second American Indian to play the character, in the television series “Hawkeye?”

Take a wild guess.

How about the animated adaptations?

Lets start with the 1975 adaptation from Hanna-Barbera.

Braided with his braids behind his back.

How about the 1987 adaptation from Burbank Films Australia?

A... A Mohawk with a ponytail... Well, that is certainly different.

How about the animated series from Mondo TV?

No, braided.

It is so strange seeing the earlier adaptation having the correct hair style but later adaptations just going for the long haired look with either braided or flowing hair... Of course, the Mohawk and ponytail is still the odd one out.

[rlainarin]

I can't believe there isn't a Shatner version of Werewolves of London

[divasdamselsandsmudgedmascara]

Actress Spotlight: Susanna Foster in “Phantom Of The Opera”

Back when I was a junior horror fanatic, one of the first films I saw of the genre was the horror extravaganza from classic Universal, Phantom of the Opera. I must’ve been all of seven or eight years old and I was hooked! It was a gorgeously done early version of the classic Gaston Leroux story (later made infamous by Andrew Lloyd Webber's 1985 musical) about a man in a mask, a beautiful opera singer, and the phenomenal lengths he would go to make her a star of the Paris Opera House.

The original early ‘90s VHS cover art I know and love

The 1940′s was a golden era for Universal. They were known for their all-star horror movies, something that got started back in the early 1930′s with legends such as Bela Lugosi as Dracula and Boris Karloff as Frankenstein. Horror was a movie genre in the process of being refined and perfected. The stars who populated these movies were experts at combining the danger with the humanity, such as Karloff, Claude Rains (starring here as the Phantom), Lon Chaney, Jr. It was a bit of controlled "danger" with the lurking cinematic monsters in the shadows, whether it be a man stitched together with disparate body parts, a musician driven mad and into the sewers, or an English aristocrat transforming into a wolf at the full moon and snarling for prey in the fog. Universal's horror was expertly done movie magic and a unique form of escape catering to the darker edges of imagination, propelled by the industry's fantastic talents.

Book Info here

But with many horror movie villains or antagonists, you needed a starlet opposite him!  The ones who are truly remembered as formidable talents of their own are women who gave unforgettable performances in film history, greatly respected by the fans many years later. One of my personal favorites of these actresses was the talented Susanna Foster.

Born Suzanne Larson, Susanna Foster came about in a unique period in Hollywood history where young women who were double talents (actresses and singers), were being especially pursued for their skills and transformed into stars by the old studio system. Her rivals at the time were girls like Judy Garland and Deanna Durbin, entertainers who were blazing a path for themselves in a variety of popular musicals and comedies and for rare stars like Garland, a legendary career that encompassed everything from drama to live concerts.

Susanna Foster was one of those singer/actresses and began appearing in movies as early as fourteen years old, such as 1939's The Great Victor Herbert.

When she was only nineteen years old, she did the film that she is most well known for, the character of 'Christine DuBois', the young opera singer whom the Phantom is determined to make famous at ANY cost, in the haunting and exciting 1943 epic Phantom of the Opera.

You can tell when you watch the first few minutes of Phantom that a lot of talent and attention to detail was put into this production. Claude Rains as the 'Phantom' gives intriguing dimension to the role, infusing a great deal of humanity and heart to a character who could’ve easily been turned into a cheap villain. As Erique Claudin, the violinist who becomes disfigured through his own violence and frustration, he becomes a man who latches on to the one person who makes him feel that his existence still has meaning even though he has sunk to the lowest (literally AND figuratively) part of his life. Susanna Foster plays the woman Christine whom Erique falls into a deep obsession with, a very talented opera singer whose skill he is fanatically determined to foster and push to center stage. 

Christine is a rising soprano who's caught in mysterious circumstances between a man (Rains) whose madness has caused him to fixate on her because of what he feels is her greatness. Susanna gives vulnerability yet kindness and strength to her depiction of a woman who finds herself caught in the Phantom's path of increasing mania. She is graceful and sophisticated but at the same time, brings a genuine feeling of warmth and compassion to the role, grounding the more colorful, melodramatic qualities of the film, making the production a true delight to watch! She skillfully balances the personality elements in the role, really understanding who Christine is, the kind of lady the Phantom has dedicated himself to, albeit he has done so in an unhinged way. Christine is a refined performer but still a humble lady, grabbing the audience's empathy and identification with her right away.

There've been a great many adaptations of Leroux's story throughout the years, of course, the most famous being the Andrew Lloyd Webber musical. The feeling and personality of the characters have been interpreted in different ways but it’s not at all difficult for me as both a classic film fan and a Phantom fan, to choose which one most speaks to me, has encompassed everything of what I feel is the heart and soul and inherent sadness of the tale. This one wins out.

Also, the aesthetic of the film itself is stunning! The sets and costumes (the former designed by Vera West) are nothing less than what I'd describe as utterly lavish; sumptuous, eye-popping, but also dark and elaborate creations that leap off of the screen, emphasizing the larger than life quality of the entire production from the beaded gowns of the Paris Opera House to the desolate sewers of Erique Claudin's lair. The film is steeped in Victorian gothic atmosphere which transports the viewer to a long ago time and place, a brilliant piece of retro movie magic!

I often feel that while a story or adaptation itself can be timeless, the style in which it's taken from the words on paper to its full visual height onscreen is of the utmost importance. Universal in the 1940's was investing a lot into its horror and really taking the genre to new artistic heights. The colors were never brighter and there was, in my opinion, never so much passion and spirit poured into the telling of this tale than with this *somewhat* underrated version. Everything was of the highest quality--there would never be another Susanna Foster, Claude Rains, Nelson Eddy (as the romantic male lead Anatole Garron, who is in love with Christine) or Arthur Lubin (the director of Phantom). The music itself, composed by Edward Ward, was another star of the movie, every bit as important as the action onscreen, performances and costumes. It breathed a new life into this gothic tale.

Lullaby Of The Bells--listen here!

Foster herself gave a freshness and added dimension to the character of Christine. Looking back on the film, I also noticed something I really enjoyed about her interpretation; how natural and flowing her performance is in what could be considered quite a difficult part. Her Christine is strong without being strident. She is a capable and intelligent woman, self-possessed but down to earth. She doesn't fall into the hysterical or histrionic cliche' but keeps the character at a steady and even keel, even while encountering the shadowy enigma of the man who has invaded and is attempting to control her life and ambition, albeit for his own positive but misguided reasons. 

I cannot stress enough as well the authenticity Susanna's voice lends to the role of Christine DuBois. She really makes you understand why the Phantom believes in her so much! By selecting a woman with such strong and exuberant operatic talent, Universal created an unforgettable female protagonist in this version. With ‘Christine’, it is actually Foster who has much of the emotional weight of the film on her shoulders. Without a genuine and believable Christine, the Phantom’s quest falls flat. She does not fail in making the audience understand why the Phantom is so entranced with her talent and charisma. She brought exceptional screen presence to this film, carrying with her a beautiful, strong and clear voice that pierces through the celluloid and within the story, the tortured spirit of the lonely Erique Claudin.

Originally made famous in Hollywood by the iconic Lon Chaney as the anti-hero phantom and Mary Philbin as Christine Daae in 1925, Phantom of the Opera has been a story that's both captivated and thrilled the movie-goer for decade after decade, with different styles and vibes, new Phantoms and Christines and many more lavish productions to enjoy. However, the chemistry between Susanna and Claude is the most realistic and empathetic to me.

Susanna experienced a time in the spotlight with Phantom, following it up with a starring role in the intended sequel to Phantom called The Climax in 1944, opposite Boris Karloff. Intentions were not the result however, and the film being the continuing story of Christine were scrapped, it becoming something different altogether. Susanna's combination of voice and acting talent were something special nonetheless and propelled her to the spot of legendary leading lady, despite her small filmography. She had a life filled with creative, professional and personal ups and downs, leaving Hollywood and the filmmaking world behind altogether to pursue an operatic career, touring with her husband in the early 1950′s. But her experiences were bittersweet...

After a short but successful career in the movies, her singing career became her main focus and she toured several years later with her husband, Wilbur Evans, who was also a professional opera singer. The days of the studio system and stage were put behind her as she worked to take care of her two sons in New York City over the decades, and her family went through their own journey and personal struggles throughout their lives.

Screencap taken from a rare 1985 interview where Foster discusses her life & career, financial difficulties, and her decision to leave Hollywood behind 

Foster passed away in 2009 but the memory of Susanna Foster's singing voice and luminous screen presence continues to live on in the world of celluloid and the hearts of classic film fans.

This production of Leroux's epic romantic tragedy reached the finest level of performance and cinematic artistry. Susanna Foster and Claude Rains as Christine and Erique were immortalized beyond even the trappings of the Universal horror spectacular. If you really look at the story, they were simply two individuals each dedicated to their craft of making music and longing for their art to push them towards greatness. Erique Claudin was a man who had been backed into a trap based in his own desperation and longing, his mind broken under the pressure of wanting something *and someone* so passionately (fame as a great composer and the lady he loved), but never obtaining because of the forces around him. Ultimately, poverty, stress and despair was his undoing, as it is for many talented, downright gifted people throughout the years who've lost out on reaching the potential they’ve deserved. Christine was a creative who DID enter the realm she'd always wanted to be a part of but who was being propelled by forces both within, like her grace and talent, and without, such as Erique’s frenzied determination. This story of Phantom of the Opera is to me at least, the ultimate representation of the madness that can occur when one human being tries to live through another. It is also an examination of when the natural lightness of love morphs into darkness and obsession.

If you're looking for a film that captures your imagination, 1943's Phantom of the Opera is most definitely a worthy way to spend a few hours. I recommend lots of popcorn, a hot beverage, and a thick blanket while you enjoy the dazzling costumes, fascinating story and technicolor glamour and song. Enjoy! 4 stars.

[frankendavis]

A little something I made years ago as a demonstration for one of my student assignments. Absolutely no AI was used in the creation of this, or as my friend Eric calls it, “Pre AI”.

[contentabnormal]

Lon Chaney Jr. as The Wolf Man

Watercolors on Paper, 8.5" x 11", 2023

By Josh Ryals

[cornsword]

I know people are in shock and I don’t want to spread conspiracy, I wouldn’t have believed it myself had I not been a witness, but I saw Lon Chaney walking with the Queen, doing the werewolves of London. I saw Lon Chaney JUNIOR walking with the Queen, doing the werewolves of London. It’s time to wake up people.

[plush-anon]

Would you ever write... a Scooby Doo and Phantom of the Opera crossover?

Ooooo, that would be a tough one to do. I would LOVE to say yes... but I honestly don’t know what I would really write, if that makes sense. 

(now allow me to vibrate intensely in place and hyperfixate over two of my earliest and most influential fandoms for about a thousand words please and thank you)

As much as I love these two fandoms (and I REALLY do. POTO 2004 helped pull me out of a REALLY ugly spiral in middle school - I dare say my worst - and Scooby Doo was THE fandom I first wrote/posted fanfiction for), meshing them would be... difficult.

Some Scooby properties have already played with Phantom some - Stage Fright actually did okay on their Phantom monster figure, esp in that he was a spirit focused on ego and NOT obsessing over Daphne (like they’ve done in other films - thanks Music of the Vampire TT_TT) - though considering every OTHER misstep made in that movie, it’s a damn miracle they even got THAT right. And Be Cool Scooby Doo had an episode with a Ghostly Prima Donna that hits a lot of the same points - amazing opera singer who wreaked havoc on a theatre when scorned by the owners.

(And if you wanna get into the actor side of it, Lego Scooby Doo: Haunted Hollywood’s plot focused on the ghost of a Boris Karloff/Lon Chaney Sr mashup haunting the studio with his horror characters, with the unmasking being the Mashup Actor JUNIOR wanting to carry on his dad’s legacy, a la Lon Chaney Jr. Again, not a great movie, but the mystery/monster element was handled alright)

The meshing of the two doesn’t really inspire much plot to it that hasn’t already been done to pieces. If it’s just a traditional Scooby mystery at a music competition the Phantom is trying to control/ruin, well - just see the above examples.  Regardless of the rest of the movie/episode’s flaws, WB actually did okay with the Phantom-esque elements. If it’s a modern POTO retelling with Mystery Inc trying to stop the Phantom, then, well. It’s basically rehashing Sherlock Holmes and the Phantom of the Opera adaptations all over again (of which there’s at least five and a comic miniseries - no joke, those actually exist), but with wacky hijinks and a talking dog. Not much new or interesting there, IMHO.

It would be VERY tired, low hanging fruit to have Daphne get kidnapped as the Christine replacement, and Velma’s family history is firmly established in Germany from Frankencreepy (and while that movie has... many problems, Velma’s family backstory is actually pretty damn good on its own, barring some minor quibbles over details mentioned).

I guess you could do Fred as like... the descendant of Raoul and Christine? Christine was OG Swedish in Leroux, and Fred’s family is primarily blonde and blue-eyed by WNSD standards (I refuse SDMI on principle). There could be something about Fred being targeted by Erik for conflicting reasons, his spirit sent into extreme emotional flux with what was Raoul and Christine’s great-great something grandson, while another mystery goes on framing Erik for something else... There could be something there, but I wouldn’t be the one to do it; main reason being, I am NOT great at writing Fred. 

For me, Fred is a difficult character to write, period; I have a better time of it with the live action Scooby movies Fred because I can play around with the flaws (read: bashing in the first movie) more. Fred in general is a tough character to write bc he’s played as the straight man, the generic leader (tho I forever mourn my lost draft of my post-SCOOB AU mashup with Orpheus in Eurydice - I actually had him there! *cries*).

More recent stuff plays around with him being an engineer - BCSD played him up as a neurodivergent mechanic, and I love that one to pieces - or a charming enough if frustrating at times himbo (WNSD), or in some cases an obnoxiously jealous dumbass who doesn’t know how to use buttons or listen to basic fcuking instructions (Moon Monster Madness, Music of the Vampire, also WNSD) or occasionally the dude SO obsessed with the Mystery Machine he may actually want to fcuk it (Frankencreepy, Happy Halloween SD!).

On the whole though, he’s not one ever really associated with music except when forced unrealistically (see again, Stage Fright for the sake of Fraphne baiting that they NEVER fcuking act on in these movies, to the point it’s legitimately frustrating and cheap to pull - Stage Fright esp so, bc Fred and Daphne spend the ENTIRE goddamn movie talking about having feelings for each other, KISS ON STAGE, and WHAT do they do?!? WHAT DO THEY DO?!??!?! THEY QUESTION THE KISS AND REVERT BACK TO STATUS QUO GODDAMNIT IT I’M JUST WHY) or when the gang is suddenly a band (WNSD, Legend of the Vampire, a background shot with him playing guitar in Witch’s Ghost, BCSD Screama Donna) or both (honestly all of the above, though BCSD played it for laughs best with Fred on the drums).

The closest we EVER got to Fred being interested in singing/music was an old ‘Behind the Characters’ short Hanna Barbera made for Cartoon Network, where Fred admitted he used to be in theatre and loved singing tunes from Showboat.

So him being the tie to Erik feels like a dead end to me. Not impossible, but still just... yeah, not a clean fit in my mind.

As for Shaggy and Scooby... they have enough problems to deal with without adding Erik on top of everything else. ‘Nuff said.

So yeah, unfortunately I have to say no on this one. There’s nothing I feel like I could do in them that wasn’t already tired (as opposed to the ROTG/POTO mashups I thought up forever ago), but hey, that could just be me.

[schlock-luster-video]

Today in horror / monster movie history: on March 20, 1953 Man Made Monster debuted in France.

Here's a portrait of Lon Chaney Junior to mark the occasion!