#matt lemay | Explore Tumblr Posts and Blogs

fridaythe13ththeseries · 2 years

Text

Scarlet Cinema

Episode Recap #42: Scarlet Cinema Original Airdate: February 25, 1989

Starring: John D. LeMay as Ryan Dallion Louise Robey as Micki Foster Chris Wiggins as Jack Marshak

Guest cast: Jonathan Wise as Darius Pogue Julie Stewart as Carissa (as Julie A. Stewart) John Graham as Blair Westlake Peter Messaline as Professor R. Schwartz John Swindells as Taylor McDougall J.R. Zimmerman as Detective Matt Birman as The Wolf Man

Rest of cast listed alphabetically: Evelyn Ankers as Gwen Conliffe (archive footage) Lon Chaney Jr. as Larry Talbot - The Wolf Man (archive footage) Fay Helm as Jenny Williams (archive footage) Bela Lugosi as Bela (archive footage) Maria Ouspenskaya as Maleva (archive footage) Claude Rains as Sir John Talbot (archive footage)

Written by Rob Hedden Directed by David Winning

Open on a theater airing a screening of the Universal Monster classic The Wolf Man. College student Darius leaves at the end, walking to an alley. Under the full moon, he recites the werewolf lore from the movie as he scratches a wolf's paw across his chest, drawing blood. Unbeknownst to Darius, he is being watched by other college guys. His hope of becoming a werewolf is dashed, and the guys reveal themselves, and that they filmed him.

Another day, at film class, the professor is talking about classic films and seems to dislike Blair, the guy who filmed Darius, and engages more with Darius. Blair signals a friend, who turns off the lights and projects the footage of Darius on the screen, for the whole class to see his werewolf ritual. Students laugh, Darius is embarrassed, Blair continues to egg him on. Darius recalls scenes from the film before taking off. A female student, Carissa, seems to feel bad.

At Curious Goods, the gang is doing clean up and repairs, Jack knocking broken glass out of a window pane. Carissa shows up at the store, looking to rent some items for her student film, specifically masks, and when she mentions needing a camera, Jack knows a guy.

Later, at McDougall's pawn shop, Carissa is happy to get a deal on a camera. Darius comes in, and Carissa talks with him, looking forward to his project, and saying how sorry she is about what happened in class. She tries to raise his spirits. Darius spots an antique camera in a case and checks it out. McDougall says it is from 1930, but it's not for sale. Darius is adamant, but McDougall says no. He goes to get payment from Carissa, and Darius uses the distraction to steal the camera and take off.

Back at his dorm room, decorated in Wolf Man and other film memorabilia, he tries out the camera and gets depressed. The camera moves on its own, and Darius picks it up and looks inside. He sees McDougall from the shop, then Lon Chaney's transformation scene from The Wolf Man play out. After the scene where the Wolf Man prowls the cemetery, he appears at McDougall's pawn shop, stalking the man, who has noticed the stolen camera. McDougall then hears noises, thinking Jack has arrived. But the werewolf breaks in and kills him. Darius has seen this all through the camera.

Outside the pawn shop, the cops and a crowd surround the place as Jack approaches. He sees his friend's bloody body carried out on a stretcher. The cop tells Jack it looks like a wild animal killed him. Darius is in the crowd, also watching.

Back at his dorm again, he holds the camera and tries to figure it out. He pulls out the film and sees words written on it: "3 DEATHS AND YOU GET YOUR WISH". He looks at the Wolf Man poster and recalls more of the film, specifically scenes of Larry after he has turned human again, and sees the mark on his chest. Darius also sees this mark on his chest.

At the store, Micki and Ryan are talking about Jack not coming home last night when he does finally return. He is quiet, then tells them about McDougall's murder. Micki asks if he thinks one of their items are involved. Jack tells Ryan to return to the pawn shop, since a camera was missing, and wants Micki to pull out the files on werewolves, to their surprise.

At school, Darius asks Carissa how her project is coming. With this new found confidence, he attempts to asks her out when Blair interrupts. Darius takes off, and Carissa calls Blair an ass. Later Blair and his friends are walking and this time, Darius is recording them with the antique camera.

Ryan, investigating the pawn shop, notices the theater across the street showing The Wolf Man. He goes inside, where Darius is yet again watching the film, mouthing all the dialogue, which Ryan notices.

At the store, Jack is frustrated with not finding anything in the manifest relating to werewolves. Micki isn't having luck with the files, either. But Jack is sure some cursed item is involved. Micki thinks Ryan might be having more luck.

On the school campus, Ryan is following Darius, but loses him as he goes in his building, then spies him watching from his bedroom window. Ryan enters. Darius plays the camera, watching Blair walk to his car. Ryan looks for Darius' room. Darius keeps watching the film, as the werewolf approaches Blair in his vehicle. Suddenly, the werewolf pulls Blair out of the window and mauls him, killing him. Ryan hears the noise and knocks on Darius' door, pretending to look for a friend. Darius tells him he's busy and shuts the door, but Ryan has noticed his Wolf Man decor. Darius watches Ryan leave from his window, then uses the camera to tape him. Ryan notices that, too, then hears a wolf howl. Suddenly, Ryan is being chased across campus by the Wolf Man. Ryan gets into the car and thinks he's safe, then the Wolf Man breaks the window an tries to attack, but someone hears the commotion from Darius' room and tells him to keep it down. This distracts the werewolf from its attack. Darius tells the monster to be patient.

At home, a shaken Ryan has told Micki what happened and she is looking at his torn jacket, glad he wasn't bitten. Jack comes down, having found the camera in the manifest, thinking this must be the one stolen from McDougall's. Ryan tells them about Darius and his room, and Jack says they need protection before going back. He heads out to get silver bullets.

At school the next day, the professor acknowledges Blair's death, but says life goes on. Darius sits next to a surprised Carissa, as the professor begins his critiques, and first up is Darius' Wolf Man film, which includes scenes from the movie as well as Blair walking across campus and his attack by the werewolf. Everyone but Darius is shocked to watch this. The professor calls it irresponsible filmmaking, to Darius' surprise. The teacher goes on to say he wanted to burn the submission. Darius pulls out the camera and records the teacher and leaves the class.

Jack returns, having had a friend make six silver bullets, and says someone matching Darius description was there before him and had one bullet made. Ryan tells them about the death of a student when Carissa arrives to return the masks she borrowed. She hears them mention Darius and tells them about what happened in class. She also tells them about Darius and the werewolf ritual, and they all head off, fearing for the professor's life.

In his room, Darius picks up the camera and sees the werewolf stalking the professor in his classroom. Ryan, Micki and Jack arrive at the school and hear the commotion and enter the classroom, calling for the professor.

In his dorm room, Darius is approached by the wolf man. The creature snarls, then bites Darius, as he had hoped. Darius pulls out a gun with the silver bullet and shoots the monster, killing it before it dissolves. Darius hears a howl, looks at the full moon, then begins transforming.

The dorm is in chaos at all the noise, and Ryan and Micki arrive, with the loaded gun. Darius transforms as he recalls scenes from the film. Ryan breaks in as werewolf Darius leaps out of his window. Micki grabs the cursed camera. They find Jack and fill him in. Jack seems to have figured out how the camera works, and they rush off to find Darius.

Walking alone, Carissa hears a wolf howl. Darius is walking and reciting the werewolf lore. He stalks Carissa, telling her to not be afraid. She is shocked to see him, and Ryan shoots toward the werewolf, scaring him off.

They all arrive at the store, Jack has Micki take Carissa to the vault and tells Ryan to check the windows. Ryan gives Jack the gun. Once it is all secure, Jack sends a reluctant Ryan to the vault, as well. They hear wolf howling, but Ryan listens. Jack waits in the store for Darius.

Werewolf Darius breaks down the doors and attacks, Jack shoots but misses and the monster knocks him out and heads to the vault. He pries the doors open, looking for Carissa, and remembering The Wolf Man chasing Gwen in the film. Darius grabs Carissa and carries her upstairs. Ryan pulls film out of the camera, saying it is coating with silver nitrate. They rush after them, and Ryan wraps the film around the werewolf's neck, choking him, and burning him until he collapses. Micki and Carissa help Jack up, and he goes to Darius, who transforms back to himself as similar scenes from the movie play out. Darius, human again, lies dead.

Next day, Micki is cleaning up, as bandaged Jack and Ryan join her. Ryan wonders why Darius wanted this, and Micki says "Be careful what you wish for", and they all finish with "you might just get it." The last shot is claw marks on the wood outside the store.

My thoughts:

This has always been a favorite episode of mine. The liberal use of full on scenes from The Wolf Man make is quite intriguing and fun for fans of that classic, like myself.

Did notice some plot holes, like Jack saying McDougall had just reported the camera missing from his store, but when we see his death through the camera, he has only just noticed it missing before he is killed, no time to report anything.

And when the professor rips apart Darius' film, he says that replicating Blair's death is in poor taste, but the film clearly shows the actual Blair and his murder. Shouldn't he have alerted the cops to this, since is clearly seems like Darius recorded the murder and appears to be complicit in it?

Confused a bit how the camera also plays sound from what Darius watches, and at a loud enough volume to make others aware of the noise? I don't know much about vintage cameras, but I seem to doubt a camera from the 30s would also be replaying sound as it is watched. Maybe a perk of the curse.

Loved Darius' dorm room decor. Pretty nice tribute to the Wolf Man and classic films, and I think there is also a glimpse of a poster for Friday the 13th Part VII: The New Blood. Cool!

Also liked the little repair work the gang is doing to the store, only to have the werewolf do so much damage they feel like they are back to square one at the end.

I also like when the cursed items seem to be almost "alive" and proactive in getting the person to use them for their own ulterior motives. Usually the price needed is told to the user almost subliminally, but here it is spelled out on the film strip itself!

Fun episode, if you are a fan of the show and The Wolf Man.

Next week: The Mephisto Ring

#episode recap #season two #camera #film camera #werewolf #the wolf man #lon chaney jr.#claude rains #evelyn ankers #jack marshak #micki foster #ryan dallion #john d. lemay #robey #louise robey #chris wiggins #80s tv #horror

0 notes

kenyatta · 6 years

Link

Stories like the above play out minute after minute, day after day, at organizations all across the world. Millions of “Quick Q”s are sent off as a well-intended way to keep people in the loop without asking too much of them in the moment. But each of those “Quick Q,”s and each of the “re: re: Quick Q”s it spawns, can represent a bottomless and unbounded time commitment to the people who must receive, contextualize, and prioritize them. An email thread that takes less than a minute to start can wind up collectively costing days of productive time before it is resolved or abandoned.

And yet, nearly every organization I’ve worked with is much more concerned about the time they spend in synchronous meetings than they are about the time being lost to open-ended, asynchronous “pings.” In the interest of minimizing the time spent in synchronous meetings (or as a result of being “too busy” for such meetings), I have seen many teams fall deeper into asynchronous communication patterns that ultimately consume the vast majority of their collective time and energy.

#work #email #asynchronous communication #matt lemay

24 notes · View notes

watching-pictures-move · 3 years

Text

Put On Your Raincoats #17 | The Erotic Reveries of Rinse Dream

Cafe Flesh opens with a title card orienting us to its post-apocalyptic setting. After a calamitous apocalyptic event known as the "Nuclear Kiss", the world is made up of 99% "Sex Negatives", and 1% "Sex Positives". The Sex Negatives can't have sex and can only watch. The Sex Positives escaped such a fate, but are instead forced to perform for an audience of Positives for their vicarious enjoyment. There are many such venues but the one we spend the movie in is the Cafe Flesh of the title, a nightclub where the decor and patronage evoke a cross between punk rock and retro-futurist aesthetics and a hint of Rat Pack era cool. A smarmy comedian in a white tuxedo introduces the sex acts, which are elaborately staged performances that play almost as genre parody with their tongue-in-cheek choreography (plenty of costumed grinding, as with a performer in a rat costume early on, and mimed thrusting, as with another performer in a pencil costume in a later scene) until the turn into the real thing with the requisite close-ups. Futuristic jazz reminiscent of Angelo Badalamenti's music plays over the proceedings.

This serves as the background to a story about a woman who may or may not secretly be a Positive (played by scream queen Michelle Bauer and, in certain scenes, a body double) and the impending arrival of a legendary Positive performer known for his virility (a towering, square-jawed Kevin James, introduced in black sunglasses and an oversized blue suit). We also get a sense of the tensions in this nightclub ecosystem, particularly between the heroine and her boyfriend, a new performer, the comedian, the owner (who puts the comedian in his place in one scene by having him cruelly recite "the rhyme"). (The comedian is played by Andy Nichols and the owner by Tantala Ray, both of whom played interview subjects in Gregory Dark's Devil in Miss Jones two-parter, which leads me to believe the latter was influenced by this movie, as Nichols in particular doesn't have many screen credits.)

This movie apparently was a bit of a success in the midnight movie circuit, and it's not hard to see why, based on the strength of the mise en scene and the performances. The cool, smoky backgrounds of the reaction shots provide a nice counterpoint to the avant garde looking performances and give the highly stylized setting a nice evocative quality. There's also a level of genre commentary here, as the story ultimately is about the heroine's agency over her pleasure and the roles sex performers are forced into by greater society, ultimately imprisoned by their own abilities. Truth be told I found the performances got a little less enjoyable when they got down to business with the penetration and whatnot (it gets harder to pull off inspired choreography when one of your appendages is stuck in another person, or vice versa), but I also think it's necessary for those themes to resonate.

Cafe Flesh was directed by Stephen Sayadian, credited as Rinse Dream, and he'd previously used that pseudonym on Nightdreams, for which he co-wrote the screenplay. (The director was Francis Delia, who went on to a career of directing mostly music videos and television, while the other writer was Jerry Stahl, known for his memoir Permanent Midnight, as well as writing for shows such as ALF and movies such as Bad Boys II.) This movie similarly concerns agency over female pleasure and is about two doctors (Andy Nichols and Jennifer West) conducting experiments on a mentally ill young woman by inducing erotic dreams and monitoring her brainwaves. There's a dream involving a giant, monstrous jack-in-the-box. There's one with a pair of cowgirls and something other than a gun stored in a holster, with the cowgirls spouting stilted dialogues in robotic monotones, a Sayadian trademark of sorts. Wall of Voodoo's cover of "Ring of Fire" plays over the action (I'm not sure if they paid for the rights, but Delia and Sayadian did direct videos for the band). There's one with a group of bedouins sharing a hookah and then her. There's a giallo-esque scene involving a masked assailant, but this happens after an aborted nightmare about a shrieking man with a hollow chest from his pants emerges a shrivelled up, monstrous baby. Did David Lynch jack off to this? I wouldn't rule it out, folks.

There's a scene where she blows an anthropomorphic box of Cream of Wheat, while a jaunty cover of "Old Man River" plays on the soundtrack and a man dressed as giant piece of toast dances and plays saxopohone. An IMDb user review cites this scene for its cutting racial commentary, but I found this tonally jarring with the rest of the movie. After this, there's a trip to hell where a demon and his minions subject her to such horrific tortures as prodding her with a giant claw and then an even more fearsome double-pronged contraption. The scientists argue over fears that they gave her too much stimulation. ("This woman's on the brink of an orgasm. Let her enjoy it. She doesn't need interruption from a man." "You call it orgasm. I call it breakdown.") The movie then makes way to its final set piece, involving fog, a background of blue sky and pillars and soft piano music. The cinematography in this scene is in stark contrast to the mostly shadowy, intimate imagery of the previous scenes, with the camera pulled up to admire both their bodies and the scene continuing for some time after the climax. It almost brings to mind a certain scene in Jerry Lewis' The Ladies Man that I found disarming in its stylistic and tonal break from the rest of the movie. Without revealing too much, the film's coda sets the record straight.

It probably doesn't say anything flattering about me that I found most of this pretty hot. The movie has a tinge of horror running through it, giving many of the sex scenes (especially the one in hell) a real tension, while the scientific framing device gives it a cold, calculating quality reminiscent of David Cronenberg. (Alas, this doesn't predate some of his most influential films, but for all we know, David Cronenberg jacked off to it as well.) A few of the character names (Mrs. Van Houten, Mrs. Chalmers) make me suspect that Matt Groening might have seen (and jacked off to) it as well. This is pure speculation on my part, but as far as I'm aware, none of them have denied it either. The movie's distinct tone is grounded in an impressive lead performance by Dorothy LeMay. I wasn't all too impressed with her work in Taboo II, but here I think she skillfully evokes the heroine's derangement and "erotic trauma", in the words of the scientists.

Sayadian and Stahl collaborated again for Dr. Caligari, a relatively mainstream effort that also found some success as a midnight movie. I say "relatively" because it's still pretty fucking weird. The movie positions itself as a loose sequel to Robert Wiene's classic The Cabinet of Dr. Caligari, this time about the granddaughter of the original Caligari conducting illegal experiments in an insane asylum. From the earlier film it pulls a German expressionist influence, but combines it with a campy, MTV-inflected style to present the asylum as a warped funhouse. The dimensions of the architecture are distorted and full of odd angles, decorated in a mixture of pitch black and gaudy day-glo colours (lots of yellow and pink costumes). This is not a pornographic movie, yet it's hardly less obsessed with sex, as the villain's plan concerns the weaponization of female pleasure. There's also the occasional grotesque sexually-charged image to spice things up, like the sight of a woman with giant, phallic-shaped breasts. Some of the imagery also gives it potency as horror, like an oozing sore or a cake full of intestines. There's a lot of strange, stilted dialogue, as in this exchange:

"Describe your life in three words or less."

"Un-ending torment."

"Elaborate, please."

"Blankety blank blank."

"Thank you for being specific."

This is matched by the angular body language of the villain, played by Madeline Reynal in a deadpan yet very physical performance. This movie also brings into focus a voyeuristic theme, which was present in those earlier movies but didn't seem quite as confrontational in its presentation. A character utters, basically to the audience: "I know you're watching me. I feel your eyes like wet fingers touching me in special places." (This is a line of dialogue that appeared in the next few films I'll talk about.) Truth be told, I was a little exhausted by the sensory overload of Sayadian's style here, and in retrospect appreciate the way the sex scenes act as a counterpoint to his more aggressive tendencies in his more explicit films. But at the same time, this is full of memorable imagery and has a weirdly compelling lead performance. I don't know if there's much else quite like it (or at least operating at this force), so it gets a recommendation.

Sayadian followed up Nightdreams with a few shot-on-video sequels. I skipped Nightdreams 2 as I could only find it in a heavily degraded transfer, but I did make time for Nightdreams 3, which has a self contained story that's essentially a more explicit if relaxed version of Dr. Caligari, once again concerning a doctor conducting sinister experiments at an insane asylum. (This time her experiments mostly involve just fucking her patients and other staff.) There's more of the stilted dialogue, even closer to non sequiturs than they were in the earlier film, with the music by Double Vision providing an off-kilter soundscape to match the weirdness of the dialogue. (Highlights include "My pussy's like an erotic assassin" and "I happen to know she has a thing for longshoremen. Just mention On the Waterfront and she gets randy pants.") The video imagery quite frankly is pretty ugly, with the green carpet and purple drapes that decorate the set looking especially ungainly, yet Sayadian seems aware of this, as when he uses video's flattening effect to create a crude facsimile of a split diopter shot. The video collage style he adopts meshes uneasily with the plot, as if to call out its meaninglessness, giving the whole thing a slight MST3K vibe, especially as characters speak directly to the camera.

Some of these tendencies are honed to a more pleasing form in the two-part Party Doll A Go-Go!, where we spend time with a number of attractive, shapely women in bright coloured lingerie as they spout '60s-inspired dialogue at the viewer in between scenes of copulation. (Not all the dialogue is '60s-tinged, however: "They're overcome with retro wordplay...Us modern girls prefer synthetic future".) Like many pornographic films, this is a collection of loosely related sex scenes, but Sayadian's construction turns those genre requirements into parody, having his characters offer colour commentary (albeit channeled through his campy prose) on their own scenes and even getting interrupted by the stars of subsequent and preceding scenes. The number of quotable lines is even greater than those earlier films, and I admit I was scrambling to write down the choicest ones as there were so many. The best lines go to Jeanna Fine, who also has the huskiest voice and the most penetrating stare, so she was easily my favourite. I certainly was not unmoved when she insisted that she's "never run around buck naked and bubbling for man-winky" or "never wrapped[her] lips around a throbbing johnny". (She does not, however, deny having ever interacted with beef bologna.) Or when she asked the audience "Was I a bad girl?" (said three times in rapid succession) or if we've "ever seen a double orgasm on videotape?" (She adds "Watch, pornhound" and "Calling all porndogs, watch me work, uh-huh.") And I definitely wasn't unmoved when she demonstrated her talents on a dildo dangled in front of her (which she refers to as an "artificial man-thing", a "chubby rubber fella" and a "flying princeton"). No, definitely not unmoved.

There isn't much of plot here, except in the latter half when one of the girls can't stop "the wiggle" and needs to be rescued with an emergency injection of "boy jerky". Sayadian, once again bringing voyeuristic concerns into focus (the characters all talk to the camera), seems to be satirizing the very idea of porn having premises and certain their lazy execution. Even the production design is transparent in its chintz (the movie is shot entirely on the same set, with the bare minimum in alterations to the set dressing to make it look even slightly different), while the video images, which feature lots of Dutch angles, zooms and whip pans, match the campiness of the whole affair. This is probably a little long at a combined 2+ hours, but at the same time, it settles into a nice groove and is full of really attractive and reasonably charismatic actresses delivering amusing dialogue and indulging in "girl homo" (sometimes "big time girl homo") or getting "boy jerky". I don't have much interest in delving into '90s pornography and shot-on-video productions strain the dignity one can feel while trying to watch pornographic films as actual movies, but I'm not gonna pretend I didn't have a good time with this.

#film #put on your raincoats #movie review #rinse dream #stephen sayadian #francis delia #fx pope #cafe flesh #nightdreams #dr. caligari #nightdreams 3 #party doll a go-go!

14 notes · View notes

michelles-garden-of-evil · 3 years

Text

Episode 45 Review: Bob Costello’s First Episode

{ YouTube: 1 | 2 | 3 }

{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

At long last, welcome back to my review series for Strange Paradise, a show increasingly living up to its name. In 1969 PT, the audience for this episode--primarily young people and housewives smitten with Colin Fox--is watching Jacques threaten Alison’s life if Vangie tells anyone about the events on Maljardin after leaving. Meanwhile in our timeline, the story takes a different, more bizarre direction, featuring an allegedly evil rabbit, a bloodied locket that once belonged to Erica Desmond, and an emergency séance that ends in a poisoning.

Now that former Dark Shadows staff member Robert Costello has taken the helm as producer, there will be many changes to the show, including a change in writers. Co-creator and former headwriter Ian Martin is gone now, and in his place we have George Salverson and Ron Chudley. Salverson was a prolific writer for Canadian radio and television, writing (among many other works) a 1949 radio adaptation of Dracula that’s very good and at least four scripts for the 1967 historical comedy TV series Hatch’s Mill[1], which also starred Cosette Lee and Sylvia Feigel and featured Kurt Schiegl as Big Kurt. Chudley was an up-and-coming writer who, like fellow SP writers Ian Martin and Harding Lemay, became better-known for his later work. He is still alive as far as I can tell and works as a novelist and playwright. The resume on his personal website lists a wide variety of works, including a series of mystery novels, one published play (After Abraham), and many scripts for different media, including “over one hundred [TV] scripts, for CBC and independents.” Salverson and Chudley will only write the next five episodes, but one of these (Episode 47) will be among the best of Maljardin.

From now until Episode 149, all episodes will open with new, Dark Shadows-style narrations delivered by cast members. The first, read by Angela Roland (Vangie), is rather vague and--surprisingly--doesn’t recap Holly’s poisoning:

Death lives in this great house on Maljardin, striking as swiftly as a bolt of lightning. Legend says it is caused by the evil of this man [Jacques Eloi des Mondes], three hundred years dead:

But others believe it is something more, like the Reverend Matthew Dawson.

The reason why she mentions Matt of all characters is because he appears first in this episode, lamenting the fact that Alison hasn’t yet verified whether or not his twenty-year-old stalkee Holly survived the poisoning attempt at the end of last episode. “Murder is a three-hundred-year-old tradition here on Maljardin,” he comments, speaking to the portrait which he refuses to believe is animate. “Do traditions ever die?”

“Murder, Reverend Dawson?” Vangie asks, which triggers a discussion of who could have poisoned the wine that Holly drank. Was the culprit her mother who poured it (and whom Vangie and Raxl have identified as a dangerous witch)? Was it Raxl, who filled the decanter? And could Holly have drank the cyanide that Jean Paul took from the lab in Episode 23, which has been missing since? We soon get an answer to the third question, courtesy of Holly’s mother Elizabeth:

Well, that was quick.

“They tried to murder my daughter,” she accuses. “What will they do to the rest of us?”

“They?” Matt asks, confused. “Who?”

“I filled the glass, Raxl filled the decanter, and where was Jean Paul?” She asks about the master of Maljardin with a tone of accusation, evidently suspecting him of playing some role in the attempted murder. This is the first time on this show that one of Colin Fox’s contractually obligated absences has been worked into the plot in a way that makes sense, and I think it’s brilliant. His absence from the second séance provides her with a realistic and believable reason to accuse him of having something to do with the poisoning.

As for what Jean Paul was doing during the events of last episode...

Less realistic or believable, IMO.

He appears to have spent the night rabbit-sitting in his bedroom the whole time while trying unsuccessfully to interrogate it. “What are you?” he asks the Rabbit of Evil, who ignores him because it knows which of them is really in control of the island now. “A creature that cannot exist on this island and yet does exist! My...Erica...”

Raxl cuts him off when she enters the room, bringing tea as a pretext. “The master is not safe with a devil spirit in the room,” she tells him, no doubt wanting the fluffy devil spirit back so she can sacrifice it.

Jean Paul must see through Raxl’s flimsy pretext, given how dramatically he refuses the refreshments she brought. “Leave me, Raxl,” he hisses, mugging for the camera. “I do not want your tea!” Even after she offers to taste it first, he refuses.

Raxl leaves to visit the Great Hall, where she arrives just in time to overhear Elizabeth accusing her of poisoning Holly. After pissing off Elizabeth by giving her the stink-eye, Raxl sends Vangie upstairs to report to Jean Paul with the locket.

Raxl giving Elizabeth the stink-eye.

Elizabeth tries using the look as evidence that Raxl is working against them. Vangie doesn’t buy it.

While ranting to Quito in the crypt, Raxl recaps what she knows about Erica, the locket, and the Rabbit of Evil. She speaks of herself in the third person: “Raxl cannot tell them because they are fools!” This is a new thing, which Ian Martin’s Raxl never did. It’s also the second time this happens in the episode; the first instance occurs in the tea scene. where she asks, “Does the master wish Raxl to taste the tea before he drinks?” I don’t like it. I think referring to herself in the third person makes Raxl sound less intelligent than she’s proven herself to be.

Meanwhile, in Jean Paul’s room, Vangie dangles the sparkling locket like a pendulum before Jean Paul’s eyes:

Vangie: "Jean Paul Desmond…look at the locket…focus on the locket…focus as I swing it back and forth like a pendulum…you are now getting very relaxed…now, Jean Paul Desmond…now you will stop being mean and grumpy as you have been since the capsule malfunctioned…you will go back to being polite and charming like before and stop breaking everybody’s hearts…you will confess your love to Dr. Alison Carr…you will also stop looking constipated…Jean Paul Desmond…Jean Paul Desmond…"

I wish. No, she isn’t actually using it to hypnotize Jean Paul, just showing it to him so that he can inspect it. He verifies that it belonged to her and claims that he “put [it] on Erica’s throat with [his] own hands. I saw it sealed into the capsule with her, with these same eyes that see it now.”

The line above is a retcon. In Episode 4, Erica was not wearing any visible locket when the men from the Cryonics Society insert her body into the cryocapsule. Jean Paul entered the crypt to see her after they had already sealed her in.

“Now, take it, Jean Paul,” Vangie orders. “Feel it. It is real!” She says this as though Jean Paul had just denied it being Erica’s, which is the opposite of his reaction. “I can touch it no more! Take it back!”

She hands it to him and he takes it. Even though he says it’s real and so does she, he still wants confirmation. “Touch it, Vangie!” he begs. “You must! How am I to save my mind? How else am I to know if it is true and real, what I am seeing?”

“Do you doubt your mind, Jean Paul?” Vangie asks, although it’s obvious that’s the only explanation for his command.

“This is the mystery,” he says. “This is the terrible fact I must find out, without this.” It’s not clear what specifically he means by this in either of those sentences. “Vangie, how can you make a contact?”

Not wanting to subject herself to a third dangerous séance on the island, Vangie tells him, “I’m sorry, Jean Paul. The séance is impossible. The angry spirit that came into this house with the locket and the black rabbit is still here, waiting. It can seize any one of us as it seized Holly. I will not do it!”

But Jean Paul insists that she must, or else “how will [he] be able to save [his] mind?”

“How much are you asking?” Vangie demands. “What are you doing to me? What are you doing to all of us?”

Speechless, Jean Paul doesn’t respond. After Vangie leaves the room, he clutches the locket to his chest. “How am I to save myself and my Erica?” he ponders, his eyes wide with terror.

Down in the Great Hall, Vangie vents to Matt and Elizabeth about how she doesn’t want to put them in danger by holding another séance, throwing the box that was on top of the séance table in anger. Elizabeth, remembering that Jean Paul had once seemed “such a reasonable man,” speculates that one of them may be able to reason with him.

Meanwhile, Jean Paul begins to speculate that someone has opened the capsule and continues his attempted interrogation of the very bored-looking rabbit:

Jean Paul: “Who are you? What are you? If I gave you the poisonous leaves here on Maljardin where nothing lives, would you die, or have you lived and dined on this vile island on poison?” Rabbit of Evil: “...”

Jean Paul: *obviously reading Teleprompter* "Or are you innocent? And if you are, then you would die blameless. Or is Raxl right? Was it evil that brought me the locket or good?"

Jean Paul: *unable to suppress a smile at the ridiculous monologue about the cute animal* "And which are you: good or evil?" Rabbit of Evil: *twitches nose cutely*

This scene is the crowning moment of cute on Maljardin, between Colin Fox’s unsuccessfully suppressed smile and the adorable rabbit twitching its nose at him. Eventually giving up on questioning the animal, he sets it back down in the picnic basket and returns to the matter of the locket.

“Yes!” he declares. “I can find these answers if the capsule is opened. And if there’s nothing there or the locket is there,”--he reads the Teleprompter some more--”then this is false!”

After a brief filler scene between Raxl and Quito--in which she, thankfully, is back to referring to herself in the first person--Matt visits Jean Paul in his room. Attempting to reason with him, the Reverend begs Jean Paul to confess if he is responsible for the things that have happened to Holly, between her being pushed down the stairs, the slashed portrait, and last episode’s poisoning. Jean Paul accuses him of plotting with the others on the island to gaslight him, then describes his new, bizarre theory about Dan removing the locket from the cryocapsule when it allegedly failed and dipping it in blood as part of their plot. But how did Dan get the blood? The only possibility, he believes, is that there was blood on Erica. This provides him with yet another reason to open the capsule: to see where and how Erica was bleeding, which he now claims he remembers happening.

Meanwhile, Raxl and Quito meet in their bedroom to discuss the necessity of finding the conjure doll and the silver pin. And the fact that they’re meeting in their room means...

There he is, again: our mascot!

They leave to search in the Temple of the Serpent shortly after, and we get this well-lit shot of the passageway between the crypt and the temple.

Matt returns to the Great Hall and recaps his conversation with Jean Paul to Vangie, who comes to the conclusion that the situation on Maljardin is hopeless because Jean Paul doesn’t know the truth. At the same time, Raxl prays to the Serpent in the temple to tell her if the “woman-child” Holly should die, to which the answer is “yes.” She then orders Quito to “search” (for the doll and pin) and he screams!

Quito screaming, with the moment’s location in the video of Part 3. Even though it’s not technically a line, I’m going to count this as a line flub because Quito is supposed to be mute.

Later in the Great Hall, Jacques speaks to Jean Paul through the portrait, telling him not to open the capsule. “You will learn nothing,” he argues. “You will finish off Erica for nothing. Don’t you think so? All you can learn is whether that machine works. Is Erica’s body perfectly preserved, or is Erica now something else?”

Obvious foreshadowing is obvious.

Ignoring him, Jean Paul retreats to the crypt, where he grips the capsule and cries, believing he must open it but fearing for Erica’s safety. Raxl finds him there and begs him to open it and let her die naturally, not just so he gets his answers, but also “so that she may have eternal peace with the god that you denied.”

“Are you, too, suggesting that I am mad?” Jean Paul asks.

“Open the capsule, do not open the capsule. If madness is to come, it may come right away," is her cryptic reply.

Jean Paul crying on the capsule from the episode’s final scene.

While not as good as the other Salverson and Chudley episodes to come, Episode 45 shows promise in its focus on Jean Paul’s descent into insanity. Once he realizes that the locket was Erica’s, he constructs a ridiculous conspiracy theory involving his enemy Dan removing it while tampering with the capsule and somehow getting blood on it. He feels tempted to open the capsule despite the danger to her frozen body, and now must choose between risking her permanent death by opening (what Raxl wants) and keeping it shut despite his mounting fears that the uncertainty will drive him mad, so that Jacques can resurrect Erica. The script has its issues and there are some amusing bloopers, but the first episode produced by Robert Costello is engaging and suspenseful, leaving the viewer with questions about what will happen and be revealed in Week 10.

Coming up next: The Bad Subtitle Special for Week 9, followed by two theories about Jean Paul’s new fears regarding Erica and the locket.

{<-- Previous: Episode 44 || Next: Episode 46 -->}

Notes

[1] Hatch’s Mill makes for an interesting footnote in SP history. In addition to sharing one writer and three actors in major roles, Peg McNamara (aka Peg Dixon, the first Ada Thaxton) and Patricia Collins (the first Huaco des Mondes) played minor roles in one episode. A scathing 1968 review by critic Douglas Marshall provides the most detailed description of Hatch’s Mill available for free online.

2 notes · View notes

sagehaleyofficial · 5 years

Photo

HERE’S WHAT YOU MISSED THIS WEEK (3.4-3.10.20):

NEW MUSIC:

· Blink-182’s Travis Barker, YUNGBLUD and Machine Gun Kelly shared that they are currently in the studio working on a brand new track for the latter’s upcoming pop-punk album, Tickets to My Downfall. Kelly also revealed other previous collaborators on his new project.

· In a recent Instagram posts, Alkaline Trio frontman Matt Skiba replied to a comment saying we can expect a new EP very soon. Skiba explained the three upcoming songs are mixed and mastered, and come out the day before their tour with Bad Religion.

· Asking Alexandria revealed their sixth full-length record will be titled Like a House on Fire, which comes three years after their self-titled 2017 release and arrives on May 15th via Sumerian Records. The band also delighted fans with a single, “Antisocialist.”

· FEVER 333 wrote, recorded and released a new song, “Presence is Strength,” in light of last Tuesday’s primary elections in 14 U.S. states. In addition to the song, lead singer Jason Aalon Butler also released a new solo track, “Bulletproof.”

· Machine Gun Kelly gave us his new music video for “Why Are You Here” after it was leaked by a fan. The video is colorful, action-packed and centered around fruit, and Kelly went on to ask fans to stream the track as much as possible.

· Boston Manor surprised fans with two new songs, “Ratking” and “On a High Ledge,” off of their upcoming third album Glue. The aforementioned album is set to release on May 1st via Pure Noise Records.

TOUR ANNOUNCEMENTS:

· PVRIS dropped a new song, “Dead Weight,” as well as announced the “Use Me U.S. Tour” that will take place two months prior to their tour with Halsey this summer. The tour kicks off on May 8th in Columbus, Ohio, and finishes up on June 10th in Seattle.

· Sadly, YUNGBLUD is the latest musician to join the list of performers that have canceled shows in Asia over coronavirus concerns. The singer took to his Instagram to announce the unfortunate news.

· My Chemical Romance officially announced another European show in St. Petersburg, Russia, which offers another look at the skeletal figure from their previous “An Offering…” video. The gig takes place two days after their performance in Moscow.

· Falling in Reverse canceled the final show of their tour on March 4th, which was set to take place in Sacramento, California. The band cited its reasoning to drummer Johnny Mele’s food poisoning and emergency surgery for Ronnie Radke’s girlfriend, WWE’s Paige.

· Hayley Williams is celebrating the release of her debut solo album by heading out to Europe and across North America on a tour this summer. The vocalist gave her first single, “Simmer,” its live debut at Collina Strada’s show during NY Fashion Week in mid-February.

· Armor for Sleep revealed the support for the whole tour, Never Loved, as well as the Cold Seas for all East Coast dates and Silence of You for all West Coast and Central dates. The tour celebrates the 15th anniversary of the 2005 album What to Do When You Are Dead.

· SXSW’s website stated they have been forced to cancel this year’s festival by the City of Austin, Texas. The festival is exploring options to reschedule the event and is working to provide a virtual SXSW online experience as soon as possible for 2020 participants.

· Post Malone fans expressed concern for his well-being after performance videos from the second leg of his Runaway Tour began making the rounds, where he appeared unwell. The rapper has since addressed the claims from the stage of his latest tour stop.

· Halsey played her Bring Me the Horizon collaboration “Experiment on Me” from the Birds of Prey soundtrack live for the first time in Glasgow. Prior to this date, she had been closing her sets out with the songs “Ashley,” “Gasoline” and “Without Me.”

· Scary Kids Scaring Kids are resuming celebrating 15 years of The City Sleeps in Flames at the end of June. The band has recruited the Classic Crime, Picturesque and Eidola as supporting acts for the new leg.

· Four Chord Music Festival is returning for its seventh year this summer in Pittsburgh. In the first wave of announcements, the annual event has revealed Blink-182 and the Used will appear as headliners at the July 11th date.

· Linkin Park is planning on celebrating the 20th anniversary of their album Hybrid Theory all year long, asking fans for contributions to help make the events they have planned special. The band members asked fans for submissions of videos, photos and souvenirs.

· Jimmy Eat World announced the Criminal Energy Tour in support of their latest album Surviving, which will kick off on August 6th in Atlanta and end September 5th in Phoenix. They will be joined by the Front Bottoms, Turnover and Joyce Manor.

· City and Colour declared he is playing a one-off show in Toronto for the 15th anniversary of his debut album Sometimes. The show will take place at the Budweiser Stage on August 7th, which marks the 10th time he has performed at the venue.

· According to YourEDM, Coachella is being moved ahead six months to give more time to assess the coronavirus outbreak. Fans and local residents initially started a petition to have organizers cancel the event over the growing issue.

· After revealing the 320 Project, Warped Tour founder Kevin Lyman and 320 Changes Direction founder Talinda Bennington announced the first-ever 320 Fest, taking place on May 9th at L.A. Live. The free event strives to bring awareness to mental health.

OTHER NEWS:

· The Hit Like a Girl drumming contest has returned for its ninth year of competition, which gives female drummers and percussionists the opportunity to show off their skills. Executive director of the organization, David Levine, first created the contest in 2011.

· The Maine drummer Pat Kirch and his wife Shacara Nemetz announced that their first child, Charlotte Rose, was born on Leap Day. Kirch shared photos of their family’s newest member with a brief, loving caption.

· A new app, Jadu, was revealed that allows users to interact with holograms of their favorite musicians and share them to social media accounts. Among the app’s familiar faces are Palaye Royale, Poppy, Vic Mensa and more.

· Green Day announced they are auctioning a guitar on Reverb.com to raise funds for ALS research. The gesture is in memory of Kim Shattuck, leader of iconic 90s punk outfit, the Muffs.

· At the very end of their tour in Sacramento, California, the Word Alive posted that they were robbed of nearly $10,000 worth of personal effects and merchandise. In response to the crime, the band later released a new merch item, a shirt, to cover the expenses.

· According to Deadline, Machine Gun Kelly is set to star alongside Sam Worthington in the action western film The Last Son of Isaac LeMay, which begins production in Montana next month. The rapper’s role will see him as the leader of a gang of young outlaws.

· Dance Gavin Dance announced they are creating a graphic novel called Robot’s Tale: A Dance Gavin Dance Graphic Novel, which will hit stores this May. The book is a collaboration with Z2 Comics, which has also worked with BABYMETAL, YUNGBLUD, Poppy and more.

· Dr. Martens and Sanrio, the creators of Hello Kitty, revealed their new collaborative line is celebrating anniversaries for both of them after they released a similar collab a decade ago. The new collection includes multiple sets of boots, kids’ footwear, sandals and a satchel.

· On March 7th, Twitter and Reddit users realized all of Fall Out Boy’s music videos the From Under the Cork Tree era have disappeared from YouTube. In attempting to access the links, viewers are told, “Video unavailable. This video has been removed by the user.”

___

Check in next Tuesday for more “Posi Talk with Sage Haley,” only at @sagehaleyofficial!

31 notes · View notes